The Next Reel Film Podcast: Recent Episodes
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“She doesn’t know it yet, but she’s hunting us.”How a Virus Spreads Through Language
The 2008 Canadian horror film Pontypool, directed by Bruce McDonald and written by Tony Burgess, was inspired by Orson Welles' famous radio broadcast of War of the Worlds. Originally, Burgess envisioned the entire film as a radio play, with the main character Grant Mazzy reading the script accompanied only by a visual of the blue waveform. While this concept wasn't fully realized, it heavily influenced the confined, constrained storyline of the radio station employees trying to make sense of the outbreak consuming their small town. Join us – Pete Wright and Andy Nelson – as we continue the Disease Films series with a conversation about Pontypool.
Dissecting the Viral Outbreak in Pontypool
One of the most intriguing aspects of Pontypool is how the horror unfolds through the limited perspective of the radio station employees. As Grant Mazzy, Sydney Briar, and Laurel-Ann Drummond receive increasingly disturbing reports from Ken Loney in the "Sunshine Chopper," the tension builds before the true nature of the viral outbreak is revealed. The film's unique approach to storytelling keeps the audience engaged, even when the explanation for the virus itself may seem a bit far-fetched.
Throughout our discussion, we explore the metaphorical implications of a virus that spreads through the English language. As a Canadian film, Pontypool seems to comment on the value of traditionalism and the French language in Ontario, while also critiquing the potentially damaging influence of American shock jock radio. The film's central conceit – that language itself can become contagious and dangerous – resonates even more strongly in today's era of social media and misinformation.
Other Highlights from Our Conversation
- The wordplay and coincidences in Grant Mazzy's opening monologue, foreshadowing the importance of language in the story
- The debate over whether Grant Mazzy was infected by the virus at the end of the film
- The role of Dr. Mendez as the "book of the vampire," providing exposition and context for the outbreak
- The powerful portrayal of Laurel-Ann's deterioration, offering a window into the effects of the virus
Pontypool may not be a perfect film, but its clever premise and thought-provoking themes make it a worthwhile entry in the Disease Films series. By confining the action to the radio station and relying on reports from outside, the movie creates a sense of claustrophobia and dread that keeps the audience engaged despite the sometimes flimsy explanation for the virus itself. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Film Sundries
- Watch this on Apple or Amazon, or find other places at JustWatch
- Script Options
- Theatrical trailer
- Original Material
- Letterboxd
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.
Join the conversation with movie lovers from around the world in our Discord community!
Here’s where you can find us around the internet:
- The Web
- Letterboxd
- Threads
- X
- YouTube
- Flickchart
- Pete
- Andy
What are some other ways you can support us and show your love? Glad you asked!
- You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.
- Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.
- Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.
- Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.
- Or sign up for AUDIBLE.
“I think, therefore I scam.”The Sundance Struggle of Wendell B. Harris Jr.'s Sensational Con Artist Story
In 1989, writer-director-actor Wendell B. Harris Jr. crafted a stunning debut feature, Chameleon Street, based on the incredible true story of con artist William Douglas Street Jr. Despite winning the Grand Jury Prize at the 1990 Sundance Film Festival, Harris faced immense difficulties securing distribution for his groundbreaking film. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about Chameleon Street.
Unraveling the Layers of a Chameleon's Tale
Throughout our discussion, we dive into the fascinating layers of Chameleon Street, from its energetic and in-your-face production style to the subversive commentary on race and identity. We explore how Harris Jr. taps into the con artist's perspective, using voiceover narration and camera techniques to create a thrilling cinematic experience that keeps the audience engaged from start to finish.
As part of our One-and-Done series, we also delve into the unfortunate reality of Harris Jr.'s struggle to make more films after this impressive debut. Despite his undeniable talent and the film's critical acclaim, the Hollywood system failed to provide him with the opportunities he deserved.
Unpacking the Complexities of Identity and Representation
- The film's thought-provoking exploration of race and the challenges faced by a black man navigating various roles in society
- Harris Jr.'s masterful performance as William Douglas Street Jr., showcasing the con artist's chameleon-like abilities
- The movie's subversive humor and biting social commentary, particularly in scenes where Street Jr. openly insults his unsuspecting targets
- The film's propulsive narrative structure, which keeps the audience engaged as the protagonist moves from one audacious scheme to another
A One-and-Done Wonder Worth Rediscovering
Chameleon Street is a testament to Wendell B. Harris Jr.'s immense talent as a filmmaker and storyteller. Through his deft handling of the subject matter and innovative storytelling techniques, Harris Jr. crafts a compelling and thought-provoking exploration of identity, race, and the art of the con. While it's disheartening that he never had the chance to make another feature film, Chameleon Street remains a powerful and essential piece of cinema that deserves to be celebrated and rediscovered by audiences today. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Film Sundries
- Watch this on Apple or Amazon, or find other places at JustWatch
- Theatrical trailer
- Letterboxd
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.
Join the conversation with movie lovers from around the world in our Discord community!
Here’s where you can find us around the internet:
- The Web
- Letterboxd
- Threads
- X
- YouTube
- Flickchart
- Pete
- Andy
What are some other ways you can support us and show your love? Glad you asked!
- You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.
- Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.
- Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.
- Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.
- Or sign up for AUDIBLE.
“Well I’ll be greased and fried! What’s the circus doing up in these parts?”The Chiodo Brothers and Their Creature Feature Legacy
Before Killer Klowns from Outer Space, the Chiodo Brothers – Charles, Edward, and Stephen – had already made a name for themselves in the special effects world of the 1980s. With credits on films like Critters and sequences in RoboCop, they were well-versed in creating practical effects and creature designs. Killer Klowns from Outer Space represented an opportunity for them to showcase their skills in a feature-length film, with Stephen Chiodo taking on the role of director. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about their 1988 film Killer Klowns from Outer Space.
Clowning Around with Horror Tropes and Twisted Expectations
In our discussion, we marvel at how Killer Klowns from Outer Space gleefully subverts classic clown tropes, turning seemingly innocent gags into sinister and often grotesque moments. From the balloon animal hunting dog to the shadow puppet T-Rex that devours its victims, the film consistently surprises and delights with its inventive use of clown iconography. However, we question whether the horror-comedy balance always lands, with some scenes leaning more heavily into the absurd than the truly frightening.
A Trio of Heroes and the Trope of Incompetent Authority Figures
Throughout our conversation, we explore the dynamics between the film's central trio – Mike, Debbie, and Dave – and how their relationships evolve as they face the alien clown threat. We also examine the trope of young heroes pitted against incompetent authority figures, a common theme in 1950s-era B-movies that Killer Klowns from Outer Space both embraces and satirizes.
Other topics we cover include:
- The memorable performances of the supporting cast, particularly Royal Dano as Farmer Gene Green and John Vernon as the skeptical police officer
- The film's vibrant color palette and the effectiveness of the practical effects
- The Chiodo Brothers' continued work in the industry, including their involvement in Team America: World Police and Marcel the Shell with Shoes On
Why Killer Klowns from Outer Space Endures as a Cult Classic
Despite its status as a one-and-done feature for director Stephen Chiodo, Killer Klowns from Outer Space has endured as a beloved cult classic. Its unique blend of horror and comedy, combined with the Chiodo Brothers' imaginative creature designs, has helped it stand the test of time. While it has some soapy acting and feels of its era, we ultimately find Killer Klowns from Outer Space to be a delightful and entertaining entry in the realm of 1980s horror-comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Film Sundries
- Watch this on Apple or Amazon, or find other places at JustWatch
- Script Options
- Theatrical trailer
- Letterboxd
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.
Join the conversation with movie lovers from around the world in our Discord community!
Here’s where you can find us around the internet:
- The Web
- Letterboxd
- Threads
- X
- YouTube
- Flickchart
- Pete
- Andy
What are some other ways you can support us and show your love? Glad you asked!
- You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.
- Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.
- Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.
- Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.
- Or sign up for AUDIBLE.
“You didn't mean it. You never mean it. You didn't mean it the time when you put up the bouquet with the 'get well' card in the funeral parlor, and sent the black lilies to the old lady in the hospital, you didn't mean it.”Roger Corman's 38th Film in 5 Years
The year was 1960. The American movie landscape was dominated by Westerns, sword-and-sandal epics, and Rock and Roll musicals. But in the underbelly of Hollywood, a different kind of movie was brewing. This was the era of exploitation cinema, and Roger Corman was its undisputed king. With a knack for spotting talent and squeezing every penny out of a budget, Corman churned out low-budget genre films at an astonishing rate. The Little Shop of Horrors was one of them. Join us – Pete Wright and Andy Nelson – as we kick off our Member Bonus Roger Corman series with a conversation about his 1960 film The Little Shop of Horrors.
Don't Feed the Jokes
In this episode, we dig into the fascinating backstory of how The Little Shop of Horrors came to be, a film shot in just two days on a set borrowed from another Corman production, A Bucket of Blood. We marvel at Corman's legendary efficiency and his ability to create entertaining films on a shoestring budget. We also discuss the film's unique blend of horror and comedy, noting how the comedic elements ultimately overshadow the horror, making for a surprisingly funny viewing experience. We analyze the film's sharp, witty dialogue, packed with puns, wordplay, and topical references that would have resonated with audiences in 1960.
Other Buds to Snip From This Conversation
- Jack Nicholson's small but memorable role
- The film's connection to the later stage musical and film adaptation
- The somewhat effective practical effects used to bring Audrey Jr. to life
- The film's lasting legacy as a cult classic
- The differences between the original ending and the ending of the musical
The Little Shop of Horrors is a fascinating time capsule of early 1960s filmmaking and a testament to Roger Corman's ingenuity and talent. It's a fun, fast-paced, and surprisingly funny film that holds up remarkably well today. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Film Sundries
- Watch this on Apple or Amazon, or find other places at JustWatch
- Script Options
- Theatrical trailer
- Letterboxd
This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.
“How can you tell what’s a dream or what’s real when you can’t even tell when you’re awake or when you’re asleep?”Dalton Trumbo's Controversial Anti-War Classic
In 1971, blacklisted screenwriter Dalton Trumbo adapted his own 1939 anti-war novel Johnny Got His Gun for the big screen. The film marked Trumbo's directorial debut and only feature film as director. Set during World War I, the story follows a young American soldier who becomes a quadruple amputee after being hit by an artillery shell. Trumbo's powerful critique of war and its devastating effects on soldiers resonated strongly in the Vietnam War era. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about Johnny Got His Gun.
Locked-In Horror: A Haunting Tale of War's Casualties
We dive deep into the film's harrowing portrayal of Joe Bonham, played by Timothy Bottoms, as he struggles with his horrific injuries and loss of autonomy. The movie's exploration of disability rights and the dehumanization of wounded veterans sparks a thoughtful discussion. We examine how Trumbo's adaptation differs from his novel, particularly in its use of flashbacks and dream sequences to break up the claustrophobic hospital scenes. While we appreciate the film's powerful anti-war message, we debate the effectiveness of some of its more surreal elements.
Other points of discussion include:
• Timothy Bottoms' compelling performance as Joe Bonham
• The impact of Jason Robards as Joe's father
• Donald Sutherland's portrayal of Christ in dream sequences
• The film's bleak ending and its emotional impact
• Comparisons to other "locked-in" films like The Diving Bell and the Butterfly
• Trumbo's transition from novelist to filmmaker
A Thought-Provoking Journey Through War's Aftermath
Johnny Got His Gun remains a powerful and disturbing examination of war's human cost. While we found some aspects of the film more effective than others, we agree that it's an important work that continues to resonate decades after its release. Its unflinching look at the physical and psychological toll of combat makes it a challenging but worthwhile viewing experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Film Sundries
- Watch this on Apple or Amazon, or find other places at JustWatch
- Script Options
- Theatrical trailer
- Original Material
- Letterboxd
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.
Join the conversation with movie lovers from around the world in our Discord community!
Here’s where you can find us around the internet:
- The Web
- Letterboxd
- Threads
- X
- YouTube
- Flickchart
- Pete
- Andy
What are some other ways you can support us and show your love? Glad you asked!
- You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.
- Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.
- Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.
- Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.
- Or sign up for AUDIBLE.
“You’re an ambulance chaser with a rank. You’re nothing.”This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get member content in episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.Courtroom Drama Meets Military Ethics – and Hollywood Ethics – in Sorkin's Debut
Before A Few Good Men hit the big screen, Aaron Sorkin's riveting story about two U.S. Marines accused of murder premiered on Broadway in 1989. The play, inspired by true events but not explicitly marketed as such, caught the attention of Hollywood heavyweights, leading to the 1992 film adaptation directed by Rob Reiner. With an all-star cast including Tom Cruise, Jack Nicholson, and Demi Moore, the movie garnered critical acclaim and four Academy Award nominations, including Best Film Editing. Join us – Pete Wright and Andy Nelson – as we continue the 1993 Academy Awards Best Film Editing Nominees member bonus series with a conversation about A Few Good Men.
Unraveling the Truth Behind the Code Red
In our discussion of A Few Good Men, we dive into the central theme of the film – the tension between following orders and doing what's right. As the story unfolds, we witness the journey of Lt. Daniel Kaffee (Tom Cruise) as he navigates the complex world of military justice. We analyze how the film effectively builds suspense, particularly during the intense courtroom scenes, which showcase Sorkin's signature rapid-fire dialogue.
Throughout the episode, we highlight the performances of the stellar cast, including Jack Nicholson's iconic portrayal of Col. Nathan R. Jessup and Demi Moore's strong presence as Lt. Cdr. JoAnne Galloway. We also touch on the film's exploration of the Guantanamo Bay military base and its significance in the story, as well as the fact that the story is based on real events, despite not being explicitly marketed as a "true story."
Other Talking Points
- The film's opening sequence and its impact on setting the tone
- Rob Reiner's direction and his successful run of films in the late 80s and early 90s
- The challenges of adapting a stage play for the big screen
- The film's commentary on the military hierarchy and its potential for abuse of power
A Few Good Men stands as a testament to the power of storytelling, as it expertly weaves together elements of drama, suspense, and moral ambiguity. The film's thought-provoking themes, combined with its outstanding performances and skilled editing, make it a must-see for any fan of courtroom dramas or military-themed movies. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Film Sundries
- Watch this on Apple or Amazon, or find other places at JustWatch
- Script Options
- Theatrical trailer
- Original Material
- Letterboxd
“That king certainly hasn’t very good manners.”
The Less-Singing, More Burnings Version
Audiences have been fascinated with the life of Anna Leonowens and her time spent in Thailand (then Siam) teaching English to King Mongkut’s wives and children. What’s the draw though? Perhaps the story of a woman on her own in a foreign country? Or a common person who is swept up into a world of royalty and has the ear of a king. Hard to say, but it’s a fascinating story, even if it does feel one-sided. Join us – Pete Wright and Andy Nelson – as we kick off our 1947 Academy Award Best Writing, Screenplay nominee series with a conversation about John Cromwell’s 1946 film Anna and the King of Siam.
Here’s a hint at what we talk about.
The first hurdle with this film is the rough brownface that all the actors playing the people of Siam wear. Yes, it’s from the era – we acknowledge that. That doesn’t make it any easier to take. There are also all the other trappings that go along with this element – pidgin English, playing the characters as simpler people, etc. It’s frustrating.
Once you can get past that, there are still the story elements dealing with colonialism and the entire idea of a white woman (savior?) coming in to teach English to the children and wives of King Mongkut along with the British way so they can all act more civilized. It’s a struggle, but at the same time, teachers teach. She’s just doing her job, right?
Past all the struggles, there is the core of the story involving the complex relationship between Anna and King Mongkut. Irene Dunne and Rex Harrison are great in their roles, and we enjoy the back and forth that we get with them as they initially try to figure each other out and test each other, pushing boundaries, then eventually becoming trusted friends.
We discuss the other players, the story and how this iteration differs from other versions, how Cromwell directed it, the look of it, and more. There’s a lot to discuss with this one. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film Sundries
Learn more about supporting The Next Reel Film Podcast through your own membership.
- Watch this on Apple or Amazon, or find other places at JustWatch
- Script Options
- Flickers In Time’s review
- Theatrical trailer
- Poster artwork
- Flickchart
-
Letterboxd
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(00:00) - Welcome to The Next Reel • Anna and the King of Siam
- (01:10) - Blackface and Problematic Depictions Then and Now
- (05:41) - The Draw to This Story
- (07:54) - White Savior vs. Personal Story
- (10:03) - Doing Her Job
- (12:12) - Anna vs. the King
- (13:45) - The King's Struggle and Attitude
- (15:23) - Rooted in Truth?
- (16:52) - Lady Tiang and the Young Prince
- (20:45) - Key Performances
- (31:27) - Speaking Truth to Power
- (33:17) - The Look
- (36:05) - The Score
- (37:02) - Why Has It Lasted So Long?
- (39:17) - Credits
- (40:09) - Other Adaptations
- (43:18) - Awards
- (45:16) - The Box Office
- (45:49) - Last Thoughts
- (47:02) - Coming Next Week • The Best Years of Our Lives
- (48:02) - Letterboxd
- (48:54) - Wrap Up
“Any vampires around these parts, Pa?”
Talking About The Reflecting Skin with our guest, storyboard and concept artist Anson Jew
There’s a lot going on in this story of childhood. It’s a story about vampirism and nuclear devastation. It’s about a town’s secrets and the perspective of children. Homosexuality in a time when it was far from being accepted. Dealing with loss. Growing old. Finding love. Writer/director Philip Ridley not only crafted a gorgeous film that’s alive from start to finish, but he crafted a story about childhood that captures all the strangeness and complexity we should expect and want in a story about a kid making his way in the world.
Storyboard and concept artist Anson Jew joins us to talk about this film, which has stuck with him since he first saw it. It’s a fantastic film and one certainly worth discussing. We have a great time talking with Anson about it, so check it out then tune in.
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film Sundries
Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.
- Find Anson on Facebook, Instagram, Twitter, IMDb, and his website
- Watch this on Apple or Amazon, or find other places at JustWatch
- Transcript
- Theatrical trailer
- Poster artwork
- Flickchart
-
Letterboxd
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(00:00) - Welcome to Movies We Like • The Reflecting Skin
- (02:37) - Meet Anson Jew
- (18:54) - The Reflecting Skin
Welcome back to Behind the Sites, a long-overdue return to one of our favorite series here at The Next Reel. This series celebrates the technology behind the entertainment industry... specifically, the sites and apps we use to learn about the movies and shows of which we call ourselves fans.
Casey Liss is a podcaster, developer, and writer from Richmond, Virginia. However, these days, it might be hard to know in which order to put those things. He's one-third of the Accidental Tech Podcast, a must-listen for principled nerds, and half of Analog(ue) on Relay FM. But he's here today to talk about his latest app, Callsheet, an entertainment industry search experience that might just earn a prized spot on the home screen of your phone.
Along the way, Casey talks about the challenges that come with attempting to peel back the features of an existing monolith in order to create an app that is fast, yet still seemingly feature-complete. We talk about what goes into working on an app that is dependent on a third-party API in an era that has rendered API a dirty, profit-seeking word. Oh, and we talk about Plex. For members, we talk a lot about Plex.
Links & Notes
- Callsheet
- Callsheet on the App Store
- The Movie Database
- TheMovieDB API
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Casey did a guest spot on Mac Power Users with David Sparks and Stephen Hackett and, if you're as intrigued by a complex Plex set-up as I am, check out this episode and let's get ripping! (ripping our legal media acquired legally because we don't want to insinuate in any way that we condone that other sort of rubbish. -ed)
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(00:00) - Welcome to Behind the Sites • Introducing Casey Liss and Callsheet
- (01:18) - Taking on Big-IMDB
- (04:30) - Peeling back IMDB
- (07:46) - The Spoiler Problem, Solved
- (10:26) - The Action-Reward Equation and Data Sources
- (15:18) - The API Connundrum
- (17:32) - Discoverable... by accident
- (22:53) - We live in a Letterboxd World
- (26:44) - Embracing the Privilege of the Indie Developer
- (30:51) - Soooo.... Android, but really the iPad app
”No matter what I ever do or say, Heathcliff, this is me – now – standing on this hill with you. This is me, forever.”
My, My, My... Those Heights, They Are A-Wuthering...
Adapting Emily Brontë’s novel for the big screen isn’t an easy task, but it’s one that many people have taken on as “Wuthering Heights” has been adapted for the big or small screen over 30 times. And that doesn’t even take into account the operas, plays, musicals, radio adaptations, and more. As popular as the novel is, it’s a challenging one, and that’s certainly on display with William Wyler’s 1939 adaptation. It used less than half the chapters and hence modified many elements for the ending. Still, it works. In fact, we might even feel it works better than the novel. Join us – Pete Wright and Andy Nelson – as we wrap up our 1940 Academy Award Best Picture Nominee series with a conversation about Wyler’s 1939 film Wuthering Heights.
Here’s a hint at what we talk about.
There’s a lot left out, but the book is a challenging read and we feel that this adaptation captures the essence of the tragic romance, leaving out a lot of the more complex elements that work well on the page but not so much on the big screen. It’s still not our favorite, but with director Wyler helming it, we find plenty to connect to.
The performers are all delivering big but portrayals that work well with this big romance. Laurence Olivier and Merle Oberon may not have gotten along on set but they work well as Heathcliff and Cathy. We also love David Niven and Geraldine Fitzgerald. In the scope of adaptation, the film leaves in some of the framing device that’s quite important for the novel. Here, we’re not so sure it’s needed. In fact, it largely feels like an unnecessary appendage.
The cinematography by Gregg Toland paired with Wyler’s effective direction bring life to the film. The black-and-white cinematography is full of darks and lights. It certainly deserved its Oscar win. And Alfred Newman’s beautiful score brings the tragic romance elements to the story right to the forefront. These elements all buoy the film for us, which otherwise may not be our cup of tea as much as some of the other Best Picture nominees. Speaking of, we do walk through the 10 nominees and debate which we’d pick to win. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film Sundries
Learn more about supporting The Next Reel Film Podcast through your own membership.
- Watch this on Apple or Amazon, or find other places at JustWatch
- Transcript
- Theatrical trailer
- Poster artwork
- Flickchart
-
Letterboxd
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(00:00) - Welcome to The Next Reel • Wuthering Heights
- (01:34) - Wuthering
- (02:38) - The Book
- (04:09) - Brontë Sisters
- (05:00) - Initial Thoughts
- (09:11) - Adapting It
- (11:56) - Laurence Olivier as Heathcliff
- (15:44) - Cathy and Isabella
- (18:21) - Framing Device
- (22:22) - William Wyler
- (28:52) - Scripting
- (32:45) - Who's Our Protagonist?
- (33:51) - Merle Oberon
- (35:11) - Geraldine Fitzgerald
- (36:11) - Flora Robson
- (36:48) - David Niven
- (39:24) - Gregg Toland
- (45:36) - Alfred Newman's Score
- (47:15) - 1940 Academy Awards
- (58:17) - Credits
- (59:13) - Other Adaptations
- (01:01:49) - Awards
- (01:03:33) - The Box Office
- (01:04:16) - Last Thoughts
- (01:04:38) - Coming Next Week • Anna and the King of Siam
- (01:07:38) - Letterboxd
- (01:09:09) - Wrap Up
“I remember about the rabbits, George.”
Capturing Steinbeck and Americana on the Big Screen
Having been writing novels for 10 years, it made sense that eventually, Hollywood would turn to John Steinbeck’s novels as a source for the silver screen. The first film to make the transition was Of Mice and Men, a novella he originally wrote as a ‘playable novel’ and then as a play itself. To that end, it was already the perfect size for adapting. And to that end, the film works just as well as the story. Join us – Pete Wright and Andy Nelson – as we continue our series on 1940 Academy Award Best Picture nominees with a conversation about Lewis Milestone’s 1939 film Of Mice and Men.
Here’s a hint at what we talk about.
For a relatively simple story, a lot happens and the story works through a variety of topics. How does the story handle a character with an intellectual disability and what does it say about those who take care of others, whether it’s this character or an aging dog? What about race relations? (To that end, it may be less pointed than the book but the film still feels like it handles race better than Gone With The Wind does.) The script changes how Mae – the only female character in the book and the only one with any real presence in the film – fits into the story. Here, we get a sense of the tragedy of this character, which does a lot to paint the gender differences in this place at this time. There’s also the moralistic, religious, and humanistic angles we discuss.
The casting is fantastic. Burgess Meredith and Lon Chaney, Jr. play our two leads and deliver complex, compassionate performances that are the beating heart of this film. Betty Field plays Mae and rounds the character out with resonance and depth that never were on Steinbeck’s pages, even if possibly inferred. The rest of the cast fits impeccably into their roles. Lewis Milestone directs and handles the story effectively and efficiently. And having Aaron Copeland score the film only enhances its feel of Americana.
This film stands strong as a version of this film that’s worth remembering. It’s definitely one of the best films of the year and certainly worthy of its Best Picture nomination. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film Sundries
- Learn more about supporting The Next Reel Film Podcast through your own membership.
- Find places to watch this at JustWatch
- Transcript
- Theatrical trailer
- Poster artwork
-
Letterboxd
-
(00:00) - Welcome to The Next Reel • Of Mice and Men
- (01:10) - 1940 Academy Award Best Picture Nominees Series Continued
- (02:15) - Revisiting the Novella
- (03:51) - Deceptively Small Story
- (05:09) - Initial Thoughts, Play, and Expanding Story
- (09:02) - Big Issues
- (12:48) - Caretaking
- (18:32) - More on the Dog
- (22:21) - Comparison to Lenny
- (23:34) - Good Deed?
- (24:20) - Parallel Issues
- (25:18) - Lenny as Sympathetic Character
- (26:21) - Race
- (32:29) - Gender Issues and Mae
- (35:30) - Kindness to Mae?
- (38:45) - Lewis Milestone
- (41:54) - Cast
- (47:55) - Title Origins
- (49:29) - Credits
- (50:25) - Other Versions
- (51:54) - Awards
- (55:24) - The Box Office
- (56:28) - Last Thoughts
- (56:52) - Coming Next Week • Wuthering Heights
- (58:18) - Letterboxd
- (01:00:23) - Wrap Up
“We’re heading into rough seas, Michel.”
A Love Story That Stands the Test of Time
It’s interesting that Leo McCarey’s 1939 film Love Affair largely fell into obscurity due to both slipping into the public domain and to McCarey’s own remake in 1957 as An Affair to Remember. It largely was thanks to Nora Ephron including mention of both films in her 1993 classic Sleepless in Seattle that interest in this original rose again. Now, thanks to a stunning restoration in 2020, the film looks brand new and is certainly worth discovery, or re-discovery. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1940 Academy Awards • Best Picture nominees with a conversation about McCarey’s 1939 film Love Affair.
Here’s a hint at what we talk about.
We both were more familiar with the story from McCarey’s 1957 remake An Affair to Remember starring Cary Grant and Deborah Kerr, but the core of the story remains largely unchanged. That even holds true in Warren Beatty’s mess of a remake in 1994 (also called Love Affair), which says something about the strength in the story. We have a few issues with the story, however – the need to wait six months before seeing each other again to prove they’re able to survive on their own seems a bit plotted, and Terry’s desire to not tell Michel about her accident until she’s able to walk to him seems thin. But are they? There’s clearly meaning behind their motivations in both cases. Is it just that we actually want it spelled out more, which we rarely actually want? Or is it that we don’t quite feel they sell it? It’s hard to gauge, so in the end these points don’t break things for us. They just give us pause.
It’s hard to get past that ending though. It’s perfect and just rips your heart out before putting it right back. Amazing stuff. There’s a reason it’s become iconic. And how great are Irene Dunne and Charles Boyer? We discuss them a bit in relation to Grant and Kerr. Who works better for us? Leo McCarey was stepping away from his comedies. How does he do with this material? We also talk about the controversies with the script and why the production code wouldn’t pass it initially. And let’s not forget the songs!
It’s a great film and easily one to fall in love with. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film Sundries
Learn more about supporting The Next Reel Film Podcast through your own membership.
- Watch this on Amazon, or find other places at JustWatch
- Script Options
- Theatrical trailer
- Poster artwork
- Flickchart
-
Letterboxd
-
(00:00) - Welcome to The Next Reel • Love Affair
- (01:07) - WC Fields In-Joke
- (01:51) - Initial Thoughts
- (04:19) - Getting Swept Up?
- (06:40) - Story Issues
- (14:50) - Comparisons to Remakes
- (19:35) - Charles Boyer
- (23:06) - Maria Ouspenskaya
- (26:04) - Irene Dunne
- (29:10) - Comedy Beats – Romantic Comedy?
- (30:46) - Leo McCarey
- (33:53) - Story Origins
- (35:34) - Boyer and Dunne
- (36:29) - Initial Rejection
- (38:54) - Credits
- (39:50) - Remakes, Etc.
- (42:21) - Awards
- (43:05) - The Music
- (43:53) - The Box Office
- (44:58) - Last Thoughts
- (45:46) - Coming Next Week • Of Mice and Men
- (47:48) - Letterboxd
- (50:05) - Wrap Up
“When you get inside my head, see if you can find any sense in it.”
Bette Davis Dealing with and Dying From Glioma
There’s a strength in storytelling that can exist in disease films because we’re following a person as they’re going through a very difficult period in their life that could very well end in death. That’s one of the elements that drew Bette Davis to the play “Dark Victory,” of which she had a hard time convincing Jack Warner that audiences would love it. He was wrong and she proved correctly, however, that a tragic story with your protagonist dying from the disease could draw in the audience. It clearly worked in this case as it lead to several Academy Award nominations including Best Picture. Join us – Pete Wright and Andy Nelson – as we kick off our 13th season of the podcast with a full year looking at various awards categories through the decades, starting right here in our series on the 1940 Academy Awards • Best Picture as we discuss Edmund Goulding’s 1939 film Dark Victory.
Here’s a hint at what we talk about.
At the heart of this film, it’s really Bette Davis and she fully delivers. She’s very much playing the headstrong socialite we’d see often in her films, though the difference here is right out of the gate, she’s diagnosed with glioma, a form of brain tumor. Through her performance, we see her go through many of the stages of grief as she first fights against the fact that she’s sick and finally comes to terms and accepts it. It’s quite a ride, and it works because of Davis.
She couldn’t get there without the script, however, and its structure allows this film to be about her battling the disease, not as a side element in the story. From the start, she’s suffering from her glioma. It plays in unexpected ways, and lets us take the journey with her. Of course the journey wouldn’t be complete without the rest of the players, and they deliver. Geraldine Fitzgerald, George Brent, Ronald Reagan. Only Humphrey Bogart seems out of place here.
It’s a strong entry into the big studio year of 1939 that saw a lot of successful films of all genres stand out, and this one deservedly was nominated for Best Picture. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film Sundries
Learn more about supporting The Next Reel Film Podcast through your own membership.
- Watch this on Apple or Amazon, or find other places at JustWatch
- Transcript
- Original Material
- Theatrical trailer
- Poster artwork
- Flickchart
-
Letterboxd
-
(00:00) - Welcome to The Next Reel • Dark Victory
- (01:32) - 1940 Academy Awards • Best Picture Nominees
- (03:00) - Initial Thoughts
- (04:10) - Bette Davis
- (09:35) - Judy and Dr. Steele
- (11:52) - Figuring Out the Disease
- (14:56) - Obligation to Inform... or Not
- (19:03) - Developing Relationships
- (20:51) - Structure
- (24:36) - Her Final Moments and the Decision
- (32:54) - Geraldine Fitzgerald as Anne
- (36:20) - Judy's Socialite World
- (38:00) - Horses and Bogey
- (41:06) - Ronald Reagan
- (42:30) - The Production
- (44:53) - Edmund Goulding
- (48:04) - Credits
- (48:59) - Remakes
- (50:41) - Awards
- (52:04) - The Box Office
- (53:10) - Last Thoughts
- (53:33) - Coming Next Week • Love Affair
- (54:29) - Letterboxd
- (55:25) - Wrap Up
See the list for our entire lineup for SEASON 13 on our Letterboxd page!
“We're living in a world that's blowing itself to hell as fast as everybody can arrange it.”
Talking About Terrence Malick’s 1998 film The Thin Red Line with our guest, cinematographer Ross Riege
While Terrence Malick’s war film came out five months after Steven Spielberg’s Saving Private Ryan, it couldn’t be more different. They’re both exceptional films, but Malick’s takes a more pensive, thoughtful, esoteric approach with his. At its basest level, the story follows a military unit on the Melanesian island of Guadalcanal as they work to take it from Japanese troops. While that story’s there, in Malick’s hands, the film is more about the balance between man and nature and how the war machine destroys men’s souls.
Not only is the way Malick crafts the story haunting, it’s also done in a way that fits perfectly with his themes and views. Cinematographer Ross Riege is a big fan, having first seen this and a number of other Malick films when prepping Redland, an early film he worked on, as well as his big break as cinematographer for The Kings of Summer. It’s fitting then that that film’s look was described as feeling Malickian.
We talk more with Riege about his career, starting with smaller films and moving up to films like Weird: The Al Yankovic Story and the TV series The Afterparty. We also get some impressions from him on the switch from film to digital, working with his crews, and more. It’s a fantastic conversation about a great movie with a great cinematographer.
Film Sundries
- Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.
- Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
- Ross on the web and on Instagram
- Watch this on Apple or Amazon, or find other places at JustWatch
- Script Options
- Theatrical trailer
- Poster artwork
- Flickchart
-
Letterboxd
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(00:00) - Welcome to Movies We Like • The Thin Red Line
- (01:10) - Meet Cinematographer Ross Riege
- (06:38) - Digital vs. Film
- (08:02) - Each Project's Look
- (10:00) - Reputation with His Keys
- (11:16) - Terrence Malick's The Thin Red Line
- (13:07) - Malick Voiceover
- (17:08) - Trusting Audience or Artistic Confidence
- (19:53) - Maintaining Artistic Integrity in a World of Commerce
- (22:51) - Capturing Pristine Nature Again and Again
- (25:36) - Overall Thoughts of the Movie
- (28:04) - John Toll and This Film's Look
- (32:25) - Property and the Soul
- (35:01) - Recognizing You're Capturing Greatness
- (37:13) - Actors and Their Director
- (40:48) - Malick's Vision
- (42:20) - Stepping Away
- (44:34) - The Post-Color Process
- (48:10) - Performances
- (50:26) - Documentary Feel
- (50:58) - Great Contemporary War Films
- (54:51) - Capturing the Malick Look
- (01:01:14) - Awards
- (01:03:02) - Box Office
- (01:03:40) - Wrapping Up
"Toto, I’ve a feeling we’re not in Kansas anymore!"
REBROADCAST
Still a Classic
Victor Fleming didn’t just direct two movies in 1939, he directed two of what many consider to be the greatest films made – Gone With the Wind and The Wizard of Oz. Where the former, though, has more problems to contend with in today’s society, what with its depiction of slavery and race in the South during the Civil War, the latter is nothing but pure cinematic joy. Seen by more people than any other movie, The Wizard of Oz has become infused in who we are. Quotes from the movie can pop up in everyday conversation without people even realizing they’re quoting it. The songs – particularly “Over the Rainbow” – have been burned into our brains at an early age. It truly is a shining example of what cinema can be. Join us – Pete Wright and Andy Nelson – as we continue our ‘films of 1939’ series with one of the great cinema achievements, Flemings’ The Wizard of Oz.
Here’s a Look Into Our Conversation
We talk about what makes this film so great and why it’s lasted so long, looking at everything from the story to the music to Judy Garland as Dorothy Gale. We discuss Fleming as the main director putting the film together, the 14 writers tasked with bringing this script to life, and L. Frank Baum, the author of the original Oz stories. We chat about the actors – Garland, Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan, Margaret Hamilton, Jerry Maren, the Singer Midgets and more (not to mention Terry the dog as Toto) – and look at what they all bring to the table here.
We chat about Buddy Gillespie’s special effects, Adrian’s costumes, Harold Rosson’s cinematography, Herbert Stothart’s music adaptation, Harold Arlen’s & Yip Harberg’s songs and Mervyn LeRoy’s & Arthur Freed’s producing, tying together all the elements they each were responsible for. And we comment on the popularity of the film, chat about it being a gay icon, and look at how it started at a loss but ended up making bank over the decades.
It’s one of the greats and certainly one we have a lot of passion about discussing. Check it out!
Film Sundries
- Find the Original Episode From Season Five Here
- Watch this film: iTunes • Amazon
- Screenplay
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- The Wonderful Wizard of Oz by L. Frank Baum
- Flickchart
- Imaginary Worlds Podcast — Why They Fight
- The Alphabetical Wizard of Oz
- The Dark Side of Oz
- The Slippers Documentary
-
Bert Lahr’s Lay’s Potato Chip Commercials (& here)
-
(00:00) - 1940 Academy Awards • Best Picture Intro
- (01:11) - Welcome to The Next Reel • The Wizard of Oz
- (01:40:43) - Wrap Up
"We’re the victims of a foul disease called social prejudice, my child."
REBROADCAST
Ford Delivers A Classic Western
When John Ford decided to helm Stagecoach in 1939, he hadn’t done a western since his days in the silent film era. Yet it was this film, along with his relationship with John Wayne, that would lead to him making arguably some of the greatest westerns in cinema. Yet with this film, it was really more of a chance to make a western that could be a bit more serious, not just another b-level shoot-em-up, while still making a movie that was pretty light and entertaining. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Ford’s Stagecoach.
Here’s a Hint at Our Conversation
We talk about John Ford as a director and what he was trying to do with this film, pointing out some Ford-isms along with debating his strength as a filmmaker. We chat about Dudley Nichols’ script adapted from Ernest Haycox’s short story, enjoying what he did with the nine principal characters in the film, even if there were some pacing issues throughout. We discuss the cinematography of Bert Glennon and the way he and Ford shot the action sequences. We chat about stuntman and stunt coordinator Yakima Canutt, marveling at the amazing stunts he performs in the film while also feeling pretty horrified at the methods he devised to get the horses to fall on camera. And we touch on the cast, touching on what each of them bring to their roles.
It’s a fun film, even if not one of our favorites, but still gives us a great movie to talk about. So check it out then tune in!
Film Sundries
- Listen to the Original Episode From Season Five Here
- Watch this film: iTunes • Amazon • Hulu
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- The Stage to Lordsburg by Ernest Haycox
- Flickchart
- Stagecoach Location Shooting Breakdown
-
Stagecoach & the Ned Scott Still Photographs
-
(00:00) - 1940 Academy Awards • Best Picture Intro
- (01:11) - Welcome to The Next Reel • Stagecoach
- (01:13:15) - Wrap Up
“I should hate to see our country endangered by my underwear."
REBROADCAST
Greta Garbo Smiles! And It’s a Delight!
Taking a completely different turn from last week’s Civil War epic, Ninotchka is a very light comedy by Ernst Lubitch dealing with Russians in their post-Revolution society. Join us — Pete Wright and Andy Nelson — as we continue our film about the great films of 1939 with Lubitch’s Ninotchka.
Here’s a Hint at What We Discuss
We talk about the wonderfully funny script by Charles Brackett, Billy Wilder and Walter Reisch based on the original story by Melchior Lengyel, and look at why the comedy works so well in a film like this. We chat about Greta Garbo as the titular character and how wonderful she is, and we look at the rest of the brilliant cast – Melvyn Douglas, Ina Claire, Bela Lugosi, Sig Ruman, Felis Bressart, Alexander Granach and others – as we discuss what they bring to the table. We also touch on Garbo and her retirement from the business. And we chat about Lubitsch and his “Lubitsch Touch” and what that means in context of this film.
It’s a fun film that’s very easy to watch. Check it out then tune in!
Film Sundries
- Find the Original Episode From Season Five Here
- Script
- Original theatrical trailer
- Original poster artwork
- Flickchart
-
The WETA Effect
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(00:00) - 1940 Academy Awards • Best Picture Intro
- (01:11) - Welcome to The Next Reel • Ninotchka
- (47:15) - Wrap Up
“The world is changing. Truth is vanishing.”
Ethan Hunt and Co. Are Back
For our July member bonus episode, we wrap up our conversation about Ethan Hunt and his impossible missions. For Christopher McQuarrie’s latest entry into the franchise, Ethan and his team are up against none other than a form of sentient AI they call The Entity. Join us – Pete Wright and Andy Nelson – as we close our chats in our Mission: Impossible series – at least until next year’s conclusion to this story – with McQuarrie’s 2023 film Mission: Impossible – Dead Reckoning Part One.
Here’s a hint at what we talk about.
It’s a great entry to the franchise, and we certainly spoil it. The characters are great, the action sequences are a thrill, the story works well. If anything, there are elements that feel clunky within some of the exposition, the camera work, the editing and the structure. Is this because McQuarrie shot two lengthy films back to back and might’ve been overwhelmed? Is it because he’s trying to create a unique look and feel for each of his films in this franchise? Is he trying to create tension with creative shots that just aren’t working? It’s hard to say, but we certainly noticed it.
The story largely focuses on a form of AI that grows some form of sentience that partners up with one of Hunt’s old adversaries then works to control the world. With the zeitgeist around AI right now, it’s quite fitting. We discuss the nature of this story today – and the fact that they were originally intending it to be released two full years ago – and why it works in context of this world. It feels like a perfect next step for the franchise.
We talk about elements brought in from previous films that we noticed as well, and walk through the action beats. There’s a lot to discuss. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film Sundries
Learn more about supporting The Next Reel Film Podcast through your own membership.
- Theatrical trailer
- Poster artwork
- Flickchart
- Letterboxd
This is a member bonus episode that we’re releasing to everyone so you can get a taste or the extra content our members get. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes like this that only members can access. You also get ad-free episodes, access to members-only Discord channels, and early releases for every episode. And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.
- (00:00) - Member: Why You Should Become a Member
- (02:14) - Welcome to The Next Reel • Mission: Impossible – Dead Reckoning Part One
- (03:30) - Dead Reckoning Meaning
- (04:44) - Initial Thoughts & Spoiler Warning
- (05:38) - Connective Tissue
- (07:57) - Ethan's Backstory
- (11:29) - AI
- (20:36) - Exposition, Script, Editing, Framing
- (29:49) - Cinematography
- (31:26) - Kittredge and Recurring Elements
- (37:30) - Hunt's Team
- (49:33) - Villains and Other Roadblock Characters
- (56:44) - One Last Grace Note
- (58:12) - Major Action Beats
- (01:13:53) - Inspirations
- (01:14:54) - Score and Bassett
- (01:16:12) - Credits
- (01:16:59) - Sequels
- (01:17:39) - Awards
- (01:18:14) - The Box Office
- (01:19:21) - Last Thoughts
- (01:19:36) - Coming Next Time • Dark Victory
- (01:22:42) - Letterboxd
- (01:24:00) - Wrap Up
“You’re not a Senator, you’re an honorary stooge."
REBROADCAST
Capra’s Film Stands As Strong As Ever
It’s rare to find a film from 75 years ago that feels relevant still in today’s world, but Frank Capra’s 1939 Mr. Smith Goes to Washington is one of those films. Corruption in the Senate? Check. Corporate interests secretly working their own machinations behind the scenes to get their political puppets to do their bidding? Check. Cynical office staff who are only interested in making a buck? Check. Sad to say that the only thing that doesn’t feel modern is that a politician like James Stewart’s titular character could actually exist. Or at least survive in today’s political world. Join us — Pete Wright and Andy Nelson — as we continue with our great films from 1939 series with Capra’s fantastic film Mr. Smith Goes to Washington.
Here’s What We Chat About
We talk about how much we love this film and why, highlighting everything aforementioned. We chat about Stewart and Jean Arthur as the perfect leads for this film, aided by the wonderful supporting cast including Edward Arnold, Harry Carey, Claude Rains, Thomas Mitchell and more. We discuss how the Washington, D.C. press and the real Senators received the film compared with the general public. And we discuss the people behind the cameras with Capra and what they bring to the table – Joseph Walker, Lionel Banks, Dimitri Tiomkin, Sidney Buchman, Lewis R. Foster and more.
It’s a top notch film that still speaks to its audiences, all while avoiding being cheesy while full of honesty. We love it. Make sure you watch this one and then tune in!
Film Sundries
- Find the Original Episode From Season Five Here
- Script Transcript
- Original theatrical trailer
- Original poster artwork
-
Flickchart
-
(00:00) - 1940 Academy Awards • Best Picture Intro
- (01:11) - Welcome to The Next Reel • Mr. Smith Goes to Washington
- (59:34) - Wrap Up
"Give a boy a sense of humor and a sense of proportion and he’ll stand up to anything."
REBROADCAST
Learning Lessons That Last a Lifetime With Mr. Chips
Robert Donat defied the odds and beat both Clark Gable and Jimmy Stewart for the Best Actor Oscar in the 1940 Academy Awards with his portrayal of Mr. Chips in Sam Wood’s Goodbye, Mr. Chips. It’s a movie that celebrates school heroes everyone had (or should’ve) and connects in its ability to reflect back on the nostalgia of one’s life. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Wood’s film.
Here’s What We Chat About
We talk about how we felt about the film and, despite any issues we had, still found it affecting. We chat about Robert Donat and Greer Garson, both of whom really give touching and honest performances. We touch on Wood as the director and what he brings to the table. We discuss the story and why stories about teachers can work so well, and why they work on us in particular. And we look at the magnificent work Jack Dawn did with the hair and makeup to bring Mr. Chips to life over the course of his 60+ years, from new hire to headmaster.
It’s a touching film that works to connect us with this character and reminds us what we love about the best ‘great teacher’ movies. Check it out!
Film Sundries
- Find the Original Episode Here
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Goodbye, Mr. Chips by James Hilton
- Flickchart
-
To You, Mr. Chips, the follow-up book by James Hilton
-
(00:00) - 1940 Academy Awards • Best Picture Intro
- (01:11) - Welcome to The Next Reel • Goodbye, Mr. Chips
- (01:02:42) - Wrap Up
See the list for our entire lineup for SEASON 13 on our Letterboxd page!
“Frankly, my dear, I don’t give a damn."
REBROADCAST
Finding Rhett and Scarlet Less Relevant
Considering the racially-charged climate of the US right now, it’s oddly perfect timing that we’re starting our 1939 series with Gone With The Wind, a film as technically brilliant to look at as it is hard to watch because of it’s portrayal of slavery and the ‘lost cause’ Southern view of the Civil War. It certainly gives us a lot to talk about in this episode! Join us — Pete Wright and Andy Nelson — as we dive into Victor Fleming’s Gone With The Wind.
Here’s What We Chat About
We talk at length about the position of the film in cinematic history and how that contrasts with what it’s portraying and how we feel about that, noting that perhaps this film is one that should be considered in the same camp as Song of the South. And we look at what problems we have with the story and why it makes us feel uncomfortable, even if the story itself can be enjoyed when taken out of historical context.
Focusing more on the film itself, we look at the actors – Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, Thomas Mitchell, Hattie McDaniel and more – how they got their parts and how well they work for us. We look at lots of bit players and talk about where they’ve since popped up. We talk about the context of 1939 and how the studio system worked. We talk about the three directors who contributed to this film – George Cukor, Victor Fleming and Sam Wood – as well as the producing kingpin who really is the one responsible for getting this film made the way he wanted: David O. Selznick. We chat about other key crew who helped bring this film to life, including Max Steiner, Yakima Canutt, William Cameron Menzies and Walter Plunkett.
And we marvel at how much money this film has taken in over its lifetime and deliberate over whether it should still be able to make money or if it should be locked away now due to its painful portrayal of the period. It’s a long film but a film well worth discussing because of these factors. Tune in!
Film Sundries
- Original Release of This Episode in Season 5
- Screenplay
- Original theatrical trailer
- Original poster artwork
- Gone With The Wind by Margaret Mitchell
- Flickchart
-
HuffPost Politics Blog: Yes, You’re a Racist — and a Traitor
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(00:00) - 1940 Academy Awards • Best Picture Intro
- (01:53) - Welcome to The Next Reel • Gone With the Wind
- (01:20:49) - Wrap Up
See the list for our entire lineup for SEASON 13 on our Letterboxd page!
“The IMF is like Halloween, a bunch of grown men in rubber masks playing trick-or-treat.”
Hunt Is Back, and He’s Better Than Ever... Really
It’s crazy that we’re at the sixth film in the franchise and it’s the best of the bunch. How does that happen? Likely, it’s because Cruise has been driving this franchise not just as star but also producer from the start, but it’s hard to dismiss the fact that writer/director Christopher McQuarrie returned. His sense of this story, these characters, and this world seems to fit hand to glove as much as Cruise does. Join us – Pete Wright and Andy Nelson – as we continue our Mission: Impossible series with McQuarrie’s 2018 film Mission: Impossible – Fallout.
Here’s a hint at what we talk about.
It’s like they take all the greatest moments from the previous five films and find ways to integrate reworked versions of them into this film. It’s fantastic. We walk through the various action beats in this film, starting with the over two-and-a-half minute single shot of Hunt and Walker doing a HALO jump into Paris. And it only gets better from there.
Hunt is dealing with Solomon Lane again, but we’re also adding John Lark into the mix. It’s a bit of a mystery as to who he is, but... not really. It’s hard to buy Lark, aka August Walker, as anything but villainous. Is it the way Henry Cavill plays him? Or is he just written that way? Regardless, he makes for a great villain and works exceptionally well in this franchise.
There’s also the return to Julia as a key part in Hunt’s life. It plays well, and clearly is an important point to Hunt learning to navigate his life when it comes to saving the world vs. saving those he loves. That plays not only into Julia’s story but also Ilsa, as clearly something is developing here with her in her return.
All in all, it’s a great film that shows insane stunt work by Cruise, a broken ankle, great characters, a thrilling and engaging story, and a mystery as to where it could go from here. We love it. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film Sundries
Learn more about supporting The Next Reel Film Podcast through your own membership.
- Watch this on Apple or Amazon, or find other places at JustWatch
- Script Options
- Theatrical trailer
- Poster artwork
- Flickchart
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Letterboxd
-
(00:00) - Welcome to The Next Reel • Mission: Impossible – Fallout
- (01:56) - Title and Leveling Up
- (05:59) - Realism and Receiving the Message
- (09:45) - Realism in the Franchise
- (12:13) - Halo Jump and the Oner
- (17:00) - Flying a Helicopter
- (22:46) - Cut Stunt Sequence
- (26:56) - Bathroom Fight
- (29:56) - Bringing Ilsa Back
- (33:31) - Some Great Shots and Camera Moves
- (38:33) - Car Chase
- (42:13) - Masks and Reveals
- (43:08) - Too Obvious?
- (48:04) - Steps Ahead
- (49:14) - Last Great Foot Chase
- (53:44) - Camp and Copters
- (55:20) - Bringing Julia Back In
- (59:11) - Henry and His Stunts
- (01:01:31) - Longest Shots in Franchise
- (01:03:18) - Strength in Capturing Stunts
- (01:05:45) - Cost of a Broken Ankle
- (01:06:37) - Lorne Balfe's Score
- (01:08:27) - A Few Quick Things
- (01:10:07) - Credits
- (01:10:54) - Awards
- (01:13:18) - The Box Office
- (01:14:14) - Last Thoughts
- (01:15:09) - Coming Next Month • Mission: Impossible – Dead Reckoning, Part One
- (01:17:22) - Letterboxd
- (01:19:28) - Wrap Up
See the list for our entire lineup for SEASON 13 on our Letterboxd page!
“We’re kind of formulating a plan B, although technically it’s a plan C.”
Everyone’s Gone Rogue in Rogue Nation
Christopher McQuarrie did some uncredited rewrites on Mission: Impossible – Ghost Protocol, though he’d worked with Tom Cruise a number of times in the past, having written and directed Jack Reacher then writing Edge of Tomorrow. Clearly, his strength as a storyteller, perhaps more than his friendship with Cruise, led Cruise to offer him the opportunity to help the fifth Mission: Impossible film. That opportunity to not only work on the script but also direct seemed to be the right formula Cruise (perhaps more the producer than the star) was looking for to bring the franchise into right zone he’d been looking for from the start. Join us – Pete Wright and Andy Nelson – as we continue our journey through our Mission: Impossible series with a conversation about McQuarrie’s 2015 film Mission: Impossible – Rogue Nation.
Here’s a hint at what we talk about.
Right out of the gate, we’re given an exciting action sequence, one which had been advertised relentlessly to draw audiences to the film to see Cruise hanging off the side of a plane. For real. It’s insane but makes for a great start to the movie. Plus, we get more comedy with the team and intrigue as the IMF gets shut down by the Senate, which puts Ethan on the run. It’s a thrill of a way to start the movie that shows we’re on the right track now.
The team is great, keeping Jeremy Renner, Simon Pegg, and the ever-consistent Ving Rhames from the last film. It’s our first full repeat, and it works well. We do have questions about the roles of each of the team members though. Are they given enough delineation between them? Is this, perhaps, why Jeremy Renner doesn’t return?
The big surprise is the addition of Rebecca Ferguson who proves herself Cruise’s equal and brings tremendous chemistry as a British spy working both with and against Hunt at seemingly every turn. She’s incredibly compelling and is stunning in that dress.
Of course the villain has to work for the team to be of any interest, and we’re fans of what Sean Harris is bringing as ex-MI6 operative Solomon Lane, the head of The Syndicate. He’s compelling, and the plot moves in exciting directions dictated by him. It’s a thrill of a film in a franchise that only gets better. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film Sundries
Learn more about supporting The Next Reel Film Podcast through your own membership.
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- Theatrical trailer
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Letterboxd
-
(00:00) - Welcome to The Next Reel • Mission: Impossible – Rogue Nation
- (02:11) - Initial Thoughts
- (04:06) - The Actor's Control
- (07:14) - Opening Sequence and Tone
- (09:28) - Ill-Defined Roles
- (14:35) - Alec Baldwin
- (17:27) - Jeremy Renner
- (24:22) - The Opera Sequence and Rebecca Ferguson
- (35:44) - Joe Kraemer Using Turandot
- (37:56) - Water Work
- (43:48) - Car Chase
- (49:16) - London and Resolution
- (55:01) - Tapping Into Chinese Market
- (58:19) - Credits
- (59:05) - Awards
- (01:01:42) - The Box Office
- (01:02:30) - Last Thoughts
- (01:04:22) - Coming Next Week • Mission: Impossible – Fallout
- (01:06:57) - Letterboxd
- (01:08:45) - Wrap Up
See the list for our entire lineup for SEASON 13 on our Letterboxd page!
“You actually said that out loud? ‘Mission accomplished?’”
Ethan Hunt Shifts Gears and Finds His Groove
Brad Bird’s on board the franchise, getting a chance to not only make his first live action film but also to do so in a major franchise with giant set pieces and mega-stars. Perhaps that’s what the franchise needed, after all of Cruise’s antics around the time the third film was released. There was even talk that this film might have been his last as the franchise lead, turning it over to Jeremy Renner from this point forward. But things worked out, perhaps because of Bird’s injection of fun and levity he brought, and the franchise shited to something that would only continue improving. Join us – Pete Wright and Andy Nelson – as we continue our M:I series with a conversation about Bird’s 2011 film Mission: Impossible – Ghost Protocol.
Here’s a hint at what we talk about.
This film is a blast from start to finish. We have a great team that feels cohesive both as a team in context of the film working to solve their mission as well as the actors who actually have chemistry and blend well. There’s a lot of play with the spy tech here as we get some incredible gadgets, but we also get to see what happens when our spies have to think outside the box when gadgets break or malfunction. The set pieces in this film all bring new and different energy to the franchise and the film, particularly the centerpiece of the film – Cruise scaling the side of the Burj Khalifa in Dubai. It’s insane and we’re here for all of it. We also have a villain that feels wonderfully villainous. Could we have used more of Michael Niqvist? Sure. But what we get works well for us. Even his threat to launch a nuke and start WWIII, while at the level of Bond villains, has a bit of a grounded feel to it.
We talk a bit about the end of Cruise/Wagner Productions, and also ponder why Bird hasn’t had a chance to make many more live action features. Regardless, it’s a great conversation about a film that certainly set a new high bar for this franchise. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film Sundries
- Learn more about supporting The Next Reel Film Podcast through your own membership.
- Watch this on Apple or Amazon, or find other places at JustWatch
- Script Options
- Theatrical trailer
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Letterboxd
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(00:00) - Welcome to The Next Reel • Mission: Impossible – Ghost Protocol
- (01:55) - Initial Thoughts and Brad Bird
- (06:05) - The Team
- (10:15) - Prison Sequence
- (12:51) - IMF Technology
- (16:47) - Disavowing Everybody
- (18:27) - Brandt's Backstory
- (20:40) - Kremlin Infiltration and Cobalt
- (23:55) - Villain and Motivations
- (29:06) - Kremlin Hallway
- (30:55) - Russian Police
- (33:16) - Recurring Character
- (34:51) - Dubai and Teamwork
- (40:16) - Building Stunts
- (43:53) - Sandstorm Car Chase
- (46:01) - BMW
- (47:15) - Mumbai and the Final Confrontation
- (52:49) - Political Connection?
- (54:19) - Credits
- (55:05) - Awards
- (57:45) - The Box Office
- (59:00) - Looks Great
- (59:43) - Brad Bird
- (01:03:08) - Coming Next Week • Mission: Impossible – Rogue Nation
- (01:05:36) - Letterboxd
- (01:07:26) - Wrap Up
“You don’t get anywhere in this world by waiting for what you want to come to you. You make it happen.”
Talking About Working Girl with our guest, writer/producer Rachel Lewis
Mike Nichols’ film has been in all of our lives for decades now, and there are reasons it stands out as a classic. It’s a Cinderella story dealing with the sexism in the 80s workplace, and how one woman proves she has the stuff to break out of the secretary role in which she’d been stuck. It’s full of laughs, but also full of heart. And lest we forget the magnificent big 80s hair. It’s a sight to behold.
Sure, the movie has some dated elements that don’t work quite as well, but that’s looking through today’s eyes. For its place in the late 80s, it works perfectly and delivers a solid film. Writer/producer Rachel Lewis is a big fan, and we have a great conversation with her about the movie. We chat through the cast and the themes. And then there’s Carly Simon’s fantastic and anthemic song that’s as inspiring as the movie is itself.
Rachel tells us about her career and how she got started in the world of improv comedy before moving to LA and working her way into pitch meetings. As a writer, WGA team captain, and lot coordinator for the current strike, she also breaks down some of the reasons for it and what the writers are collectively working toward.
It’s a fantastic conversation about a great movie and the importance of this current strike. Check it out!
Film Sundries
- Learn more about how you can support the WGA during their strike
- Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.
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- Rachel on the web, Instagram, Twitter, and IMDb
- Watch this on Apple or Amazon, or find other places at JustWatch
- Script Options
- Theatrical trailer
- “Let the River Run” by Carly Simon music video
- Poster artwork
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Letterboxd
-
(00:00) - Welcome to Movies We Like • Working Girl
- (02:20) - Rachel's Background
- (15:12) - Info About the WGA Strike
- (26:51) - Working Girl
- (29:40) - Some Elements of the Era
- (30:12) - Showdown
- (31:57) - Mergers and Acquisitions
- (33:31) - Relationship with Alec Baldwin's Character
- (34:40) - Getting Pidgeonholed
- (36:20) - Mistakenly Stepping Into Her Old Role
- (37:50) - Issues Then, Issues Now
- (40:12) - Cast
- (42:55) - Screenwriter Kevin Wade
- (44:10) - Mike Nichols and The Ending
- (46:08) - Let the River Run
- (48:46) - Remakes, Other Properties
- (52:29) - Strong Female Film with Signs It Was Made By a Man
- (53:59) - Wrap Up
“Humpty Dumpty sat on a wall.”
Ethan’s back, and he’s getting married!
It took some time to sort out the plans for this one’s script, and it wasn’t easy finding the director either. Tom Cruise and Paula Wagner did get there though, locking in TV showrunner JJ Abrams to co-write and helm the third in this franchise, making it his feature film debut. Join us – Pete Wright and Andy Nelson – as we continue our ‘Mission: Impossible’ series with a look at Abrams’ 2006 film Mission: Impossible III.
Here’s a hint at what we talk about.
The film starts with a gut punch, introducing us to the villain and setting up Ethan and his wife in a position as hostages. Philip Seymour Hoffman as Owen Davian, the villain, is perfect and the star of this film, but is it too early to start having issues? As someone much more in tune with co-writer/director JJ Abrams at the time, Pete was very much in the bag for being there with Abrams as he made the leap to the big screen. Andy didn’t have that connection so didn’t have as much of an interest in the film (or the franchise at this point after John Woo’s second entry). So does the opening work?
We talk about the vibe of the film and how, because of the romance between Ethan and Julia, it feels very different. Largely, it works and moves us past Woo’s mess of a film into something that feels better already. It’s just unfortunate that there are still so many issues. Perhaps the largest is that it never quite feels cinematic.
Regardless, it’s a fun entry into the franchise and gives us plenty to dig into. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Film Sundries
- Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
- Learn more about supporting The Next Reel Film Podcast through your own membership.
- Watch this on Apple or Amazon, or find other places at JustWatch
- Script Options
- Theatrical trailer
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Letterboxd
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(00:00) - Welcome to The Next Reel • Mission: Impossible III
- (00:59) - Initial Thoughts
- (02:45) - Our Histories With J.J. Abrams
- (05:20) - Tom Cruise Controversy
- (06:41) - Making It Feel Different
- (09:27) - The Cloverfield House Party
- (15:24) - Back Into the Field
- (18:05) - En Media Res Open
- (18:40) - Revealing Disappointment
- (21:21) - Twisty Plot
- (22:23) - Maguffin and Mystery Box
- (25:17) - Growing the Team
- (28:51) - Rescue Sequence
- (30:19) - Setting Up Brassell
- (34:35) - Vatican and Masks
- (38:01) - Catching Davian and the Plane
- (40:59) - Bridge Attack
- (44:22) - Retrieving the Rabbit's Foot
- (55:05) - Getting It Made
- (59:37) - Women in Peril
- (01:04:51) - Credits
- (01:05:50) - Awards
- (01:08:28) - The Box Office
- (01:09:20) - Last Thoughts
- (01:16:00) - Coming Next Week • Mission: Impossible – Ghost Protocol
- (01:18:28) - Letterboxd
- (01:20:18) - Wrap Up
“This whole operation was a mole hunt.”Tom Cruise Upgrades the TV Show with Mission: ImpossibleIt took Paramount a while to get the Mission: Impossible movie off the ground. They’d tried for years with the property, nearly getting a version made in the early 80s before it fell through because of an escalating budget. By the time Tom Cruise and Paula Wagner were ready to start their own producing work, the property was still floundering. Cruise, as a fan of the show, immediately recognized its strengths and thought it would be a great way to kick off Cruise/Wagner Productions. Join us – Pete Wright and Andy Nelson – as we kick off our last series of the season – the Mission: Impossible films – with De Palma’s 1996 film Mission: Impossible.
Here’s a hint at what we talk about.Pete has seen some of the original show but Andy never has. Does that play into how we approached this first film and our impressions? They certainly do change elements, after all. Jim Phelps is a traitor. It’s not so much a team story as it is an Ethan Hunt story. But it does feel like covert missions in this film, perhaps moreso than later in the franchise.
This is also the birthplace of Cruise as the action star always ready to do his own (often crazy) stunts. It’s not as large or over-the-top here, but it’s certainly still part of the story and who can forget him suspended on the cables dropping silently into CIA headquarters? That’s absolutely the centerpiece of this film and still is a thrill to watch. We also love the sequence with Hunt talking to Kittridge in the restaurant full of giant fish tanks, as well as the train sequence.
We struggle with some of the team elements, and definitely have issues with the flatness of that first team. Good thing they all get picked off! Some performances are better than others. Same goes for the effects of the day, but largely De Palma shows he knows how to use CGI and when, so it’s rarely a problem here. Speaking of De Palma, he’s bringing a lot of creative style to the story which feels key to the spy story being told. It’s a thrill to start this franchise with him really allowed to play.
All in, it’s a good start to this series. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.* Watch this on Apple, or find other places at JustWatch
* Script Options
* Theatrical trailer
* Poster artwork
* Flickchart
* Letterboxd
* (00:00) - Welcome to The Next Reel • Mission: Impossible
* (01:45) - Initial Thoughts
* (02:52) - Changes From the TV Show
* (06:48) - Destroying the Team to Rebuild It
* (08:01) - Luther
* (09:21) - Ethan and Claire and Jim
* (15:59) - Opening Mission Chat and the First Team
* (19:00) - The New Team
* (21:34) - Convoluted Story
* (26:52) - Spy Story vs. Action Thriller
* (30:12) - Finding the Modern Enemy
* (31:58) - Kittridge
* (37:48) - Brian De Palma
* (42:03) - Effects
* (44:58) - Producing, Stunts, and the Big Set PIece
* (47:59) - Rat Ex Machina
* (49:06) - The Train
* (51:49) - Recurring Faces
* (53:37) - Music
* (56:26) - Credits
* (57:13) - TV Show and Its Movies
* (58:47) - Awards
* (59:54) - The Box Office
* (01:01:02) - Last Thoughts
* (01:02:52) - Coming Next Week • Mission: Impossible 2
* (01:04:41) - Letterboxd
* (01:07:15) - Wrap Up
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“I have a competition in me. I want no one else to succeed. I hate most people.”Talking About Paul Thomas Anderson’s 2007 film There Will Be Blood with our guest, filmmaker Uwe BollThere are many films filmmaker Uwe Boll could’ve picked to discuss with us on the show, but the most recent film that’s affected him as much as some of his all-time favorites is Paul Thomas Anderson’s 2007 film There Will Be Blood.
Before we dig into the film, we talk a bit about Boll’s career. Sure, he’s made some cinematic video game adaptations that weren’t received well by critics, but he’s also made some films that satirize modern society, whether in a comedic vein like Postal or a more serious tone like his Rampage films. There’s a change in society as to how people react to their buttons being pushed. That’s certainly reflected in films of the time. Who knows – some of that may come from the rise of the streaming services. Regardless, it all makes for a fascinating discussion.
From there, we jump into Anderson’s film. Boll has had some fairly unlikeable protagonists in his films, so we use that as a starting point with Daniel Plainview, the greedy, hateful protagonist of this film. Why is he still likable in some capacity? The film explores greed, capitalism, religion, family, and more. Everything stands out with the film as exemplary, from the performances (Daniel Day-Lewis and Paul Dano are in top form) to Johnny Greenwood’s score to Robert Elswit’s cinematography. We look at the complex story and ponder that the film got made in the first place. A film that doesn’t have dialogue until nearly 15 minutes have passed? How did Anderson sneak it past the studio heads?
It’s a wonderful conversation with an insightful filmmaker. Tune in!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.* Uwe Boll RAW podcast
* Variety: ‘Uwe Boll Returns With New York City Crime Drama ‘First Shift’ (EXCLUSIVE)’
* Watch this on Apple or Amazon, or find other places at JustWatch
* Script Options
* Theatrical trailer
* Poster artwork
* Flickchart
* Letterboxd
* (00:00) - Welcome to Movies We Like • There Will Be Blood with Filmmaker Uwe Boll
* (02:28) - Meet Uwe Boll
* (13:16) - Dark Protagonists
* (19:34) - Depicting the Time
* (20:07) - Paul Dano
* (20:50) - Killing the Fake Brother
* (23:14) - Goosebumps
* (26:43) - Discomfort in Filmmaking
* (30:10) - Challenging Films
* (33:12) - Cinematography
* (34:16) - Why We Want to Make Movies
* (37:08) - Today's Challenging System
* (39:42) - PTA's Films and Frequency
* (41:00) - Nothing Is Automatic
* (45:44) - About America
* (46:34) - Movies For Grown Ups
* (50:14) - Awards
* (53:37) - First Shift
* (01:01:33) - Uwe's Podcast and Films
* (01:04:06) - Wrap Up
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“In the end, no place was truly safe.”Zombies Are On the March in Peninsula!It’s no surprise that the studio and filmmakers wanted to return to the Train to Busan well after its initial success. And crafting a sequel that’s less an immediate sequel but more of a story in the same universe taking place four years after the original sounded intriguing. But a bigger budget and expanded scope doesn’t always mean better. Join us – Pete Wright and Andy Nelson – as we wrap up our Train to Busan series with a conversation about Yeon Sang-ho’s 2020 film Peninsula.
Here’s a hint at what we talk about.The film starts with a great premise. We’re following two survivors, now living in Hong Kong four years after South Korea was taken over by zombies, as they’re recruited by criminals to return to the country and find a truck full of money. Once they get there, however, things start shifting in ways that bring the story down. The plot contains many elements that are there simply for convenience. Even their own zombie rules, established in the last film and (mostly) adhered to, seem to be used as needed. With all of that, it seems like things aren’t great but passable for a genre zombie film.
Unfortunately, it goes downhill from there. We’re introduced to some young daughters who drive like Dominic Toretto in sequences that are on par with video game action. We get the rogue militia catching survivors and running their own zombie survival games. The characters in the first film were archetypes, but largely felt human. Here, they feel like poorly written and performed video game characters.
We do have a few that stand out and pique our interest. Our protagonist, for one, is easy to enjoy and watch go through this story. The political leader of the militia makes for an interesting psychological study, along with his sidekick. Even the mom who survived the attacks and made it this far with her daughters and father makes for an interesting story.
Unfortunately, they’re all saddled with a sloppy story and weak effects that just makes the whole thing a struggle. Still, it’s awfully fun to talk about. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.* Watch this on Apple or Amazon, or find other places at JustWatch
* Script Options
* Theatrical trailer
* Poster artwork
* Flickchart
* Letterboxd
* (00:00) - Welcome to The Next Reel • Peninsula
* (01:11) - Good and Bad
* (07:07) - Its Place in the Timeline
* (09:27) - Heist Story
* (12:59) - Survivor Prejudice
* (14:38) - Issues Upon Arrival
* (26:01) - Removing Horror Elements
* (28:34) - Unit 631
* (36:05) - The Rescue
* (38:23) - Mad Max Chase
* (41:15) - Hero Resolution
* (44:02) - Major Jane
* (45:41) - Zombies and World Expansion
* (51:07) - Credits
* (51:56) - Remake
* (52:29) - Awards
* (54:12) - The Box Office
* (55:05) - Last Thoughts
* (56:50) - Coming Next Week • Mission: Impossible
* (59:07) - Letterboxd
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“You’re clearly an expert at leaving useless people behind.”The Zombie Hordes Are Headed Our Way!For his first live-action film, director Yeon Sang-ho decided to take on a horror film with confined locations, certainly something first time directors do when figuring the medium out. On the other hand, the film is a zombie movie with hundreds of zombiefied people, both on and off the high-speed train in the title. It’s fair to say he went big. Join us – Pete Wright and Andy Nelson – as we kick off our short series looking at the Train to Busan films, starting with Yeon’s 2016 film Train to Busan.
Here’s a hint at what we talk about.First off, we love zombie movies so this is an easy one to talk about, particularly because Yeon gets so much right. It’s a fun movie that sets things up quickly, then once the train ride starts and zombies appear, it never relents. The zombies themselves are well crafted and creepy in their movements. The film has some spectacular action set pieces as well.
On top of that, however, we get some great characters that keep us engaged. Sure, they are fairly archetypal, but they’re very likable. From our father-daughter pair at the heart of the story, to the husband and his pregnant wife, to the baseball player and his new cheerleader girlfriend, to the two older sisters, to the evil COO who can’t get past his own self-interest, each character delivers an essential part of the story.
There are some zombie rules developed in the world building that seem to be dropped or changed as the story needs them to be, but on the whole the movie’s an exciting thrill ride. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.* Watch this on Apple or Amazon, or find other places at JustWatch
* Movie Transcript
* Theatrical trailer
* Poster artwork
* Flickchart
* Letterboxd
* (00:00) - Welcome to The Next Reel • Train to Busan
* (01:08) - Seoul Station and the Franchise
* (03:56) - Zombies From Biotech
* (07:32) - Prologue
* (10:42) - Timeline
* (14:05) - Driving Moment
* (15:02) - Father and Daughter
* (19:11) - Other Characters
* (22:49) - Working in Archetypes
* (29:48) - When Family Turns
* (31:42) - The Zombies
* (33:50) - Struggles with Zombie Rules
* (39:43) - Lessons
* (42:29) - Zombie Mobs
* (45:30) - Director Yeon Sang-ho
* (47:00) - Credits
* (47:51) - Potential Remake
* (49:39) - Awards
* (50:58) - The Box Office
* (52:00) - Last Thoughts
* (52:15) - Coming Next Week • Peninsula
* (54:09) - Letterboxd
* (56:26) - Wrap Up
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“I told you he was tricksy. I told you he was false.”The Epic Journey ContinuesWith his three epic films of one epic book shot back to back, it’s amazing that Peter Jackson, Fran Walsh, and Philippa Boyens found a path through the stories to build a film that works as well as this one does. Sure, it has elements of many famous middle films in trilogies, but it still stands strong. Join us – Pete Wright and Andy Nelson – as we continue our journey through Middle Earth with a conversation about Jackson’s 2002 film The Lord of the Rings: The Two Towers.Here’s a hint at what we talk about.How well do the extended and new scenes work in this film? We quite like them. Our characters are split so we have a number of story threads to track. Do they all work? Lots of new characters. Gollum is often brought up as the biggest and most important addition to the film because of the process of motion capture with Andy Serkis to bring him to life. He’s astounding and certainly worth a discussion. Does the CGI still generally work? Jackson’s cinematic style comes through a few times. Does it always work? What about his epic battle sequence in Helm’s Deep? There’s plenty to talk about with these films and this franchise. And we talk again about the plight of the cave trolls. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.* Watch this on Apple or Amazon, or find other places at JustWatch * Script Options * Theatrical trailer * Poster artwork * Flickchart * Letterboxd * (00:00) - Welcome to The Next Reel • The Lord of the Rings: The Two Towers * (01:18) - Story Construction * (08:29) - Extended Edition * (15:04) - Cave Trolls * (16:33) - Frodo, Sam and Gollum * (19:58) - Aragorn, Gimli and Legolas * (21:33) - Gimli Effects and Jokes * (23:13) - Cinematic Tricks * (30:58) - Gray to White * (34:08) - Releasing Theoden * (37:15) - Isengard and Fangorn and Ents * (43:48) - Faramir * (47:53) - Helm's Deep * (57:21) - Jackson's Moments of Realization in Death * (59:07) - Saying the Title * (01:00:11) - Name Change Requests * (01:01:26) - Race and Gender * (01:06:10) - Gollum's Final Moment * (01:10:16) - Credits * (01:11:06) - Awards * (01:15:36) - The Box Office * (01:16:58) - Last Thoughts and Middle Story * (01:18:52) - Coming Next Week • The Lord of the Rings: The Return of the King * (01:21:47) - Letterboxd * (01:23:05) - Wrap Up
“Your mother can’t be with you anymore.”Talking About Bambi with our Guest Todd Alcott, ScreenwriterWhen released in 1942 during WWII, Walt Disney’s Bambi struggled to find its audience. It still did well enough for itself, but it wasn’t until its subsequent releases over the decades when Disney would bring its classics back to theatres where it really found its audience. Since that time, it’s often cited as one of the best animated films out there. Why does this simple film about a young deer learning about life in the forest work so well?
Screenwriter and graphic artist Todd Alcott joins us to talk about Bambi, one of his favorites. But as he says, even that didn’t happen over night. It took decades and multiple viewings to realize what the story was really about and why it clicked so suddenly. And for a film from 1942, there are elements within that make it feel somewhat subversive. It’s a story with little plot about a passive protagonist that doesn’t have any clearly established goal, after all. What screenwriting handbook said that was okay?
The film is about life, the mistakes we make, and how we try learning from them. It’s also a reminder that there’s no clear path for life. Just when things make sense, life changes the rules. It’s quite a lot to absorb from what seems like a simple little film. But that’s why we like it, and are thrilled that Todd brought it for us to talk about on Movies We Like.
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.* Todd’s site
* Todd on Facebook, Instagram, Twitter, and IMDbPro or IMDb
* Watch Bambi on Apple or Amazon, or find other places at JustWatch
* Original 1942 Theatrical trailer
* Poster artwork
* Letterboxd
* (00:00) - Welcome to Movies We Like • Bambi
* (00:22) - Meet Todd Alcott
* (12:53) - First Viewings of Bambi
* (19:06) - Flower
* (20:01) - Absentee Fathers
* (20:48) - Beats
* (22:02) - Gap After Mom Dies
* (22:26) - Mystery of Life
* (22:40) - What Does the Protagonist Want?
* (24:01) - Trying to Figure Life Out
* (26:18) - Always Changing, Always Learning
* (28:09) - Males
* (29:02) - Never Wavers in the Face of Ridicule
* (30:41) - Life Continues to Be Surprising
* (32:03) - Childhood in the 40s
* (33:03) - Fitting It Into the Natural World
* (34:22) - Characters Moving Through the World
* (36:07) - Timeless Quality Yet Impossible to Make Now?
* (42:38) - Capturing the Real World
* (43:23) - Dogs and Deer
* (45:27) - Twitterpated
* (47:19) - Sequels and Remakes
* (49:33) - Awards
* (52:05) - Budget and Box Office
* (53:18) - Liking 'Cute'
* (54:37) - Having Kids
* (56:12) - Finding Todd
“Do not be too eager to deal out death in judgment. Even the very wise cannot see all ends.”We Finally Talk About Peter Jackson’s Epic Fantasy TrilogyConsidering our immense love for this film and the original material, it’s a bit surprising that it’s taken us into our twelfth season to discuss The Lord of the Rings trilogy. Peter Jackson and his amazing team believed in this world and crafted a script, found a cast, built a crew, and gave it their all to deliver a series of films that perfectly told a cinematic version of J.R.R. Tolkien’s books while also creating a model for fantasy filmmaking as well as a model for massive scale film production. Join us – Pete Wright and Andy Nelson – as we kick off our Lord of the Rings series with a conversation about Jackson’s 2001 film The Lord of the Rings: The Fellowship of the Ring. Here’s a hint at what we talk about.It’s a challenge having a conversation about this trilogy as so much has already been said and documented about the production, etc. Still, it gives us a chance to discuss what Jackson brings to the table. How does his production style work in the film? We talk about the cast and many other options that are in the could-have-been version. We certainly prefer this one, but there are interesting actors to discuss. How do the extended and additional scenes work to expand the story for us? We love Howard Shore’s score so of course discuss it, but we are fans of what each department brings to the film as they’re all working on something they clearly were passionate about. There are some dated effects, but barely any and they don’t really bug us much. As for the creatures, they all stand out as impressive but we do have some questions about Jackson going all King Kong on us with the Cave Troll. And lest we forget the Sean Bean memes...We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film Sundries* Learn more about supporting The Next Reel Film Podcast through your own membership. * Watch this on Apple or Amazon, or find other places at JustWatch * Script Options * Theatrical trailer * Poster artwork * Flickchart * Letterboxd * (00:00) - Welcome to The Next Reel • The Lord of the Rings: The Fellowship of the Ring * (02:31) - Meme * (03:25) - Extended Edition * (10:43) - Ending * (13:22) - Fantasy Genre in 2001 * (19:01) - Making a Trilogy as One * (21:52) - Highlights of the Production * (24:39) - Aged Effects? * (27:31) - No Hobbit First? * (29:14) - Intro Setup * (30:02) - Cinematic Fake Outs * (35:55) - Comedy in Fantasy * (41:22) - Cave Troll King Kong? * (46:22) - Cast * (57:26) - Orcs, Uruk-Hai, Goblins, Black Riders, Etc. * (59:38) - Industry vs. Environment * (01:01:39) - Gollum * (01:04:14) - Jackson's Style * (01:09:58) - Howard Shore * (01:11:14) - Jackson's Work * (01:19:58) - Credits * (01:20:50) - Awards * (01:29:42) - The Box Office * (01:31:08) - Last Thoughts * (01:31:28) - Coming Next Week • The Lord of the Rings: The Two Towers * (01:33:22) - Letterboxd * (01:34:33) - Wrap Up
“Friendship means little when it’s convenient.”Wrapping Up the John Wick SagaBefore the pandemic, director Chad Stahelski and team had been planning to film John Wick: Chapter 4 and Chapter 5 back to back. After delays, they ended up dropping the fifth chapter, opting to wrap everything up in the fourth film. So how does Chapter 4 work to continue expanding this world of assassins while also wrapping up John’s story? Do more story threads get dropped? And how do they amp up the stunt sequences throughout the film? Join us – Pete Wright and Andy Nelson – as we wrap up our John Wick series with a conversation about Stahelski’s latest entry, now in theatres, John Wick: Chapter 4.
Here’s a hint at what we talk about.John’s back breaking the High Table’s rules, starting off right out of the gate in this film by killing The Elder. But why so little involvement by The Bowery King? His resolution at the end of Chapter 3 seemed to indicate that he was going to go after the High Table with John. Maybe that’s just another in the line of plot threads set up upon which they never execute. Or perhaps it was connected to the whittling down of two films into just this one. Who knows? Regardless, we would have loved more Laurence Fishburne.
That being said, we do get the introduction of many great characters in this new film. They’re great, and the actors portraying them are great. Plus, we have some spectacular action set pieces that are incredible. The staircase sequence is one for the ages, particularly the insane fall down its entire length.
We discuss some of Stahelski’s influences in the film, as well as several direct homages. And we discuss the impending spinoff film and TV show, while pondering if they’ll find a thread to pick up in order to continue the story again.
We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.* Find where to watch this at JustWatch
* Theatrical trailer
* Poster artwork
* Flickchart
* Letterboxd
* (00:00) - Welcome to The Next Reel • John Wick: Chapter 4
* (02:49) - RIP Lance Reddick... and Charon
* (08:01) - Bill Skarsgård as the Villain
* (15:40) - World Building
* (21:03) - Story Elements Dropped
* (24:53) - Signs of a Fifth?
* (32:57) - Killa
* (37:13) - Osaka Continental Fight
* (47:09) - Diorama Fight
* (51:09) - Roundabout Fight
* (54:23) - Fight on the Steps
* (56:37) - Homages and Influences and Comedy
* (01:03:42) - New Cast
* (01:07:37) - Change in Writers
* (01:09:37) - Credits
* (01:10:31) - Sequels and Spin-Offs
* (01:14:49) - Awards
* (01:15:04) - The Box Office
* (01:16:03) - Last Thoughts
* (01:16:37) - Coming Next Week • The Lord of the Rings: The Fellowship of the Ring
* (01:19:05) - Letterboxd
* (01:21:32) - Ranking the Films
* (01:22:05) - Wrap Up
“I will serve. I will be of service.”We’re On the Run With John Wick.Picking up right where Chapter 2 ended, John Wick: Chapter 3 – Parabellum gives us more of what came before – amazing fight sequences with serious stuntwork, beautiful cinematography, and expanded world-building. While it delivers on all fronts, some people found this one’s expanded universe to be a bit too much. But is it? Or does it work? Join us – Pete Wright and Andy Nelson – as we continue our journey through the John Wick series with our conversation about Chad Stahelski’s 2019 film John Wick: Chapter 3 – Parabellum.
Here’s a hint at what we talk about.First off, what’s with the addendum to the title? Did we need “Parabellum” added, even if it fits both in the Latin phrase mentioned as well as the aptly named parabellum Luger cartridge? Title issues aside, we dig into the world-building here and try to sort out how much world-building is too much, and at what point does it feel like the world-building is there just to get John out of and into particular situations.
That aside, we have a fantastic slew of new characters – The Director, The Elder, The Adjudicator, Sofia, Tick Tock Man, Ernest, and more – not to mention more with some of our favorites, particularly Lance Reddick who we sadly lost between our last recording and this one.
The stunt work and action choreography is top notch in this film, particularly the work with the dogs. It’s a fun, violent film and whether you feel it’s better than, worse than, or on par with what came before, it certainly fits in this world. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.* Watch this on Apple or Amazon, or find other places at JustWatch
* Script Options
* Theatrical trailer
* Poster artwork
* Flickchart
* Letterboxd
* (00:00) - Welcome to The Next Reel • John Wick: Chapter 3 – Parabellum
* (01:34) - Title Issues
* (04:35) - Rating and Announcements
* (05:17) - RIP Lance Reddick
* (07:09) - Initial Thoughts
* (08:29) - Rain Effects
* (09:31) - Picking Up Where We Left Off
* (10:53) - First Fight
* (12:50) - Setting Up All the Assassins
* (13:52) - Tick Tock Man
* (14:28) - So Many Fights
* (16:38) - Figuring Out the Story
* (20:06) - Variety in Fight Sequences
* (22:05) - The Director, The Adjudicator, Etc.
* (24:12) - Oaths vs. Rules
* (27:23) - The Adjudicator and the Bounty
* (32:50) - John in the Desert
* (35:21) - Casablanca
* (37:42) - Motorcycle Fight
* (41:34) - Another Homage
* (42:36) - Final Fight
* (47:19) - Last Confrontation
* (49:56) - Next Chapter
* (54:19) - Credits
* (55:06) - Awards
* (56:52) - The Box Office
* (58:09) - Coming Next Week • John Wick: Chapter 4
* (01:00:45) - Letterboxd
* (01:01:56) - Wrap Up
When we started our movie podcast, the original name was Movies We Like. Eventually, as we began talking about some movies we didn't like, we figured we should rebrand. Hence, The Next Reel Film Podcast was born. But we never could let go of the name Movies We Like. We just didn't have a place for it at the time. Then, as we were looking at rebranding this podcast as we worked to bring more guests from the industry to join us in talking about a movie they liked, we realized that this would be the perfect show to use the name Movies We Like! So here we are – a new era of the Speakeasy, now rebranded as Movies We Like. We're looking forward to the future conversations! * (00:00) - Welcome to The Speakeasy * (02:44) - Welcome Back to Movies We Like!
“Can a man like you know peace?”We’re Back With John as He Takes on the Italian MafiaJohn Wick: Chapter 2 starts mid-action sequence as John fights Viggo’s brother to get his car back. It sets up the action for this film, and sets up John’s motivations. He’s a man stuck in the past who clings to his relics. Once he has his car, he even goes so far as to try breaking the rules to stay out of the business. Unfortunately, he’s not allowed, which propels this film. There’s a lot more world-building in this film to set all of this up. How does it work? Join us – Pete Wright and Andy Nelson – as we continue our look at the John Wick series with a conversation about Chad Stahelski’s 2017 follow-up John Wick: Chapter 2.
Here’s a hint at what we talk about.This is an R-rated world of violence. What’s interesting is that, given the opportunity to include nudity as well, Stahelski opts to avoid it. That tells us a lot about the specific world-view we’re meant to take away from this movie. It’s one of violence, not sex, even if it’s full of sexy, well-dressed people who know how to fight.
To that end, the stunts and action are amped up and enjoyable. It helps that the film is so beautiful to look at, particularly that final fight sequence through the museum and hall of mirrors. We get a prolonged stunt sequence midway through the film as John leaves his assassination of Gianna then has to fight dozens of hitmen, not to mention Common and Ruby Rose, both playing bodyguards.
But how does this expanded world of hitmen work? Are they making a mess of it or does it work for us? And how about the new rules involving blood oaths? It’s actually quite interesting. If there’s an area we like but worry it may become too convoluted in later films, it’s the 12-member High Table with the various mob families, not to mention the Bowery and all the other various groups that seem to be involved in crime here. Regardless, it all makes for a fun film. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.* Watch this on Apple or Amazon, or find other places at JustWatch
* Script Options
* Theatrical trailer
* Poster artwork
* Flickchart
* Letterboxd
* (00:00) - Welcome to The Next Reel • John Wick: Chapter 2
* (02:00) - Initial Thoughts
* (04:48) - Rating and Announcements
* (05:09) - Nudity and R-Rating
* (11:20) - John Breaking the Rules
* (15:20) - The Open and the Car
* (19:16) - Car Hits and Taxi Cabs
* (19:55) - Blood Oath and Expositional Rules
* (21:21) - Assassin World vs. Online World
* (28:11) - Characters and Getting Ready
* (31:54) - Homeless Artifice
* (35:49) - Color
* (37:47) - Ares
* (41:52) - Continental and Breaking Rules
* (47:00) - Contract
* (49:57) - Great Lines and Action Sequences
* (56:10) - Credits
* (57:04) - Awards
* (59:48) - The Box Office
* (01:00:50) - Titles
* (01:02:49) - Coming Next Week • John Wick: Chapter 3 – Parabellum
* (01:05:05) - Letterboxd
* (01:07:16) - Wrap Up
“Now that I have found my peace, find yours.”
Time to Avenge the Dead Puppy with John WickIt took some time to get all the right players so the movie John Wick could move forward. Luckily, everything worked out and stunt coordinators Chad Stahelski and David Leitch got the opportunity to direct their first big film. Derek Kolstad’s script had all the right magic and Keanu Reeves reinvented himself yet again with a title that surprised everyone. Join us – Pete Wright and Andy Nelson as we kick off our John Wick series where it all started, Stahelski’s 2014 film John Wick.
Here’s a hint at what we talk about.Pete loves this movie. Andy enjoys it but it’s never excited him as much as other people. That’s a good starting place for the conversation. Why does it work so well for some and others don’t take to it as much? We also talk about the way this got made and how rare something like that happens where all the pieces fall in place just right. How would this have felt if a septuagenerian was playing the lead? We spend a bit of time digging into the stunt work and why it helps the story, but perhaps also leaves it feeling overly clinical through some eyes. The world-building is spectacular though!
There’s plenty to discuss with this and it’s exciting that its success spurred on an entire franchise. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.* Watch this on Apple or Amazon, or find other places at JustWatch
* Derek Kolstad’s original script SCORN
* Theatrical trailer
* Poster artwork
* Flickchart
* Letterboxd
* (00:00) - Welcome to The Next Reel • John Wick
* (01:43) - John Wick Series
* (03:15) - Rating and Announcements
* (03:36) - Initial Thoughts
* (07:03) - Getting It Made
* (12:07) - Wick's Age
* (16:36) - Baba Yaga
* (18:29) - Revenge Thrillers
* (24:25) - Antagonists
* (28:08) - Story Setup
* (31:21) - Marcus
* (36:54) - The Continental
* (38:26) - Weird Value of Coins
* (41:36) - World Building
* (42:32) - Stunts, Chad, and David
* (47:53) - Too Clinical
* (48:26) - Reeves' Learning Curve
* (49:16) - The Look
* (50:02) - Marvel Adjacent
* (52:53) - Kung Fu Panda Adjacent
* (54:26) - Credits
* (55:24) - Sequels, Etc.
* (55:40) - Awards
* (59:04) - The Box Office
* (01:00:03) - Co-Directing
* (01:00:39) - Last Thoughts
* (01:01:33) - Coming Next Week • John Wick: Chapter 2
* (01:03:12) - Letterboxd
* (01:05:44) - Wrap Up
Driller Killer’s Back! But He’s Different...It was inevitable with the successes of The Slumber Party Massacre and Slumber Party Massacre II that Roger Corman would want a third film made. Again, he chose to have a female writer and female director which is a nice change from the norm – particularly for the era. But why does this one feel separate from the first two? Join us – Pete Wright and Andy Nelson – as we conclude our Slumber Party Massacre series with a conversation about Sally Mattison’s 1990 film Slumber Party Massacre III.
Here’s a hint at what we talk about.This film drops any connection to the story and characters from the first two films. Why? Where do we then find connective tissue in this trilogy? Is it just because we have a killer with a drill? It seems thin. And the fact that we have characters named the same from the first film just isn’t enough. We miss the parody elements and feminist approach too. It feels like they decided to just make a straight-up slasher film. They even go so far as to give the killer what feels like tropey psychological damage from sexual abuse suffered as a child at the hands of his uncle. It could’ve been interesting, but they only add just enough to make it feel cliche. It’s fairly disappointing.
Regardless, it still gives us plenty to discuss. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.* Rent this from Scarecrow Video
* Theatrical trailer
* Poster artwork
* Flickchart
* Letterboxd
* (00:00) - Welcome to The Next Reel • Slumber Party Massacre III
* (01:22) - Hard to Track Down
* (02:36) - Initial Thoughts
* (04:20) - Rating and Announcements
* (04:48) - Story Setup
* (06:21) - Danger of Peeping Toms
* (09:13) - Fear of Being Watched
* (10:02) - Killer Mystery
* (12:50) - The Women
* (16:39) - Making the Third
* (17:35) - Writer
* (19:52) - Disconnected
* (24:53) - In Our Age Group
* (26:14) - Kills
* (34:04) - Reveal
* (37:10) - Uncle Thread
* (41:12) - Something Interesting
* (42:26) - Credits
* (43:20) - Sequels, Remakes, Etc.
* (45:04) - The Box Office
* (45:46) - Last Thoughts
* (46:05) - Coming Next Week • Trainspotting
* (47:59) - Letterboxd
* (49:32) - Wrap Up
“I didn’t know girls really did this stuff!”
All aboard for the rockabilly massacre dreamscape!
There’s a clearly logical path from The Slumber Party Massacre to its followup five years later, Slumber Party Massacre II. The sequel follows the young sister from the first movie, now in high school herself, as she’s still dealing with how being a witness to the murders in the first affected not only her mind but also that of her sister, now institutionalized. The filmmakers clearly didn’t want to just tell that story though. This film amps that story up with the teen sex comedy and slasher horror elements mixed with musical sequences and a version of the driller killer that may normally be relegated to spoofs. It didn’t seem to work for everyone, but for us, we had a great time. Join us – Pete Wright and Andy Nelson – as we continue our Slumber Party Massacre series with a conversation about Deborah Brock’s 1987 film Slumber Party Massacre II.
Here’s a hint at what we talk about.The film feels different right out of the gate. Instead of a killer stalking women around town, we have the killer – now armed with an insane blending of electric guitar and giant power drill – haunting our protagonist’s dreams. The filmmakers don’t give us a kill for nearly an hour, instead spending plenty of time up front with the characters. We get more teen sex romp comedy and we get more psychological breakdown elements as our protagonist works through her dreams and the visions coming from it. We have a great time talking about this film and breaking it down. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Learn more about supporting The Next Reel Film Podcast through your own membership.
Film Sundries* Watch this on Apple or Amazon, or find other places at JustWatch
* Theatrical trailer
* Poster artwork
* Flickchart
* Letterboxd
* (00:00) - Welcome to The Next Reel • Slumber Party Massacre II
* (01:58) - Initial Thoughts
* (03:55) - Rating
* (04:16) - Guitar Drill
* (05:13) - Same Driller Killer?
* (08:54) - Courtney's Version
* (10:27) - Crystal Bernard as Courtney
* (13:06) - Courtney's Story
* (15:28) - Who's Head?
* (17:52) - Cop Out?
* (23:11) - Dream/Reality
* (24:11) - Hard-to-Remember Characters
* (26:37) - Deborah Brock
* (31:07) - Style
* (35:02) - Comedy and Nudity
* (37:17) - Commentary
* (39:04) - Horror Nods
* (39:37) - Last Thoughts
* (40:07) - Credits
* (41:27) - The Box Office
* (42:17) - Last Thoughts
* (43:42) - Coming Next Week • Slumber Party Massacre III
* (44:51) - Letterboxd
* (46:18) - Wrap Up
We kick off our next series, looking at some 80s slashers directed by women! That’s right, it’s time to tackle the Slumber Party Massacre series. In today’s episode, we’re looking at the first film, Amy Holden Jones’ 1982 film ‘The Slumber Party Massacre.’ How do its origins as a parody lead to it perhaps punching a bit above its weight?
We wrap up our conversation about Anurag Kashyap’s 2012 epic mafia saga with a look at ‘Gangs of Wasseypur - Part 2’. It’s about fathers and sons, vengeance, brotherhood, the family business, and so much more. It’s a violent but engaging ride and allows for a great conversation. Tune in!
We head to the coal mines in India as we tackle the epic gangster saga Gangs of Wasseypur - Part 1. It’s over two-and-a-half hours and is quite a ride. Visceral filmmaking and a tale based on real events as we follow several families and groups vying to rule the area in this wild tale. We have a great time with it so check it out then tune in!“A dog always stays a dog.”
Tackling the Epic Indian Gangster Saga
When director Anurag Kashyap finished his film Gangs of Wasseypur, it was five hours and twenty minutes long. No one would distribute it, so he was forced to split it into two. The story details the coal mafia that ran India’s coal industry from the 40s through the 2000s, with many characters and three prominent groups vying to rule. It’s a wild ride and dark look at India’s history. Join us – Pete Wright and Andy Nelson – as we kick off our Gangs of Wasseypur series with Kashyap’s 2012 film Gangs of Wasseypur - Part 1.
Here’s a hint at what we talk about.There’s a lot going on in this film with many characters. How well did we track it all? We both rewatched the opening to make sure we knew who was who, and Wikipedia helped as well, but even with many characters over many decades, we both found the story engrossing and loved these characters.
We chat about the story and make sure we have a good understanding of the key points to it. We also dig into some of the cast and what they’re bringing to the table. Plus, we look at Kashyap and some of his influences with this film, as well as some discussion about a Stephen King adaptation of his.
All in all, it’s a wild and entertaining ride that doesn’t feel as long as it is. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.* Watch this on Apple or Amazon, or find other places at JustWatch
* Script Options
* Theatrical trailer
* Poster artwork
* Flickchart
* Letterboxd
* (00:00) - Welcome to The Next Reel • Gangs of Wasseypur – Part 1
* (00:50) - Initial Thoughts
* (03:51) - Rating
* (04:23) - Based on Real Events
* (07:14) - Story Setup
* (08:49) - Character Setup
* (09:58) - Songs
* (11:23) - Directing Connections
* (13:13) - Titles and Families
* (15:40) - Sardar
* (22:10) - Sardar's Family
* (25:48) - Brother Relations
* (27:49) - Friends vs. Business
* (28:52) - Setting Up Assassination
* (32:04) - Connecting Families
* (33:53) - Changing Hands
* (35:22) - Prologue
* (37:31) - Director
* (41:03) - Look and Tone
* (41:40) - Credits
* (42:25) - Awards
* (44:11) - The Box Office
* (45:45) - Last Thoughts
* (45:53) - Coming Next Week • Gangs of Wasseypur – Part 2
* (48:22) - Letterboxd
* (50:38) - Wrap Up
We wrap up our time with Nick and Nora Charles (and Asta! And Nick Jr!) as we dig into their last cinematic outing together, the 1947 film ‘Song of the Thin Man’ directed by Edward Buzzell. It’s a perfect way to wrap up our time with these characters as the story balances perfectly between crime and comedy. Tune in!
We continue our journey through the Thin Man series with Nick and Nora Charles (and Asta!) as we head to Sycamore Springs to visit Nick’s parents in ‘The Thin Man Goes Home.’ Different creatives behind it this time. How does it fare?
We’re back with Nick and Norah, this time at the tracks dealing with the murder of a jockey. Plus, Nick, Jr.’s older now. How’s Nick’s drinking? How are Nora’s nudges to be included in the investigations more? And how well does the murder mystery work? Tune in!
We continue our time with Nick and Nora Charles, this time with the 1939 film ‘Another Thin Man,’ the third in the Thin Man series. Now, they have a baby and they’re back in New York! What do we think of the story? The characters? The mystery? The comedy? The drinking? Tune in!
We return to the world of Nick and Norah Charles as we jump back into the ‘Thin Man’ series. We covered the first film as part of our ‘Black-and-White Cinematography of James Wong Howe’ series. Now, we’re finishing the series, starting with the 1936 film ‘After the Thin Man.’ It’s a pure delight. Tune in!
Join us for this special holiday crossover episode in which Andy joins Pete and Seth on another TruStory FM podcast – How to Split a Toaster: A Divorce Podcast About Saving Your Relationships. On this episode, they’re talking about co-parenting in the movies.
We wrap up our conversations about Bill Condon’s adaptation of the second half of Stephenie Meyer’s novel, tackling werewolves, vampires, vampire babies, Volturi, witnesses, Charlie, and more as we discuss the 2012 film ‘The Twilight Saga: Breaking Dawn – Part 2.’
We’ve been invited to Bella’s and Edward’s wedding, along with everyone in Forks it seems. That’s right, it’s time for Bill Condon’s adaptation of the first half of Stephenie Meyer’s final novel of her vampire/werewolf saga, The Twilight Saga: Breaking Dawn – Part 1. Is the camp back? What do we think of the wedding and honeymoon? What about the baby? The werewolf antagonistic subplot? Lots to unpack. Tune in!
We continue our debate about Team Edward or Team Jacob as we get mired in the love triangle vs. Riley & the Newborns. That’s right, we’re talking about David Slade’s 2010 film ‘The Twilight Saga: Eclipse.’ Is this the worst of the series? Tune in to find out!
“I guess the wolf’s out of the bag.” Bella’s plight continues – who will she choose? We’re here for it!Bella continues pining for Edward long after he’s moved away, but Jacob’s there for her. That’s right, we’re talking about vampires, werewolves, Volturi and more! Join us – Pete Wright and Andy Nelson – as we continue our journey through the Twilight series in our discussion about Chris Weitz’ 2009 film The Twilight Saga: New Moon.
Here’s a hint at what we talk about.
Kristen Stewart’s acting is tough, but is it her or Stephanie Meyer’s dialogue and romance novel elements? What about Robert Pattinson and Taylor Lautner? How about the Shakespearean elements? What do we think of the werewolves? And the effects? How is Weitz as the new director for the film? Do we like the romance? Or prefer the expanded lore? And how does Desplat do with the music? And the biggest question of all – are we on Team Jacob or Team Edward?
So much smoldering romance, blood, wolves, and fantastic Italian architecture! We’re here for it. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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We’re digging into the franchise that kicked off the most important debate so far of the 21st Century – are you on Team Edward or Team Jacob? That’s right, we’re looking at Catherine Hardwicke’s adaptation of Stephanie Meyer’s vamp-romance. Tune in to hear our conversation about the 2008 film ‘Twilight.’
“They're not cops anymore. They're in my world now.” Expanding the Universe with The Raid 2.We often talk about world building on our podcast. We also talk about leveling up and not simply remaking the first film when you make a second one. With The Raid 2, writer-director Gareth Evans proves he understands all of this. The world building expands in exciting ways, and the film levels up to take us outside of the building into the streets of Jakarta. Join us – Pete Wright and Andy Nelson – as we wrap up our series looking at The Raid films with Evans 2014 followup, The Raid 2.
Here’s a hint at what we talk about.
So much action. It’s a thrill ride from start to finish, and Evans proves he doesn’t need to keep it in an enclosed space like he did the first film. We get more with the corrupt cops, more with the gangs, more with Rama as he agrees to step away from his family to help take down the criminal elements in Jakarta. It’s big and it’s operatic in scope. Is the violence too much though? Or is it part of the opera?
How about the performances and the story? Too convoluted or does it all work? And why isn’t Evans doing more?
There’s a lot to discuss with this fantastic conclusion to Evans’ epic. We have a great time chatting about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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“Just because you see what I do as wrong doesn’t mean I can’t be good at it.” We’re heading in to take down the big bad in The Raid.
Gareth Huw Evans wasn’t making headway with his directing career in his home country of Wales, so moving to Indonesia to work in a project there at the suggestion of his wife – who happens to be from Indonesia – seemed like a good idea. It was there he learned more about the Pencak silat style of martial arts and where he met Iko Uwais. Uwais not only performs silat brilliantly, but also looks good and acts well on screen. That’s when they decided to make movies together. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at Evans Raid films starting with his 2011 film The Raid: Redemption.
Here’s a hint at what we talk about.
If the elements in this film feel like your typical action film, why does this film work so much better than those? Is it Evans’ direction? The performances by Uwais and the rest of the cast? The stunts? The camerawork? To a certain extent, this film feels very much like a video game. That sense of the levels and intensifying action throughout lends to this sensibility. For critics like Roger Ebert, it doesn’t work very well. For us, though, it’s easy to enjoy.
We talk about the nature of the story, the elements that make it stand up over other action fare, the stunts, the camera work, the performances, and more. It’s a thrill ride and we have a great time watching and discussing it. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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“Like sunlight, sunset, we appear, we disappear. We are so important to some, but we are just passing through.” Time to wrap things up with Jesse and CélineThe conclusion of our 18-year journey with the two principal characters in Richard Linklater’s Before Trilogy lands in division. When we started this series, we were divided because of the Gen-X nature of the characters. With the second film, we both found a much stronger connection to the romantic rekindling between Jesse and Céline. Here, we find ourselves split again, and it’s because this pair – now together with kids – has a big fight. But there’s more to the film. Join us – Pete Wright and Andy Nelson – as we tie things up in our Before Trilogy with a conversation about Linklater’s 2013 film Before Midnight.
A lot to argue about, a lot to agree about.
We both like how the film starts. We both like the conversation around the table as four couples talk about love, masculinity/femininity, and sex. It’s the nature of the marriage and Jesse’s and Céline’s conversations together – and arguments later – that lead to our splitting of the minds. Is it a natural conversation flow that leads to the fighting? Or is it crafted in a way that makes Céline seem crazier than she should and makes it feel like they haven’t talked in nine years? Does it all feel unnaturally “written” and not “real?” And did the conversation make sense to begin with?
There’s a lot of debate and arguing, and it makes for a fun conversation. Check out the trilogy then tune in! The Next Reel – when the movie ends, our conversation begins!
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“Why didn’t we just exchange phone numbers and stuff?”
Jesse and Céline are a bit more grown up in Before Sunset.The sequel wasn’t an immediate thought on the minds of the group behind 1995’s Before Sunrise, but certainly was something that writer/director Richard Linklater, co-writer Kim Krizan, and actors Ethan Hawke and Julie Delpy all felt strongly about. They’d all grown close to the characters in the film and wanted to see where the were down the line. Did they meet up in six months? What have they been doing in the intervening years? Turns out, audiences were curious as well. Join us – Pete Wright and Andy Nelson – as we continue our exploration of the Before Trilogy with Linklater’s 2004 film Before Sunset.
How do we feel about the film?
Turns out, the film works better for us than the first film (and Andy loved the first film!). There’s a sense of growth to Jesse and Céline that feels authentic. They’ve experienced life, made hard choices, fallen in and out of love, and find themselves in this point where they meet again. It works for us.
The conversations feel grounded, which we love. The city may not play as much a part of the story here, but it’s present in a way that works well that doesn’t feel like Paris has to be a third character.
The film has some brilliant moments throughout, but that ending... it certainly works in a charming way. But how does it work as a story told in real time? Is it?
It’s a delight of a film to watch and discuss. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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“If there’s any kind of magic in this world, it must be in the attempt of understanding someone, sharing something.” Looking at Richard Linklater’s Before Sunrise.
There’s often been a sense of the arthouse style of storytelling with Richard Linklater’s films. Even after big Hollywood success, he still returns to his roots. Early in his explorations of minimalist, conversational storytelling, he decided to write a semi-autobiographical story of two people meeting in Europe and talking for 12 or so hours, building a connection, until they have to part with the possibility of never seeing each other again. With co-writer Kim Krizan, along with uncredited help from his stars Ethan Hawke and Julie Delpy, he brought Before Sunrise to life. But is this another great My Dinner With André? Or is this too mired in Gen-X sensibilities that keep us from connecting with the characters? Join us – Pete Wright and Andy Nelson – as we kick off our exploration of Linklater’s Before Trilogy with his 1995 film Before Sunrise.
Here’s a hint at what we talk about.
How does Linkater work for us? Do we connect with his more artsy, indie films or prefer his studio films like School of Rock? Perhaps the bigger question is how much can we – former Gen-Xers – connect with these characters through today’s eyes? Do we feel like we’ve grown past this sort of conversational, stream-of-consciousness exploration they do or does it work for us?
To that end, how much do we enjoy Hawke and Delpy? And can we single out their performances outside of their own personas or, as uncredited co-writers of the film, does it seem they’re too intrinsically a part of these characters and vice versa to be able to pull out anything separate?
Regardless, there are elements we can both agree on that work incredibly well for us. Unfortunately, that means there’s a lot of disagreement about other elements.
We cover the gamut of those elements, debating the strengths and weaknesses of the film. It’s a great conversation about a unique film. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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“You’ve been a very naughty girl, Turnip-Top!”
The Bellas Are Back, But Should They Have Stayed Away?
Making a sequel that’s more successful than its predecessor often means the studio wants to keep the ball rolling to make even more money – even when a third film isn’t needed. With the massive success of Pitch Perfect 2, they jumped at the chance to get #3 off the ground. Does it wrap things up as a trilogy? Yes. Does it do something new and level up from the previous films? To a certain extent. But does it feel necessary to us? Not really. Join us – Pete Wright and Andy Nelson – as we conclude our conversation in our Pitch Perfect trilogy with Trish Sie’s 2017 film Pitch Perfect 3.
Here’s a hint at what we talk about.
It’s clear this movie – and the franchise, really – is not for us. That’s strange, because the first film certainly made it feel like it was. But it’s clear with each passing film that Executive Producer Elizabeth Banks preferred the goofy comedy direction for the franchise instead of the great a cappella focus. It’s frustrating, because the actors making up the Bellas clearly can sing, but the story doesn’t seem to want to be about that. It wants to be about wacky character turned up to 12.
So while we can appreciate the singing and the performances in this film, it’s hard to get past the story that just feels so written. Even with a new director – Trish Sie – at the helm, the film doesn’t work for us.
What’s funny is that, unlike the last film, this one feels like they were working harder to amp up the story and give it some new shifts that would level up the story from what we had previously. The second film didn’t do that, so that counts as a win here. Unfortunately, that ‘something new’ they’ve included is Fat Amy’s dad and their backstory, which just doesn’t work.
But hey – the movie works for some people, and it still allows for a great conversation. So tune in! The Next Reel – when the movie ends, our conversation begins!
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We return to Barden University to reunite with the Barden Bellas and their journey to compete at the a cappella World Finals. That’s right, we’re discussing the 2015 film PITCH PERFECT 2, directed by Elizabeth Banks, in this episode as we continue our series on the Pitch Perfect franchise. Tune in!
“You are such a dis-a-ca-ppointment.”
Back to Barden, the Bellas, the Treblemakers and more!
We’re back to talk a cappella! That’s right, we return to Barden University to rejoin the Barden Bellas as they struggle to find their new sound, deal with being shut out of the ICCAs, and decide to compete at the World Finals. Producer Elizabeth Banks takes on the director’s role here with Kay Cannon back as the writer, so why does it feel so... rehashed? Join us – Pete Wright and Andy Nelson – as we continue our Pitch Perfect series with Banks’ 2015 film Pitch Perfect 2.
We have a lot of issues with this film – but still a lot of love for its a cappella performances
In the world of sequels, this film doesn’t do much to make it feel necessary. It’s largely a repeat of the first film. We talk about that and some of our struggles with their lack of imagination in where they take the story. They also seemed to have decided to crank everything that worked more or less in the last film to 11 in this film. We find that largely leaves most of it feeling very over-written. Plus, they take the racial comedy to levels that just feels inappropriate. We struggle quite a bit with what all of that does to characters and the overall journey Beca and the Bellas go on.
But it’s still about a cappella, so there’s a lot to love. We just wish the songs were as memorable here as they were in the first film.
It’s a rough ride after the first film. If you enjoy it really depends on how much you enjoy the a cappella performances. We’re a bit split there, but it still allows for a great conversation. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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“Nothing makes a woman feel more like a girl than a man who sings like a boy.”
Time to warm up those vocals, Pitches.
With Pete’s history in collegiate a cappella, it’s a surprise that it took us this long to get to the Pitch Perfect trilogy, but we’re finally here. Join us – Pete Wright and Andy Nelson – as we kick off our new series with a discussion about Jason Moore’s 2012 film Pitch Perfect.
How well does Pitch Perfect perfectly capture the world of collegiate a cappella competition?
With Pete’s background in this arena, we have a lot to talk about here. We start by going into Pete’s history in the world of a cappella groups and ICCA competitions. We also talk about silly names of a cappella groups and the mashup style of performance. From there, we talk about this movie and how it gets so much right. The college life. The first few weeks of school with all the tables at the student center. The way students behave. Everything feels authentic.
Once we get to the a cappella groups, they feel authentic as well. It’s clear from the foundational book for Kay Cannon’s script and Moore’s own history that they knew what they were doing. But the actors all feel perfect for the film as well, and they all sing like pros.
It’s a fun film that’s easy to love, and a great start to this series. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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"Shot in the back by Buford Tannen, over a matter of eighty dollars? What kind of a future do you call that?”
We Follow Marty and Doc to the Old West in Back to the Future Part III
Back-to-back film production doesn’t occur often because it could potentially prove costly for the production company. With the success of Back to the Future, however, Universal saw it had an audience and likely could earn back the budget if they shot the second and third films back to back. So even though largely the two films are in completely different areas (and times) with widely different casts, Robert Zemeckis and his team set out to make both films in 1989. Back to the Future Part II released in 1989 as he was finishing up post on the third installment, which he finished to release six months later, and Universal more than made their money back. Join us – Pete Wright and Andy Nelson – as we wrap up our Back to the Future series with a look at Zemeckis’ 1990 film Back to the Future Part III.
How does it work after the problematic second film?
Largely, we both enjoyed this one much more than the second film but not as much as the first. If there’s one thing that makes itself quite apparent, it’s Zemeckis’ and his co-writer Bob Gale’s struggle with time travel logic and exposition across the second and third films. This one largely stays in the same setting through the bulk of the film, so at least it’s not bouncing across five distinct settings like the second film was, and this film focuses on the love story between Doc Brown and Clara, the new school teacher. We love that part of the film.
But it still raises a lot of questions. Why do relatives in the McFly and Tannen families always look like Michael J. Fox and Thomas F. Wilson, respectively? It feels like it’s just there for them to play with the motion control cameras and to be riding the edge of film technology. It’s fun and it fits in a certain comic book tone the films have, but it also doesn’t line up with rules established in the first film.
This film also really highlights that Zemeckis and Gale didn’t know what to do with the female characters. Jennifer’s been largely abandoned. Lea Thompson plays Marty’s great-great grandmother now (is there another great- in there?) but doesn’t get to do much. And Mary Steenburgen – who shines as Clara – also feels a bit underwritten.
Still, it’s a story about Marty and Doc and to that end, it works and we have fun with it. Plus, the effects are great and the stuntwork is top notch.
It’s definitely a film worth revisiting as it’s a ton of fun, but like the second also ends up feeling like something that doesn’t have to be revisited again. Perhaps we’ll just stick with the first one. Regardless, it gives us a ton to discuss, so check it out again then tune in. The Next Reel – when the movie ends, our conversation begins!
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“What’s wrong, McFly? Chicken?”
Joining Marty and Doc Again in Back to the Future Part II
The sequels weren’t part of the plan when Robert Zemeckis and team made the first Back to the Future film. With its success, however, it was inevitable for Universal to want to return to the property and build a franchise. so Zemeckis and his co-writer/co-producer Bob Gale decided to make not just one sequel but two and film them back to back. Hence, this trilogy. Join us – Pete Wright and Andy Nelson – as we continue our look at the Back to the Future trilogy with the 1989 film Back to the Future Part II.
Here’s a hint at what we talk about.
Right out of the gate, things feel different. They had to re-create the end of the first film with Elisabeth Shue playing Jennifer because Claudia Wells had to drop out. But why does the whole thing feel off? Like... more staged, perhaps? Crispin Glover also didn’t return, and that’s a BIG story. Aside from casting issues, we talk about the script and the ambitions to cover four distinctly different periods in the film. Some of that led to things that worked. Some didn’t.
We like the stuff that worked. The interesting use of the motion control camera technology to put the same actors fluidly into the same shot with themselves. And the complex story is fairly interesting.
But we do have to deal with the over-the-top cartoonish characters, particularly in the future. And the whole ‘chicken’ thing. Not to mention the horrible way Jennifer’s treated. And the way time travel kinda breaks in the film.
There are plenty of issues, the biggest of which may be that it all just feels written. But still, it’s a fun watch. So why do we like it still?
We have a wide-ranging conversation and it’s a great film to discuss so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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"Last night, Darth Vader came down from planet Vulcan and told me that if I didn't take Lorraine out, that he'd melt my brain."
We Go Back to BACK TO THE FUTURE
From the time we first saw this film, it’s safe to say that it’s been one of our favorites. It was popular at the time and has become a cornerstone in cinematic time traveling movies. Join us – Pete Wright and Andy Nelson - as we kick off our Back to the Future trilogy series with Robert Zemeckis’ 1985 classic Back to the Future.
What more can be said about Back to the Future?
The ground has been covered with talk about Zemeckis’ fantastic film Back to the Future, but there’s still plenty to discuss with the film. Where does it stand in the realm of time travel movies? Do we buy into the setup with the DeLorean time travel machine? How about the world building? What does the opening of the film say about the characters, the world, and how Zemeckis constructs a film?
We talk about the actors – Michael J. Fox, Christopher Lloyd, Crispin Glover, Lea Thompson, Tom Wilson, Claudia Wells, and more – and what they each bring to their characters. We also talk about the staying power of the cast and how effective they are not just in the film but over the decades. And there’s the story about Eric Stoltz. We dig into that a bit, and how that affected the casting of Wells.
How do the effects from Industrial Light and Magic hold up? Is that a sticking point for us? And why didn’t Alan Silvestri’s score get more recognition at the time? Huey Lewis and the News sure did!
It’s a fantastic film and a thrill to finally talk about it on the show. Check out the movie then tune in. The Next Reel – when the movie ends, our conversation begins.
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We wrap up our Paddington series with a conversation about the absolutely delightful sequel to the first film, Paul King’s 2017 film ‘Paddington 2.’ Is Hugh Grant right in saying this may be his best film? What do the critics have to say? And how well does it work for us? Tune in!
We voyage from darkest Peru to London with one of our favorite bears, Paddington. In this episode, we kick off our exploration of the ‘Paddington’ films with Paul King’s 2014 ‘Paddington.’ It’s a sheer delight and yes, we brought our marmalade sandwiches.
We wrap up our look at the Original Star Wars trilogy with Richard Marquand’s 1983 film ‘Return of the Jedi.’ Again, we look at the Harmy’s Despecialized edition, but we did some side-by-side comparisons between it and the latest iteration on Disney+. How do the changes stack up? How does the film hold up for us? And how about those Ewoks? Tune in!
We continue our look at the despecialized editions of the original Star Wars trilogy. In today’s episode, we’re talking about Irvin Kershner’s 1980 film ‘The Empire Strikes Back.’ It’s hard to find issues with the film but there’s still plenty to discuss. Tune in!
Award-winning cinematographer Tami Reiker joins us in the Speakeasy today to talk about one of her favorite films, John Cassavetes’ 1974 film ‘A Woman Under the Influence’, as well as the new Apple TV+ show she worked on called ‘Surface.’
Star Wars – The Start of Something Big For our twelfth season, we’re looking at franchises and series of films that for one reason or another, we just haven’t gotten around to yet. To start things off, we look at the original Star Wars trilogy. Join us – Pete Wright and Andy Nelson – as we start this series with George Lucas’ 1977 classic Star Wars.
What hasn’t been said by this point about Star Wars? It’s a big question – what do we talk about in a film that seemingly everyone’s already talked about? For starters, we chat about our first experiences with this film and how it shaped our youths. We also discuss the Harmy Despecialized edition, as those are the versions we’re looking at for this series. What changes has Lucas made to the film over the decades, why, and do they change our approach to the film?
There have also been spinoffs of so many types over the years. How does this film change with projects like Rogue One: A Star Wars Story and Obi-Wan Kenobi? Does it make certain lines of dialogue in this film not work as well? Or are we able to look past that? And how do we define what’s canon?
The cast is iconic by this point. Mark Hamill, Carrie Fisher, Harrison Ford, Sir Alec Guinness, Peter Cushing, Anthony Daniels, Kenny Baker, Peter Mayhew, David Prowse, James Earl Jones. They all are as much a part of this film and this franchise as it’s a part of them. That holds true for the technical teams as well. Effects, sounds, costume, production design, score – it’s all a core piece of what this film is. And of course it all comes back to George Lucas and this journey he created based on the Hero’s Journey.
We have a wide-ranging conversation about the film but it warrants it, so revisit this great film then tune in for a great episode. The Next Reel – when the movie ends, our conversation begins!
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Waiter, there’s a fly in my soup... We’ve been running the show for over a decade now and want to keep going. One of the things we’re doing to keep the lights on is the addition of dynamic advertising during the episodes, both past episodes and moving forward. If you’d like to keep listening but don’t want to hear the ads, you can still support the show by becoming a member.
Members get early access to all new episodes. They get our monthly member bonus episodes. Members get our Flickchart Re-Ranking episodes. And members get our Retake episodes. Plus, members have access to special members-only channels in our Discord community where they can chat with other like-minded film fans as well as vote on upcoming member bonus episodes. It’s a great way to support the show. And, of course, members get their own podcast feed where they can listen to episodes ad-free.
Learn more about membership here. Either way, your support means the world to us and keeps us going. Thanks for all the years of listening and being a part of our community! The Next Reel – when the movie ends, our conversation begins.
Tamra Davis came on as director for Billy Madison after they’d already been filming for a few days of production as the studio felt the original director wasn’t funny enough. Davis had already met with Sandler and they connected. Plus, it helped that she found him funny. Because of this, she ended up in the director’s seat, taking over the project and delivering a film that, like it or not, has given Sandler a solid home in mid-budget comedy production. Join us – Pete Wright and Andy Nelson – as we wrap up our 90s Comedies series and our 11th season with Davis’ 1995 comedy Billy Madison.
Adam Sandler – Love Him or Hate Him This is a tough film for us to review. Neither of us are fans of Sandler’s juvenile comedy, so we really struggled to review this in a way that appeals to his fans. What we did try to do, though, is to maintain a critical eye without being overly judgmental, knowing that we’re just not the audience for this movie.
It’s a tough place for us, as we both certainly love crass and dumb comedies. We’re both big fans of Dumb and Dumber. So why is this film so much more difficult to like?
There’s a certain element that definitely falls on Sandler’s shoulders. His dumb title character just makes little sense to us. In context of the film’s world, why does he want to run his dad’s company? Is it just to keep Eric from it? Even Billy seems to acknowledge he doesn’t know how to do it. With that, the story ends up feeling like a lot more sketches that don’t tie together cohesively than anything else. That’s a big frustration for us.
We’re also not huge fans of how some of the characters are treated or portrayed. Miss Vaughn isn’t treated well and is written to fall for Billy far too quickly. And what are Sandler and co-writer Tim Herlihy saying about their other female characters, not to mention the gay school principal?
There are funny moments, but rarely do they fall to Billy. For a film about Billy, this makes it very hard for us. Regardless, we do work to not completely bag on this movie but to approach it with some serious thought. Many love it, and for that, we’re happy they have this, Sandler’s comedy, and his film productions. So check it out if you want. Either way, it’s a great conversation. Tune in to check it out. The Next Reel – when the movie ends, our conversation begins!
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And check out our lineup for Season 12 right here which looks at franchises and series. The first episode drops July 28th for members, August 4th for everyone else!
With an Oscar nomination under her belt for a short film and connections to many in Hollywood, Stacy Title was in a great position to make her first feature. She and screenwriter Dan Rosen made a black comedy that tackled liberals and conservatives along with bombastic one-way thinking with their collaboration The Last Supper. Join us – Pete Wright and Andy Nelson – as we continue our 90s Comedies series with Title’s 1995 film The Last Supper.
More Than Biblical References The title clearly connects the film to Biblical stories, so does that make this film more of a parable? Crafting a black comedy can be very challenging as often, we’re left with few people to root for. That’s certainly the case here as everyone ends up fairly despicable, even if they find a form of salvation in the end. So with all of that, how well does Title bring this film to fruition?
And what about the actors? We have Cameron Diaz, Ron Eldard, Annabeth Gish, Courtney B. Vance, and Jonathan Penner as our five liberal grad students who set the story’s deadly dinners into motion. Their guests include Bill Paxton, Charles Durning, Mark Harmon, Jason Alexander, and Ron Perlman. The actors are all bringing their own thing to the parts, but are they given enough to work with? Or perhaps as a parable, the script is giving them – and by extension us – enough to work with so we can watch the story unfold and deliver its message.
To the point of the message, is it as effective as we’d like? Does the ‘if you could travel back in time, would you kill young Hitler before he could do anything’ question posed several times throughout the film deliver the point of the film? How about that last dinner with Ron Perlman’s Rush Limbaugh-esque character?
And what about the story thread with Nora Dunn’s sheriff as she tries to find a missing girl? What’s that doing for the story? Is it as effective as we want it to be? Could it have been used for better effect?
Stacy Title’s Battle with ALS Unfortunately, Stacy Title was diagnosed with ALS in 2017, and it took her from this life in 2021. She never had as robust a film career as she likely deserved, though she still managed to make some interesting projects. We chat a bit about her and the struggles she had. We also touch on the commitment her husband Penner had in supporting her through this difficult time.
Wrapping up All in all, it’s an interesting film that generates some interesting conversations. Did it work better in 1995 than it does today? Or perhaps does it feel more relevant today than it did then? Would it work as a play now if updated? Or would that fall as flat as the film does for some modern eyes? There’s a lot to talk about here and we have a great time digging into it. So check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Amy Heckerling started a project about a positive high school student for TV. She wrote several iterations before it stalled out, but when she switched agents, her new agent said it was too good for TV. So she switched it to be a feature film. And with that the foundation for Clueless was born. Join us – Pete Wright and Andy Nelson – as we continue our 90s Comedies series with Heckerling’s 1995 film Clueless.
Here are some clues about what we talk about in our Clueless episode. The foundation for Clueless may be Heckerling’s TV project, but it didn’t take long for her to realize she had been pulling in elements from Jane Austen’s “Emma.” Locking that in and focusing on the Beverly Hills high school set, Heckerling found the story. And it’s a delight.
Alicia Silverstone is the key for this film. She’s perfect as Cher, delivering a performance that’s authentic and kind, even while being a rich shopaholic. The rest of the cast fleshes out the film. Stacey Dash, Paul Rudd, Brittany Murphy – everyone feels perfect for the roles they play.
And that holds true for the adults too. Dan Hedaya as Cher’s dad? What a loveable grump.
But the movie’s more than the cast. Heckerling’s script, which intrinsically different from Fast Times at Ridgemont High because of the RomCom nature of this story, still captures the teens of the mid-90s in action and speech. Mona May’s costumes both captured the time and ended up influencing fashion for years to come. And the production design and cinematography together bring the colors and vibes to the forefront to create a hyper-realistic world.
It’s a delight of a film. It’s not perfect, but is an easy watch and an easy one to fall in love with. Check it out then tune in to this week’s episode on your podcatcher of choice. The Next Reel – when the movie ends, our conversation begins!
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Fran Rubel Kuzui seems like an odd choice to end up helming a vampire comedy. Her only other film was Tokyo Pop, a drama about a young American woman trying to make it in Tokyo. But she and her husband, producer Kaz Kuzui, had found the script for Buffy the Vampire Slayer written by a then unknown writer named Joss Whedon, put the financing together with Dolly Parton’s production company, and got it made. Apparently, it was off-the-wall enough that the studio didn’t request a known commodity for the director’s chair. So Rubel Kuzui directed it, and made what feels like a bit of a mess. Join us – Pete Wright and Andy Nelson – as we kick off the last series in our 11th season – 90s Comedies. For this first episode of the series, we’re looking at Rubel Kuzui’s 1992 film Buffy the Vampire Slayer.
We need to talk about Joss. Unfortunately, Joss Whedon (or Tig Notaro as we like to call him) is a key part of this property, and we have to discuss a bit about who he is and why he’s a problem. But a lot of other people worked on this film as well as the spinoff shows that it’s still valuable to talk about these properties. We do, though, have to acknowledge him. And we definitely complain about signs of his issues as they come out in his writing and treatment of the protagonist.
The Film Vs. the TV Series The TV series obviously was huge and had its own spinoff, comics, video games, etc. The Buffyverse is massive and still popular. So how does this film feel as the origin of all of that? That’s a tough place to start because, well, this film’s a mess. The film never can settle on a tone so ends up feeling disjointed and rushed. The world-building, while it has a strong foundation, doesn’t get enough focus so far too many elements feel disconnected and nonsensical.
The actors deliver fine performances for the most part. The challenge is that so many of the characters feel underwritten. Is that on Notaro? On rewrites dictated by the studio? Improv done on set at the behest of Rubel Kuzui? It’s hard to say, but it makes it feel like some of the actors are giving fairly flat performances. Only Paul Reubens really shines in his role, as he seemed to figure out what was going on. That leaves Kristy Swanson, Donald Sutherland, Rutger Hauer, Luke Perry, David Arquette, Hilary Swank, and many others flailing.
In the end, this ends up disappointing us. We had remembered enjoying it back in the day. But now, it just doesn’t stand up well on its own and, for any fans of the show, feels like a rough first draft. But it does allow for a fantastic conversation, so check it out if you’d like then tune in. The Next Reel – when the movie ends, our conversation begins!
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It’s clear from our two films in our current series that Susanne Bier enjoys films with complex characters dealing with complex situations. Open Hearts had two families whose lives are upturned after a car accident affects both of them. In After the Wedding, it’s a revealing toast at the wedding that turns lives upside down and forces several people to reevaluate their connections to each other. Join us – Pete Wright and Andy Nelson – as we wrap up our Mads & Susanne series with her 2006 film After the Wedding.
We have a lot of thoughts about After the Wedding. This is a film dealing in a mess of a situation but somehow avoids melodramatic, false emotions. Crafting a story like that isn’t easy, but Bier manages it and delivers a powerful film here. The performances of Mads Mikkelsen, Sidse Babett Knudsen, Rolf Lassgård, and Stine Fischer Christensen are spot-on perfect, but it’s the script and direction that keeps the story believable.
And that’s with a story that has several large reveals that in any other film would be signs of it being over-the-top. But not here. Bier allows the characters to learn the information then react to it as people would. It’s powerful how effective it is. It feels as if Bier learned a lot about connecting to her characters with her work in the Dogme 95 style, and even though she’s not operating under their rules here, it still shows she understands the core principals of being honest.
There’s a lot to be discussed about how wealth affects and shapes Jorgen’s thinking, not to mention how he treats his family. There are also elements of altruism reflected throughout. How does that come up with the characters and their intentions?
It’s a powerful film and one we’re glad to cover on the show. So check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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The Dogme 95 movement started in 1995 with the first two films made under its manifesto released in 1998. By the time Susanne Bier made her film Elsker dig for evigt – or Open Hearts as it was released in English – it was the 28th film certified as a Dogme 95 film. Join us – Pete Wright and Andy Nelson – as we look a Bier’s 2002 film Open Hearts.
What does Dogme 95 bring to Open Hearts? Because Dogme 95 is a key component of this film, how it looks, and its production – and because it’s the first Dogme 95 film we’ve discussed on the show – we spend a bit of time looking at its foundation, its rules, and how this fits – including what rules Bier broke during production.
There’s a lot of heightened emotion throughout this film due to the nature of the story. We disagree a bit about the strength of the story. Is it just a soap opera about infidelity? Or does the inciting incident of the car accident connecting these two couples together make it something more? And does the fact that the story seems intent on having all of these characters do things we don’t like make them unlikeable, or does it make them more realistic? Either way, it’s a story dealing with a lot of complicated emotions that make for a great conversation.
Regardless of what we think of the story and its melodramatic nature, the performances are great. Mads Mikkelsen always excels, and he’s fantastic here. He and Bier clearly know how to tap into some heavy emotions in their working relationships. Paprika Steen may be our favorite, though, as his wife. Nikolaj Lie Kaas and Sonja Richter put a lot on the table in their roles as well. All in all, it’s clear this is an actor’s film.
But it’s hard to completely get past that Dogme 95 look, which does leave the film feeling muddy. In today’s modern digital world where digital looks as good as film, it’s tough to go back to a film like this and want to sit through the home video look.
Still, it’s a film that warrants a lot of discussion, and we cover a lot of ground with it. so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Mira Nair seemed the perfect director to bring the true story of Phiona Mutesi to the big screen. She started her career with Salaam Bombay!, looking at the lives of children growing up in Mumbai in the late 80s. She lived in Uganda where the story took place. So when she was asked to be a part of it, it was an easy ‘yes’ from her. And luckily, with her clout and background, she was able to convince the producers and Disney, the distributor, that she should film it in the slum of Katwe where the story took place. Join us – Pete Wright and Andy Nelson – as we wrap up our Sports series with nair’s 2016 fim Queen of Katwe.
Queen of Katwe is a biopic with heart and authenticity. We both enjoy chess though neither of us are great at it. And we both enjoy films about chess. So why did we both miss this in theatres? Did it seem like a fairly standard biopic? Or like a TV movie? Unfortunately, we weren’t alone as the film didn’t make money at the box office.
But that doesn’t speak to the quality of the film. Yes, it feels like a fairly straightforward biopic, but it feels authentic. That speaks to Nair’s drive to make it as real as possible. Film in the real locations where it took place. Cast non-actors to play the parts. And it works. With only Lupita Nyong’o and David Oyelowo as the stars in the film, it feels like it’s born of this world. And that’s even with Disney working as the guiding force.
Of course it does mean that talk of prostitution is kept vague and to a minimum. Poverty rings true but never feels as raw as it did in Salaam Bombay!. Even an introductory set-up scene from the end of the film sets the world of chess up for us unnecessarily. But do these things affect the story? Only a little. This is a more positive, uplifiting story by nature so to a certain extent, the focus doesn’t hurt it much.
Nair expertly works with her non-actor child stars, notably Madina Nalwanga as the lead playing Phiona, the chess champ. She’s a revelation and brings incredible life to the story. We buy into everything. She deserves to be here and carries the film on her back. The other kids equally carry their roles.
It’s a touching family film that opens the world of Uganda and chess to anyone watching it. We feel these characters’ journeys. In the end, it does feel like a biopic, but it’s a strong one that warms the heart.
We have a great time talking about it on the show so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Great car chases? Check. For this month’s member bonus episode, our members voted for a return to great car chases, and of the movies on the list, The Blues Brothers shot to the top. Is it nostalgia that draws us all back to this film over and over again? The great musical performances? Is it that strong a comedy? Join us – Pete Wright and Andy Nelson – as we return to our Great Car Chases series to discuss John Landis’ 1980 film The Blues Brothers.
It’s a Member Bonus Episode for Everybody! This is our May member bonus episode. So why are you hearing it? Because once in a while, we like to throw one of our member bonus episodes out for everyone to enjoy as a reminder of the sorts of additional shows you get if you become a member. Please consider becoming a member to support this show. You’ll not only be helping us out but you’ll get TONS of bonus episodes. Learn more about supporting The Next Reel Film Podcast through your own membership..
We Need to Talk About John Landis. This is the fifth movie of Landis’ that we’ve discussed on the show, yet we’ve never really brought up the horrific accident on the set of Twilight Zone: The Movie during Landis’ segment that killed two children and actor Vic Morrow. We figure it’s time to have that discussion and see if we can sort out the complexities of artists and art. There isn’t an easy answer in general, but it does seem clear that Landis – particularly from the accident and beyond – should be judged more harshly than, say, a director whose criminal activities didn’t take place on set.
But The Blues Brothers is more than just John Landis... All that aside, a lot of other people were involved in The Blues Brothers, and we’re here to celebrate them, notably Dan Ackroyd and John Belushi. Clearly, they share a love for this rhythm and blues music and feel it’s important to celebrate the history of the music by including many great performers in the film like Ray Charles, Aretha Franklin, James Brown, Cab Calloway, and John Lee Hooker. Plus, John and Dan as Jake and Elwood Blues seriously know how to perform.
But the movie is also an element of its time. Not only do we have the American Nazi party represented (even if it is to mock them), we also have the characters treating the female characters with little respect. It was a misogynistic time, and we certainly feel it here.
Looking specifically at why it’s in this series (and perhaps not our Couples on the Run series), the car chases are extravagant. Landis spent more than twice the initial budget presented by the studio and a lot of that went into creating some of the biggest car chases with the most cars destroyed than any other movie – even action movies. In fact, its record for the most cars destroyed in a film wasn’t broken until this film’s not-so-great 1998 sequel.
This is one of the eleven films born from Saturday Night Live sketches, and it’s generally considered one of the best ones. It’s certainly one of the most successful of the bunch. We spend a bit of time digging into the history, success, and longevity of these spinoffs.
Is this a film that works for younger generations or is this truly a product of its time that doesn’t work that well for people who aren’t dads? Well, we both love it but then again, we’re both dads. So maybe that’s saying something. Then again, we’ve got a full tank of gas, half a pack of cigarettes, it’s dark and we’re wearing rose-colored glasses. Hit it. So watch the film then tune in right here or on your favorite podcatcher. The Next Reel – when the movie ends, our conversation begins!
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Film Sundries * Watch this on Apple or Amazon, or find other places at JustWatch * Script Transcript * Theatrical trailer * Poster artwork * Original Material * Flickchart * Letterboxd * Outrageous Conduct: Art, Ego, and the Twilight Zone Case
Dogtown and Z-Boys was a successful documentary when it premiered at the Sundance Film Festival in 2001, and did great for itself in its theatrical release afterward. That success spurred Stacy Peralta, the director of the film and one of the Z-boy skateboarders featured in the doc, to write a fictional telling of the story to be made as a feature film. That script went through several director’s hands – David Fincher and Fred Durst, specifically – before landing with Catherine Hardwicke. She had had great success a few years earlier with her debut film Thirteen (which we talked about on the show here). So how does this hold up as her sophomore effort? Join us – Pete Wright and Andy Nelson – as we continue our Sports series with Hardwicke’s 2005 film Lords of Dogtown.
We talk about skateboarding, biopics, and more as it relates to Lords of Dogtown. We both recount our own beginnings with skateboards. Were we ever any good? No. But certainly they were foundational memories for us. That gives us a jumping off point to get into this film as we look at how our three central characters – Jay, Tony, and Stacy – find their connection to skateboarding in the 70s and turn it into a sensation.
How does the story work for us? It’s very much a biopic. That’s taken both for the bad and the good. It tells the story about interesting characters, but the beats feel very standard and expected. Is there something Hardwicke could’ve done or is this the best that could’ve come from Peralta’s script?
And that’s another point we discuss – can a biopic script written by one of the characters in the story every really be more than gentle with its story? This is a common complaint with many musician biopics these days because the featured figure(s) is (are) alive and producing, writing, or giving their blessing to the project. Can Peralta be objective? It doesn’t feel that way.
Still, the film is full of energy. That certainly feels like something Hardwicke brings to her early films. And the actors bring it as well. Emile Hirsch, John Robinson, Victor Rasuk, Heath Ledger – so many faces in this film that warrant calling out. Because they do tremendous work throughout the film, whether their scripted parts shine or not.
In the end, though, it’s hard to separate what’s great in this film with the problems we have with the script. As strong as the performances and direction are, the story always feels a bit flat. But it’s still interesting and entertaining.
So check it out. It’s worth looking at, and you can check another off your bucket list. Then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins!
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It was after learning to box that Karyn Kusama became interested in making a film set in the world of boxing, specifically focused on a woman learning to box. After writing the script, she found it very difficult to finance. People said it wouldn’t work unless she changed the Latina protagonist to a white woman. They said having a female protagonist was “unbelievable” and “unappealing.” Even after her producers finally found the financing, the financier pulled out days before production was supposed to start. It was only with the last-minute financial support from one of her producers – Maggie Renzi, along with her partner John Sayles – that she was able to get her film made. And we’re glad she did, because it’s a great film and introduced the world to Michelle Rodriguez. Join us – Pete Wright and Andy Nelson – as we continue our Sports series with Kusama’s 2000 film Girlfight.
Here’s what we take on in our conversation about Girlfight. Clearly, this film is a showcase for Michelle Rodriguez as Diana, our protagonist. We get a sense of her screen presence and her intensity. How much did this film end up defining the trajectory of her career? Is she ever offered parts in romantic comedies or does she purposefully steer toward the action films she’s generally making? Either way, we have a great time with her here and love watching her in whatever she chooses to make.
One of the challenges we have with the film is the balance between Diana and her boxing with her relationship with Adrian. Is it the script that leaves us struggling? The performances from beginning actors? Or the structure and how interconnected Diana’s love story becomes with her boxing journey? It works for us, but not as well as we perhaps want it to.
Regardless, we love the cast. Jaime Tirell, Douglas Santiago, Paul Calderón, Ray Santiago – they all deliver. Jaime’s Hector, however, is one of our favorites. What a great character.
Kusama shows great technique right out of the gate. The introduction to Diana in the school hallway. The intense looks Diana gives right into the lens, breaking the fourth wall. The boxing POVs with the white flashes. Kusama’s not afraid to put strong touches on her film and they all work to its benefit. How has her career progressed after this? And what do we think of her upcoming foray into the TV series remake of Cronenberg’s Dead Ringers? Either way, she’s a fascinating director and worth tracking.
This film is hard to come by these days as it’s currently not streaming. You can rent a physical copy from Scarecrow video, however, through their rent-by-mail program. Check them out – the link’s in the show notes below.
It’s worth tracking this film down and watching it. It certainly would be a film worth a streaming or physical release as more people should check it out. We have a great time talking about it so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Gina Prince-Bythewood looked at her first film as a When Harry Met Sally... type of story that followed a pair of young people – Monica and Quincy – as they both worked on furthering their basketball careers. The film was supported by The Sundance Institute and Spike Lee came on as an executive producer to help get it made. We’re glad everything came together for this film because it’s wonderful. Join us – Pete Wright and Andy Nelson – as we kick off a new series about Sports with Prince-Bythewood’s 2000 film Love & Basketball.
It’s easy to fall for Love & Basketball. Prince-Bythewood followed through on her When Harry Met Sally... story perfectly. We meet Monica and Quincy as new neighbors and instantly fall for them as friends. The fact that they develop a romantic relationship over time works, but only because we buy that friendship so strongly. Small details, like him sneaking over to sleep on her floor to get away from his fighting parents, highlight so perfectly moments that Prince-Bythewood captures to help us buy into this.
It helps that she cast Sanaa Lathan and Omar Epps, two incredibly beautiful and charismatic actors, to play the parts as well. They play the roles well, both as basketball players and as friends who become romantically involved. They’re perfect.
Of course the rest of the cast works just as well – Alfre Woodard, Harry Lennix, Dennis Haysbert, and Debbi Morgan play the parents and they all bring something to the table. The child versions of our leads are great. And the basketball is all great.
It’s a film that deals with the challenges of relationships when success changes hands from one to the other. It looks at the way women and men are treated in sports differently. There’s the theme of infidelity and how it’s used in relationships and destroys them. And there are powerful elements looking at parents and their children and how they relate.
It’s a strong way to kick off this series. We have a great time talking about it so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Olivia Wilde has long been working as an actress before stepping her foot into directing. She made a few short films and music videos, then locked her sights on the Blacklist script Booksmart by Emily Halpern & Sarah Haskins. She had screenwriter Katie Silberman rework the script (that Susanna Fogel had already changed ) into something that painted the vision she was looking for, and off she went. The film, while not a runaway success that it should’ve been, still did well for itself and set Wilde up as a new director with a strong voice. Join us – Pete Wright and Andy Nelson – as we conclude our Coming of Age Debuts series with Wilde’s 2019 film Booksmart.
We’re big fans of Booksmart. While we graduated from high school a few years (read decades) before this film takes place, it’s impossible not to notice all the same personalities and groups. What makes these characters stand out so well? And how much do we identify with our two protagonists Molly and Amy (played brilliantly by Beanie Feldstein and Kaitlyn Dever)?
The adults are interesting characters in the film, but what does it say that the one with the most time spent is Miss Fine? It’s fitting, considering her scenes together with our protags. And what do we learn about the complexities of people in general as we spend time with Jared, Annabelle, and Gigi?
The film stands as vibrant and alive. Wilde smartly uses slow motion in a few spots. How do those moments stand out and why those spots?
All in all, this may be the highlight of an absolutely brilliant series. We love it and hope you do too. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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Marielle Heller’s sister had gifted her the diaristic graphic novel “The Diary of a Teenage Girl: An Account in Words and Pictures” by Phoebe Gloeckner, and Heller instantly connected with it. She adapted it into a play and then, with Gloeckner’s blessing and film rights, into a script. With the help of The Sundance Institute, Heller built the cast and team of creatives that would help her bring her vision to life. Join us – Pete Wright and Andy Nelson – as we continue our Coming of Age Debuts series with Heller’s 2015 film The Diary of a Teenage Girl.
Does watching The Diary of a Teenage Girl feel like we’re reading a diary? It’s funny how the diary in the film is an audio one, recorded by Minnie, our protagonist and titular teenage girl. Is it weird that she’s an artist always using her hands but recording an audio diary? A bit. That being said, it’s not a gripe of ours at all, just something we noticed.
We really connected with this story of Minnie coming into her own sexuality and figuring out what that means, even if it’s not always in the best ways. Still, what Heller and Gloeckner give us (along with the stellar lead performance by Bel Powley) is a complicated character taking her own complicated path to figuring herself out, at the end of which we’ve seen true growth.
It helps that Alexander Skarsgård plays opposite her, even if it is a bit... shall we say awkward?... that they connect given that he plays her mom’s boyfriend and definitely someone who consciously makes the choice to sleep with a minor.
But that allows for a conversation about finding your own sexuality, and how complicated that window of time is when you have your own sexual awakening, which almost always is before the official age of the adult label of 18. And certainly Minnie isn’t shying away from sleeping with boys her own age either.
We also love Kristen Wiig, Christopher Meloni, and the rest of the cast. The look captured by cinematographer Brandon Trost, production designer Jonah Markowitz, and costume designer Carmen Grande (not to mention hair and makeup) bring this world to life.
It’s a fantastic film, albeit a challenging one, but one worth watching and discussing. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Catherine Hardwicke had worked as a production designer for nearly two decades, crafting the look for such diverse films as I’m Gonna Git You Sucka, Tombstone, Tank Girl, and Three Kings, before shifting her focus to directing. It’s not often the path people take, but clearly Hardwicke knew what she wanted and came at it with a unique story she co-wrote with Nikki Reed – her ‘surrogate daughter’ as she describes her – about life as young teenage girls. The film Thirteen immediately caught attention because of how hard-hitting it was with depiction of thirteen-year-olds engaging in sexual behavior, doing drugs, and self harm through cutting. It also drew notice for how raw and realistic it was, and that intensity helped put Hardwicke on the map. Join us – Pete Wright and Andy Nelson – as we continue our Coming of Age Debuts series with Hardwicke’s 2003 film Thirteen.
Thirteen is a tough watch... but a good one. As fathers of daughters, this film pushes many of our buttons and makes us generally uncomfortable from start to finish. That being said, we can recognize the power in the dark places Hardwicke takes her characters. And she takes them to dark places.
Evan Rachel Wood and Nikki Reed shine as the two teens. Wood plays the teen eager to gain popularity only to fall in with the wrong person who introduces her to life on the edge. Reed – who co-wrote the script with Hardwicke when she was only 13 years old! – carries the challenge of being the draw for Wood’s character but also the manipulation, lies, and life struggling in a broken home. The two teenagers excel in their roles.
Holly Hunter plays Wood’s mother and depicts the desire for friendship with the challenges of parenting to a tee. She rightly deserved her Oscar nomination and in our eyes, likely should have won.
What did we think of the dad though? We have a bit of an argument about how the script portrays him and if it’s realistic or not.
With unique camerawork, editing techniques, coloring, and more, Hardwicke more than shows herself capable to handle this story. It’s a tough film but powerful and worth watching. We have a fantastic conversation about it so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Sofia Coppola had made a few short films in the mid nineties, but it was reading Jeffrey Eugenides’ 1993 novel “The Virgin Suicides” that convinced her she wanted to be a director. She wrote the adaptation on spec after reading it because she saw so clearly how she wanted to tell it, and despite some challenges with the rights, got it made. Join us – Pete Wright and Andy Nelson – as we continue our ‘Coming of Age Debuts’ series with Coppola’s 2000 film The Virgin Suicides.
There’s plenty to discuss with The Virgin Suicides It’s a dreamy, hallucinatory film told through narration and a pseudo-documentary style. How well does that work for us? Does the style fit the type of story about memory and reflections? And how well does the filmmaking style speak to Coppola as a first-time feature filmmaker?
It’s clear that Coppola had a vision with this story. The cinematography, production design, costume design, hair and makeup, music, and editing all fit perfectly with this view on teen angst in the 70s. The actors work well to convey the story as well. Who stands out?
What is the film saying about suicide? How does that tie in with Coppola’s messages about the challenges of life as a teenager? And her themes on looking back to your youth?
There’s a lot to digest with this film. It worked well for the two of us, but it’s a challenging film that may not be for everyone, particularly with its languid pacing. Still, we had a great time and a great conversation. So check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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With several short films under her belt, Lynne Ramsay got her first feature film made and released in 1999. The film tells the tale of a young boy growing up in a poor neighborhood during a period in Scotland when the binmen were on strike, leaving thousands of pounds of garbage lying in the streets, yards, and roads. Growing up a child in Glasgow, Scotland, in the 70s, it makes sense that Ramsay would start with what she knows. What she created was a realistic depiction of childhood at this time that feels authentic and honest. Join us – Pete Wright and Andy Nelson – as we continue our Coming of Age Debuts series with Ramsay’s third film, 1999’s Ratcatcher.
Here’s some of what we discuss in our Ratcatcher conversation. We set the conversation up with some history about Glasgow in the 70s, just to get a better sense of these strikes and how it affected people. We also talk about the housing issues there at the time.
The children performing in this film, notably young William Eadie, are outstanding. They never strike a false note and make use feel as if we’re growing up in this period with them. And what’s great about the parents’ performances is that they feel like extensions of these kids. We see them as nothing more than big kids who really have no way out of this cycle they’re in.
There are themes of guilt, friendship, sexual development, freedom, and escape. How are these various themes depicted in the film? What’s Ramsay trying to say?
And what about the animals? Rats, mice, cats, dogs. We share our thoughts on them.
It’s a strong film right out of the gate for Ramsay. We have a great conversation about her and the film so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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The story of Tamara Jenkins’ Slums of Beverly Hills feels very lived in with authentic characters and situations. It makes sense that there’s a semi-autobiographical element to her film. How well does it hold up over two decades after its release? Join us – Pete Wright and Andy Nelson – as we continue our Coming of Age Debuts series with Jenkins’ 1998 film Slums of Beverly Hills.
What do we think of Slums of Beverly Hills? Jenkins has only made three feature films unfortunately, but we’ve liked what we’ve seen. (In full disclosure, Andy worked on The Savages so might be biased.) She’s talked about how challenging our system is for women directors, which may speak to her low output.
The struggles of Vivian in this film, perfectly played by Natasha Lyonne, carry the story. As she literally comes of age (we start the film with her dad getting her her first bra), we feel her struggles to adapt to her changing body. And living with her dad and two brothers makes her life frustrating.
Speaking of her family, Alan Arkin, David Krumholtz, and Eli Marienthal are perfect. They feel like a real family. When Marisa Tomei enters as their crazy cousin Rita, it just fits.
Rita and Vivian have a great cousin relationship involving things like talking in gibberish and lessons in vibrators. Oh, and plenty of breast talk too. Jenkins rides a strong line of comedy with the dramatic moments, and it all works.
We love the concept of the film riding along the fringes of Beverly Hills. It’s a period piece that always feels authentic. We have a great time with this one, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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Mira Nair got her start with documentary projects, so it makes sense that her first feature, Salaam Bombay!, is a gritty and realistic depiction of life on the streets for a kid in the slums of Bombay. It also feels logical that Nair would use real street kids as her cast to imbue the story with a more authentic sense. Should she have just made a documentary though? Or does the film work as is? Join us – Pete Wright and Andy Nelson – as we kick off our Coming of Age Debuts series with Nair’s 1988 film Salaam Bombay!.
The title Salaam Bombay! may feel more appropriate for a Bollywood musical, but the film stands out regardless. While it has a documentary feel, the film works well to introduce us to the world of Krishna and the people in it. We feel it’s fictional but it does have a sense that it could actually happen. But does Nair push too much to advocate for change with the end of the film? Pete thinks so and doesn’t like it but Andy feels it works exceptionally well.
The child performers were actual street kids and they bring incredible authenticity to the film. The adults feel a part of the world as well, and as dark as this world is, there is a sense of community that develops.
There’s also a sense that this is a vicious cycle and these kids will never break free. It’s difficult, particularly seeing the adults and realizing it’s the next step for the kids. Whether it’s a pimp, a drug dealer, a brothel madame, or just a business owner who exploits the children for cheap labor, it’s an inevitability in this world. It’s the opposite of the fantastical escape in Slumdog Millionaire.
So does this fit as a coming of age film? If the kid seems to be stuck in this place, does he come of age? We disagree a bit on this point.
Regardless, we both find it to be a strong film with amazing child performances. It’s a film that should be seen by more people just to walk in the shoes of this community. We have a great conversation about it so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Coming of age stories come in all shapes and sizes. The adaptation of Calder Willingham’s 1972 semi-autobiographical novel ‘Rambling Rose’ into Martha Coolidge’s 1991 film of the same name was one that captured a slice of life of a teenager and his family growing up in the South during the Great Depression. His coming of age largely happens when the new housekeeper moves in and piques his sexual awareness. Join us – Pete Wright and Andy Nelson – as we wrap up our John Heard series with Coolidge’s 1991 film Rambling Rose.
Does Rambling Rose work for us? This is an interesting film because there’s a lot about it to discuss. But does that mean we liked it? Pete really didn’t while Andy liked it but with reservations. Neither of us were as captured as critics were at the time, so why is that?
We go back and forth on the characters here. Andy likes Robert Duvall. Pete doesn’t. We both love Diane Ladd. Laura Dern and Lukas Haas are great but what do we think of their characters? And that doctor? Is he stupidly evil or is there more to him?
Of course there’s the whole sexual exploration dealt with between an underage teen and a 19-year-old. Does that feel problematic? Or is it dealt with in a believable way? But what about how they handled it during the production?
John Heard’s in this, but only in the framing device. Do we even like the framing device for this film? Would it have worked without it?
How about Martha Coolidge’s direction? And how the heck did Renny Harlin and Mario Kasar get involved?
It’s an interesting film. Not one of our favorites, though even we disagree on whether it works or not. But it’s worth watching and discussing for sure, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Penny Marshall came on to Awakenings after Steven Spielberg stepped off the project apparently. Perhaps that’s why it feels a bit different for a Marshall film. But how well does this pseudo-true story work as it recounts Dr. Oliver Sacks’ experiments on patients with encephalitis lethargica in 1969? Join us – Pete Wright and Andy Nelson – as we continue our John Heard series with Marshall’s 1990 film Awakenings.
Is Awakenings more than just Marshall’s bid at an Oscar? We think it’s more, but it sure feels like Oscar bait. But again... couldn’t it just be Marshall’s desire to tell an interesting story and step outside her comedy box? Same goes for Robin Williams. He delivers the goods here as an introverted doctor who would rather work with worms than people. And of course Robert De Niro gives a performance where you’re convinced he’s afflicted with the disease the character of Dr. Sayer is trying to cure. Even Dr. Oliver Sacks, upon whose studies the film is based, thought De Niro performed accurate to the disease.
But did Dr. Sacks have any issues with the film? Turns out he had some issues with Steven Zaillian’s script. So do we. There are times it feels very written. Is that intrinsically bad? Or can it work?
As for the rest of the cast, it’s a great group of performers. Too bad Penelope Ann Miller isn’t given more to do.
All told, it’s a strong movie with a powerful performances but also a script that feels very written and in the end, something you can see once then not worry about it again. Still, it’s worth talking about so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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The script came easily to Gary Ross & Anne Spielberg, but finding the right team and cast to make Big still took some time. By the time the film released in theatres, it was the fourth body-switching comedy to come out in a few years, even though it had been the first to be greenlit. But the script was smart and didn’t truck in dumb jokes, the casting was impeccable, and Penny Marshall found a way to navigate the fantasy and romantic nature of the film, and because of all these things, this film is the body-switching comedy from the late 80s that people still talk about. Join us – Pete Wright and Andy Nelson – as we continue our John Heard series with Marshall’s 1988 film Big.
We’re big on Big It’s hard to argue that Tom Hanks’ career moved to new level with his performance in this film. He’s perfect in this film, playing brilliantly a 13-year-old in a 30-year-old’s body. But a lot of the success comes from Penny Marshall’s comedy smarts when capturing this story by avoiding the easy jokes.
It doesn’t hurt that Hanks has Elizabeth Perkins, Robert Loggia, and the man bringing this series together –John Heard – to work with as they all carry their weight. It’s interesting, however, to read the names of the other actors’ names mentioned for the roles. Robert De Niro? Really?
And then there’s David Moscow as young Josh and Jared Rushton as Billy, the two kids in the film who create the core childlike center of the film and ground it in youth. It works.
We do talk about the troubling aspect of Susan sleeping with a 13-year-old kid – even if she didn’t know he was only 13. How does that hold up? And what was poor Mercedes Ruehl doing the whole time he was gone? There are definitely darker aspects to this film, but again, Marshall smartly focuses on the Josh’s story and makes it work.
It’s a wonderful film. We have a great time talking about it and are happy to enter it into our library of shows, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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After working with John Heard on her 1977 film Between the Lines, writer/director Joan Micklin Silver knew that she wanted to cast him in her next feature Chilly Scenes of Winter. He plays a fairly complex, lovestruck character that dances right on the edge of being a bit too crazy, but he pulls it off with an authenticity that leaves you rooting for him, even when you’re shaking your head at some of his decisions. Join us – Pete Wright and Andy Nelson – as we continue our John Heard series with Micklin Silver’s 1979 film Chilly Scenes of Winter.
It may be called Chilly Scenes of Winter, but it’s full of genuine comic moments. The studio heads didn’t get it at all, releasing the film initially as Head Over Heels with an artificially happy ending. No one wanted to see that and the film bombed. It took Micklin Silver three years to get the original version released, and it was a success.
Do we like the way the movie plays out in this version? Absolutely.
How does John Heard do as this crazy character who rides the line with stalking Laura, the woman he falls in love with? What does the movie say about relationships, particularly when one side is more in love than the other side?
How about the idea of being the ‘other’ in a relationship?
Talk about the cast – aside from Heard, who is perfect in his role, we have Mary Beth Hurt as Laura, Peter Riegert, Gloria Grahame, Kenneth McMillan, Nora Heflin, and more. It’s a delightful cast and they’re all bringing their A-games here.
It’s a challenging but fascinating movie about relationships and finding yourself. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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After her success with Hester Street, it seemed fitting that director Joan Micklin Silver would make an ensemble film about a group of journalists at an alternative paper. She’d worked at The Village Voice, so clearly knew that world. Her writers did as well. Join us – Pete Wright and Andy Nelson – as we wrap up our ‘Journalist’ series and kick off our ‘John Heard’ series with Micklin Silver’s 1977 film Between the Lines.
There’s a lot going on between the lines in Between the Lines. One of the things we love so much about the film is the ensemble nature of the story. While we feel John Heard’s character Harry is the protagonist, we’re following half a dozen people fairly closely with another half dozen prominent supporting players. While it’s not Altman, there’s a definite feel here that Micklin Silver is opening up a portal to this world and we’re here experiencing it with her.
But it is John Heard’s story. He was here with the start of the paper and we follow the story through his inevitable departure after the paper’s essentially eaten up by a corporation coming in and taking over all the ‘little guys.’ That being said, how fair is it to call him the protagonist? Couldn’t more than one be the protagonist?
Micklin Silver does a wonderful job of weaving us through the lives of these people, both within the world of the paper and without. We see romances form and fall apart. We see raises get denied. We see dancing. We see interviews. It’s a painting of this world, and we’re right here for it.
It’s a marvelous film and absolutely works for us. Definitely check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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We’re not sure how Kathryn Bigelow came to direct the adaptation of Anita Shreve’s book “The Weight of Water” for the big screen, but it feels a bit odd in her body of work. It’s arguably the least masculine film she’s made, and is a mystery told between two time periods, so it feels different for her. But what did we think of it? Join us – Pete Wright and Andy Nelson – as we continue our Journalists series with Bigelow’s 2002 film The Weight of Water.
Is there much weight to The Weight of Water? This is a film we really struggle with. For a mystery film, it doesn’t leave much mystery. And the relationship angle feels sloppy. Why did Bigelow take on this project? Was the book any better? We didn’t connect with the two stories and their lack of actual connection. That being said, the actors largely work.
It’s just a shame they didn’t either focus on the story of the true murders on Smuttynose Island or the story in present day. Dancing between the two of them just doesn’t work.
Regardless, it’s another film checked off our Bigelow filmography, and we’re always happy to do that. So check out the movie if you can track it down and then tune in. The Next Reel – when the movie ends, our conversation begins!
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Dorothy Arzner is a filmmaker we want to look at more closely. It’s surprising and a tad shameful to learn this late in the game about Dorothy Arzner. There had been other female filmmakers in the early days of the Hollywood system, but Arzner was largely the only woman regularly working as a director in the 30s and 40s. Her film Merrily We Go to Hell has some comedy in it but largely is a drama about a young couple who fall in love only to have their marriage affected by alcoholism and infidelity. But what’s so fascinating about it is that the woman sees what her husband’s up to and decides to do it too. It is a modern marriage, after all. Join us – Pete Wright and Andy Nelson – as we continue our Journalists series with Arzner’s 1932 film Merrily We Go to Hell.
For a series about journalists, journalism is barely recognized in this film. Okay, so it’s not a perfect film for this series. But our protagonist, played by Frederic March, is a journalist so there’s at least some semblance of a loose connection. What he is is an incredible alcoholic, but Sylvia Sidney, the woman who falls for him, doesn’t see it that way. But do we buy their romance?
And what do we think of the modern marriage elements of the story? (It’s not so hard to believe, though, that she’d hook up with Cary Grant, great to see in an early role.)
What do we think of the title which gives it more of a comedic feel even though the film is much more of a drama?
How do the elements play in the pre-Code days?
And what stands out about Arzner’s direction?
It’s an entertaining and interesting film – but the story has some elements that don’t completely work for us. Regardless, it opened the door for us to Arzner and we definitely want to see more of her works. So check out the film then tune in. The Next Reel – when the movie ends, our conversation begins!
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Ann Hui had been working on a documentary for a Hong Kong network when she interviewed a number of ‘boat people,’ people fleeing Vietnam from the rule of China. This piqued her curiosity in the subject and defined her next two films, The Story of Woo Viet and Boat People. This ‘Vietnam Trilogy’ of hers, and particularly the last film, gave Ann Hui a boost in her career as it took off around the world, marking her as one of the Hong Kong New Wave directors. Join us – Pete Wright and Andy Nelson – as we close out our series on Hui as well as kick off a series on journalists with her 1982 film Boat People.
Boat People gives us the blank slate reporter we’ve been looking for. There are many comments and reviews about this film that dislike the portrayal of the journalist as being too naïve. For us, it feels like a character choice and works well to set up the film as a journey for this photographer – our audience surrogate – as the layers are slowly peeled back to reveal what sort of atrocities are really going on in China-ruled Vietnam after the US left.
Add to that exceptional child actor performances as the kids that connect with our photographer, not to mention the visceral violence that shakes us up, and it’s easy to see why this film affects us. The cinematography, the music, the locations, the performances, the direction – everything works well to deliver a powerful film that depicts a unique conflict in this part of the world we learned little about in our history books.
We have differing opinions on how well the film stuck with us, but no matter how you slice it, it was a film that affected us and worked well. We have a great conversation about it so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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As a filmmaker in Hong Kong, there’s an inevitable balancing act they need to do with their stories and how they depict China. This story portrays an interesting element of World War II that wasn’t often taught in Western history classes – the Japanese occupation of Hong Kong. Having it told from the Hong Kong perspective is also unique to us. That being said, the film was made to celebrate the 20th anniversary of Hong Kong’s return to the fold of China. Does that affect the tone of the story? Join us – Pete Wright and Andy Nelson – as we continue our series on Hong Kong New Wave director Ann Hui with her 2017 film Our Time Will Come.
The time has come to discuss Our Time Will Come. It’s hard to not start our conversation with celebration of the fantastic delight we get from Eddie Peng as the revolutionary Blackie Lau. Every time he’s on screen, it lights up. How does everyone else do? Honestly, lots of performances to celebrate, and when we’re not celebrating Eddie Peng, it’s Deannie Ip, Xun Zhou, Wallace Huo, or many of the other performers in the film.
But does the story work? It works differently for each of us, and we debate why. Is it because our unfortunate lack of knowledge in the history in this part of the world during WWII? Or whether there should be a romance? Or if the story delivers enough tension in the action scenes and sequences? Or maybe the story never quite delivers?
And why does the CG in the film look less than top notch?
Regardless, it’s an interesting film with characters we generally like that shows how simple school teachers and mothers can end up becoming spies. We have a great time in our conversation with the film. It’s worth checking out, so do so then tune in. The Next Reel – when the movie ends, our conversation begins!
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Happy New Year! Each year on the podcast How to Split a Toaster: A Divorce Podcast about Saving Your Relationships, we take a break and talk about how movies deal with divorce and the law. This year, in our season break, we brought the team together to talk about divorce in the movies. From hyper-stylized to hyper-real, how well do filmmakers capture divorce? Andy and Pete join host and attorney Seth Nelson as we build our divorce movie watchlist!
Seth * It’s Complicated (steal) * The First Wives Club * Something’s Gotta Give * Under the Tuscan Sun
Pete * War of the Roses (steal) * Crazy, Stupid, Love. * Her * Marriage Story * Gloria Bell
Andy * The Squid and the Whale * Blue Valentine * A Separation * Waiting to Exhale (steal) * Life of the Party
There are a lot of elements from Ann Hui’s own life in her film Song of the Exile. It’s not a biographical film, though. Knowing that, what are we meant to take away from it? Is it an exploration of Hui’s own life? A chance for her to exorcise some demons from her youth? Or did she simply use those elements as a way to frame this story about a daughter slowly growing to know her own mother? Join us – Pete Wright and Andy Nelson – as we continue our Ann Hui series with her 1990 film Song of the Exile.
We didn’t find as much to connect within Song of the Exile. This was a frustrating film experience for us. There were interesting story elements throughout the film, but they never congealed to make a complete film for us. It’s the story of a self-centered daughter who has to learn that her mother isn’t just someone to hate but who is a person with their own life journey and baggage. It’s the story of a mother who has to reconnect with her own past to find reconciliation and acknowledge that the life she’s living now is actually pretty good. But could it be more clear? We think so.
There are also elements of the East/West mentality throughout the film, though never completely clear with their intent. Is that simply because it was a Hong Kong film made at a time when China was getting close to taking over control of what was at the time a British colony? Or was there more here?
That speaks to some of our overall difficulties with the film – we don’t have a good understanding of the conflicts between China, Japan, and Manchuria, where some of this film takes place. Would more knowledge of that history have helped us? And would all of this work better for an audience from Hong Kong and the area?
Despite all of that, Maggie Cheung and Lu Hsiao-fen work well as daughter and mother. But this feels like a film that gets lost in its telling. Is this the mother’s story? The daughter’s? All in all, there are a lot of interesting elements and it certainly is a film worth looking at. We just found it disappointing in the end, but plenty of people seem to love this film, so perhaps it’s for you. So check out the movie then tune in to the episode! There is a lot to talk about in the film. The Next Reel – when the movie ends, our conversation begins!
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The original idea for Arthur Christmas, at the time called Operation Rudolph, had a much darker thread in it involving reindeer burgers. Luckily, the story evolved and turned into a wild story about a hereditary line of Santas running things with a million elves helping out (really doing all the work). The story is one of commerce and efficiency, but also about the meaning of Christmas and believing. Sarah Smith had experience with complex stories, so this film’s clever script fits right in with her live action work she’d done before with Armando Iannucci. Directing her first animated film, with help from Barry Cook, she crafted a holiday classic. Join us – Pete Wright and Andy Nelson – as we wrap up our 10 Year Anniversary series with Smith’s 2011 film Arthur Christmas.
Arthur Christmas makes us happy. This is an easy film to love. Wonderful characters, fun character design from the minds of the Aardman team, and a heartwarming story about Santa’s youngest son, Arthur, who works in the mail department. He may be a bit clumsy, but he has the true spirit of the holiday. James McAvoy brings him to life in a performance full of goofy charm. He’s helped by Jim Broadbent, Hugh Laurie, and Bill Nighy as they set out to deliver a present that got missed.
The story is touching, and it’s smarter than a lot of animated films. Small jokes, big jokes, Aardman jokes – everything’s in there. And we laugh a lot throughout this one. But there’s also a thread of commerce and big business taking over operations of this sort of place, brought to live in Hugh Laurie’s character Steve, who has transformed delivery with the sleigh into the highest of high tech jobs, with the actual sleigh replaced by what looks like the Starship Enterprise painted red. It’s a genius idea, and it speaks to the idea of commerce vs. the true meaning of Christmas.
It’s hard to go wrong with Arthur Christmas. We have such a great time with this one. It’s an annual viewing at Andy’s house and will be for years to come. If you haven’t seen it yet, check it out then tune in. And let us know what you think! The Next Reel – when the movie ends, our conversation begins!
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Ann Hui has had a long career and was close to retiring in 2011 when she made A Simple Life. Luckily, she enjoyed making that film so much and enjoyed its success that she decided to keep directing. The film is a quiet one about a maid who has served the same family for over 60 years, now looking after Roger, the son who has become a film producer. After a stroke, however, she decides to retire. And Roger has to now figure out how to take care of her. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with a crossover episode that is also the first entry in our Ann Hui series with her 2011 film A Simple Life.
A Simple Life is a simple film, but emotionally rich. With Andy Lau as Roger and his real-life godmother Deannie Ip playing Ah Tao, his family’s maid for generations, there is a built-in connection between these two actors. They feel real and feel like family. That being said, Lau does a great job at the start playing the workaholic who hardly even acknowledges her presence, except when he wants to request particular meals. He never has had to think of her as anything but the person who gets everything done for him.
So when Ah Tao has a stroke and decides to retire to a nursing home, the story provides a strong opportunity for Roger to figure out how to fit caring for her into his own life. Lau plays it incredibly well, but part of the reason it works so well is because he’s playing opposite Ip who shines in her role.
It’s a quiet film though. There isn’t a lot of time for large, gregarious scenes. These two never make the film maudlin. It always feels even keel, even when we’re left to wonder if we’re supposed to be seeing the nursing home as an antagonistic force in her life. It never quite plays the way we think it would and that provides a bit of confusion for us, but largely it’s fine.
We have a great time with this film. It’s touching in its quiet methodologies and carried by incredible performances. It’s great to see it still works so well 10 years later, and it’s a great film to kick off our Ann Hui series with. Check this film out then tune in! The Next Reel – when the movie ends, our conversation begins!
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Bollywood has overtaken Hollywood as the largest center for film production in the world, but we have yet to talk about a Bollywood film on this podcast. Well, we’re changing things with today’s episode. Zoya Akhtar, co-writer and director of this film, is from a prominent film production family. This was her second film and it became an immediate success, following three friends as they take a periodic adventure vacation merged with a bachelor party for one of them who is recently engaged. The film becomes a story of personal journeys for each of them, though, and that’s a formula that often works very well for us. Join us – Pete Wright and Andy Nelson – as we hit the road with Akhtar to celebrate the 10 Year Anniversary of her 2011 film Zindagi Na Milegi Dobara.
Zindagi Na Milegi Dobara is a delight of a film. There’s not as much music as we thought there would be in Zindagi Na Milegi Dobara, but there is music, there is dancing, and there’s a lot of fantastic character development in this film. Plus, everyone in this film is downright beautiful. If you’re thirsty, you’re bound to find someone to enjoy. The three leads playing the friends on their road trip – Hrithik Roshan, Frahan Akhtar, and Abhay Deol – are great characters and we always buy them as friends.
To that end, they each have their own journeys to take as they enjoy this road trip. Are the female characters in this film given as much development as the men? Or are they just there to help their development? Honestly, they’re so much fun that it’s okay that they may be a bit trope-y.
Zindagi Na Milegi Dobara is a fun film that hits all the spots for us. We have a great time talking about it and it’s certainly an easy film to recommend. Check it out and definitely enjoy the soundtrack. It’s a blast! Then tune in to the podcast and enjoy! The Next Reel – when the movie ends, our conversation begins!
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Nadine Labaki started as an actress but starting in 2007 with Caramel, she started working as a writer/director. Her films look at life in Lebanon but through unique prisms that aren’t confined by the grim realities. In her 2011 film Where Do We Go Now?, Labaki uses a magical realist tone with musical elements to craft a story about the women in an isolated village working together to stop the men – divided by Christian and Muslim faiths – from constantly fighting. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with Labaki’s Where Do We Go Now?.
We clearly enjoy Where Do We Go Now? and have a lot to say about Labaki’s film. This is a film that may work for some people and not others, but it worked for us. The story shines with magical realism, creating this isolated town where the news is sparse, allowing for the women to craft their own narrative essentially. That allows for a unique story, one that surprises as much as it delights.
The women of the town, led by Labaki playing Amal, keep trying ploy after ploy to stop the men, divided by religion, from fighting. Not all their plans work, but they’re always thinking and ready to try new things, even if that means hiring Ukranian exotic dancers for a week. That’s an area we struggled with a bit, but it still generally works. And with Labaki at the helm, this unique story feels cohesive.
The cinematography and music come together wonderfully in the musical elements. Could it have used more songs? Maybe. But we like it as-is and think it would have to be double its length to really include more songs. It works the way it is with just the few musical moments. They’re enough to remind us of the magic of this world
It’s a fun movie about a serious subject and allows for a unique vision of this community without saying that Labaki’s solved religious conflicts the world over by allowing women to be the ones driving the decisions. It’s a beautiful story of community and one that really surprised us with its warmth. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Tackling a film that looks at a school shooting is a challenging prospect, but writer/director Lynne Ramsay and her co-writer Rory Stewart Kinnear decided to accept the challenge when they signed on to adapt Lionel Shriver’s book “We Need to Talk About Kevin.” The film is a tough film to watch, but the focus on the mother dealing with what her son has done allows us to explore thoughts about the role of a parent in this sort of situation, nature versus nurture, community reactions, and more. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversaries series with Ramsay’s 2011 film We Need to Talk About Kevin.
There’s a lot to talk about in We Need to Talk About Kevin. Tilda Swinton. Ezra Miller. John C. Reilly. Three incredible performances at the heart of this movie in a film full of great performances, but it’s Swinton who carries the film as we follow her on her journey to deal with what her son’s done. She’s a powerhouse in this film and takes us on quite a trip. The way Ramsay puts the film together is a key part of that too, though, because she’s dancing all through her life from the time she met her husband through to now, and we see those bits pop up like memories flitting through her mind as she debates with herself if she’s at fault.
And that’s really the crux of the film. Is she at fault? She’s certainly taken the blame upon herself as we’ve seen over the course of the film that she’s never gotten along with her son. But is she right? Was he intrinsically evil already? And does that matter to her or will she always carry all these emotions and walls?
It’s a strong film and one we love, despite being a very dark and challenging story. We have a great conversation about it so check it out and tune in! The Next Reel – when the movie ends, our conversation begins!
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Céline Sciamma had already proven herself a strong writer/director of complicated love stories involving people figuring out their own sexuality when she wrote and directed Tomboy. The film tells a story of a 10-year-old girl – our titular tomboy – who tells all the kids she’s a boy when she moves to a new neighborhood. It’s a small decision but an important one as this young kid works to figure out who she is. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversaries series with Sciamma’s 2011 film Tomboy.
Tomboy worked exceptionally well for both of us. This story is touching and powerfully performed by the young actors in the film, notably Zoé Héran in the title role of Laure who starts going by Mickäel. The quiet intensity in this child’s performance is stunning and has to be weighted as she’s carrying Tomboy on her shoulders. On top of that, she has to play as a boy, meaning taking her shirt off when her team goes skins for the football match. It’s incredible.
Sciamma gets amazing performances from the adults as well, and does a great job of not writing Laure’s parents as antagonists. Their reaction to her decision makes perfect sense as a parent and come across as loving people trying to figure all of this out themselves.
And Sciamma delivers a simple but beautiful film to look at. Many shots, notably of Laure as Mickäel, feel like still portraits and capture her struggle and strength. It’s these moments where Héran’s quiet performance really shines through.
Tomboy is a strong film about identity that feels as relevant today – if not moreso – than it did in 2011 when it was first released. The fact that Sciamma continues releasing potent, powerful, and important films dealing with this subject says a lot about her staying power as a filmmaker. We have a great time talking about this film. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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It’s fun revisiting Spielberg’s 1981 classic Raiders of the Lost Ark, the film that we used as our launching point for this podcast. In honor of our ten year anniversary, we thought it would be fun to return to where it all began and have another conversation about Raiders as well as what we’ve been doing over the last ten years. So join us – Pete Wright and Andy Nelson – as we dig back into the archives with Indiana Jones to celebrate our anniversary.
It’s not just Raiders of the Lost Ark we discuss. Sure, we talk about Spielberg’s 1981 masterpiece, but we also talk about how we came to the decision to start a podcast. Why did it take Andy so long to jump on the podcasting bandwagon all those years ago? And why did it take him so long to get a better audio system?
We also talk about the origins as Movies We Like and our early, looser format. With time, everything’s evolved and (hopefully) improved. And other than our summer hiatuses, which we started a few years ago, we’ve been keeping consistent on the podcast with a new episode every week, not counting member bonus episodes and more.
But we do dig into Raiders of the Lost Ark a bit, and we also talk about our reactions to what we thought in that first episode. We look at what Spielberg, Harrison Ford, Karen Allen, and more have been up to since we last discussed them. We talk about the ten consistent team members who worked on all four films. And we look at awards and the numbers for the movie.
It’s a delightful conversation and a great way to return to where it all began. If you haven’t seen Raiders of the Lost Ark, by all means stop reading and go watch it immediately, but if you have, tune in and enjoy this retrospective episode! The Next Reel – when the movie ends, our conversation begins!
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While in film school at NYU, Dee Rees directed a short film called Pariah that was essentially the first act of a feature script she was developing. Spike Lee, her professor and mentor, helped her get the feature version financed and in 2011, she released it to much acclaim. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with Rees’ feature version of her short film Pariah.
There’s a lot to discuss about Pariah, from the performances to the filmmaking style. We love all of the performances in this film, but Adepero Oduye as Alike, our protagonist, is the heart of this film. Her journey of coming out as a lesbian is a powerful one, and we’re right along the ride with her from the start of the film. But all the performances in Pariah are great. Pernell Walker as Alike’s best friend Laura. Aasha Davis as her first love Bina. Charles Parnell and Kim Wayans as her parents. Everyone gets story time and they sell this journey.
Pariah is a strong story because Rees doesn’t make the parents typical antagonists who aren’t happy with her as a lesbian. We get a sense of their world and can understand their perspective, even if we don’t agree with them. We also get a strong sense of the family world and connections to church, not to mention Dad’s affair. All of this helps us feel like we understand the family dynamics.
Rees and her cinematographer Bradford Young crafted a personal, intimate film. The film is beautiful to look at with many gorgeous closeups. It also has raw energy in the scenes that require it. All told, it’s clear right out of the gate that Rees is a filmmaker pushing honesty and truth with her first film in a visually exciting way.
Pariah is a powerful film that delivers and rightfully holds up as one of the great LGBTQ films. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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Brazil’s economy has certainly had its share of ups and downs over the decades. The struggle to create a capitalist economy hasn’t been easy, and allowed for rich fodder for the filmmaking duo of Juliana Rojas and Marco Dutra to write and direct a story about a middle class family struggling in the labor market. This film, Trabalhar Cansa or Hard Work in English, came out 10 years ago now. Does it resonate today? Does it resonate for people outside of Brazil (or Brasil, as Brasileros would write)? And do the filmmakers try to do too much – or too little – in their film? Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with Rojas’ and Dutra’s 2011 film Hard Labor.
Hard Labor deals with a lot more than the labor market. Like we ran into a number of times in our Horror Debuts series, Rojas’ and Dutra’s film is laden with metaphors and allegories. There are vicious barking dogs outside of Helena’s new store that threaten her when she’s trying to leave. There’s black seepage oozing from between the tiles in the back of the store. And let’s not forget the werewolf-esque body parts that Helena pulls from out of behind her wall. These elements give the film a definite horror vibe, but is that enough if the film doesn’t stick with the horror?
To that end, would it have been better if it stuck with the straight drama of our characters Helena, Otávio, and Paula and their struggles with employement instead of including these metaphors? By including them, does the film get muddled and become less clear on its messaging?
We go back and forth on these points because Pete didn’t like them at all and Andy liked them, though still felt they were a bit confusing.
But what about the dramatic story in Hard Labor? This is where we feel the film excels. Watching the three main characters struggle with their jobs is the heart of this movie, particularly when Rojas and Dutra end the film on such a punch-in-the-gut moment. They each show an interesting transition over the course of the film. What did we think about them? How well do we care for them? And do we find any particularly interesting or less intriguing?
It’s an interesting film that never quite works as well as it should but still clearly shows a proclivity for a type of storytelling that it sounds like Rojas and Dutra have continued, both solo and together. It’s an interesting film to discuss even if watching it won’t be for everyone. Check it out and tune in! The Next Reel – when the movie ends, our conversation begins!
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Miranda July spends more time as a performance artist than as a filmmaker, so it makes sense that her second film, The Future, feels a bit like a performance piece. That also likely speaks to why its quirky charm works for some but for others, they feel it represents the worst side of independent film. But that’s what art is, right? Join us – Pete Wright and Andy Nelson – as we continue our 10th Anniversary celebration series with July’s 2011 film The Future.
Miranda July and Hamish Linklater are a perfect couple in The Future. Linklater’s recently appeared on Mike Flanagan’s Midnight Mass on Netflix and was amazing in that role, so it’s great to jump back 10 years to see him in this film. He and July, playing his girlfriend, are the perfect 30-something couple, happy with their existence but unsure how to move things forward. That’s when the cat Paw-Paw enters their lives, and suddenly, they feel like their lives are coming to an end.
From there, it’s a bit of an existential journey with each character – Linklater as Jason and July as Sophie – working through their own interpretation of the future and their position in life. But where do we land on the film as a whole versus the various parts?
There’s also Paw-Paw the cat and the Moon as well. The first half focuses on their relationship. The second half focuses on them struggling with where they think their lives might lead. But there’s also Paw-Paw the cat, talking to us in metaphors about life and the death. At the same time, we also have the Moon, talking to Jason while he’s frozen time and is struggling about whether to unfreeze it or not.
The Future is a unique film that works for us, but likely won’t work for everyone. July gives us a lot to discuss with this quirky, unique film. Not everyone will like it – we even are a bit split on it – but it’s clearly a film from a unique voice and certainly worth watching and revisiting. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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In 2008, 18 students at Gloucester High School in Gloucester, MA, all got pregnant. At the time, the principal said that there had been a pact between a number of the girls to all get pregnant together. The mayor later came out to say that there wasn’t a pact, and later some of the girls said there was a pact but it had been made after the pregnancies and more about helping each other raise their babies together.
The initial story about the pregnancy pact had gotten out into the world, however, and created quite a fervor because the concept of so many young teens making a life-altering decision like this in such an off-the-cuff way is so frightening. Some people wrote books, others made Lifetime movies. French writer/director sisters Delphine and Muriel Coulin adapted the concept into their feature film debut 17 Filles, or 17 Girls in English. Join us – Pete Wright and Andy Nelson – as we kick off our Tenth Anniversary series, celebrating films celebrating their 10th anniversaries as we celebrate our own – with Coulins’ 17 Filles, or 17 Girls.
It’s a challenging film for each of us for different reasons, which makes for a lot to talk about with 17 Girls. Pete didn’t like this movie. He didn’t like the characters. He found the story fairly boring. Andy liked the movie, but—Hold on there! This is currently only available for members. It'll be available to everyone else soon, but why not become a member so you can listen to it now? We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get monthly Flickchart re-ranking episodes, access to members-only Discord channels, and early releases for every episode. We have a special episode we release at the end of each series called Retake during which we break down our overall thoughts of the entire season. Plus, you get to vote on the movies we discuss in our members only episodes as well as the movie lists we discuss on the Saturday Matinée podcast! What can we say? It pays to be a member. Learn more about supporting The Next Reel film podcast through your own membership — visit TruStory FM.
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We’re done talking about the movies. Now let’s talk about the series. We have come to the end of our Horror Debuts series, exploring six films and one extra as our September 2021 Member Bonus Episode. All told, we looked at Messiah of Evil, Goodnight Mommy, A Girl Walks Home Alone at Night, The Babadook, The Lure, Saint Maud, and Relic. Each director (or pair of directors as the case may be) brings a unique vision to their story, and perhaps the fact that they chose the horror genre as the place to start their feature film career is telling as it allows for a lot of play. So what did we – Pete Wright and Andy Nelson – think about not just the films but the series as a whole? How do these films stand up to other horror films of the past and of this last decade? Why these shifts in the types of horror films getting made? We dig in to horror films in general and these films specifically in our Horror Debuts Retake.
Here’s a hint at what we talk about. How accurate were our original star ratings from when we had our initial conversations as compared to now? Pete found that Goodnight Mommy hasn’t held up over time and demoted it whereas Andy largely still connects with The Babadook the least. Relic tops both of our lists though.
Horror films have evolved over the years and decades. It’s great seeing so many strong female voices rising in the ranks as directors over the last few decades. We would’ve liked to have had more woman-directed horror debuts on this list but found few before the turn of the century. Messiah of Evil is a fun one to include, but even that was co-directed (and still had Gloria Katz uncredited for her role in directing, likely because of DGA policies).
But is there anything to the fact that these films have horror elements but aren’t straight-up horror films? Or that they’re incorporating metaphorical elements much more strongly than we’ve seen recently? Horror films have shifted each decade, so this tone definitely seems to fit the overall vibe of horror in the 2010s, but is any of that coming from the larger group of female directors?
We finally rank all of the films on Flickchart. It’s becoming more and more clear to us that our middle block is throwing too many films we really like into the bottom half. Regardless, it’s an interesting order that mostly reflects our positions on the films, even if not 100% accurate.
All in all, it was a thrilling series and a great addition to our 11th season. Next up – as a way to celebrate our tenth anniversary coming up on November 11th, we’re looking at 10 films that are also celebrating their Tenth Anniversaries! The Next Reel – when the movie ends, our conversation begins!
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Film Sundries * Original poster artwork * Rank the Movies on Flickchart: Messiah of Evil Goodnight Mommy A Girl Walks Home Alone at Night The Babadook The Lure Saint Maud Relic * The Series on Letterboxd
Listen to Each of the Episodes: Messiah of Evil Goodnight Mommy A Girl Walks Home Alone at Night The Babadook The Lure Saint Maud Relic
This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get monthly Flickchart re-ranking episodes, access to members-only Discord channels, and early releases for every episode. We have a special episode we release at the end of each series called Retake during which we break down our overall thoughts of the entire season. Plus, you get to vote on the movies we discuss in our members only episodes as well as the movie lists we discuss on the Saturday Matinée podcast! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.
Who rules the roost in this month’s Flickchart Re-Ranking? Pete or Andy? Pete and Andy are back for yet another cockfight, this time for our October Flickchart Re-Ranking for our wonderful members. Also, Andy challenges Pete to remember which series each movie was featured. Here’s a breakdown of the battles. Based on this list, what would you pick to win? And which one will win as we duke it out?
Here's the list of our rankings in this month's Flickchart Re-Ranking episode. * Inception vs. The Fly * Snatch. vs. Moon * City Zero (Zerograd) vs. The Illusionist (2006) * Sophie’s Choice vs. TimeCrimes * Dr. Strangelove vs. Miller’s Crossing * The Book of Eli vs. The Emigrants * Il Postino (The Postman) vs. Force Majeure * Compulsion vs. Network * Star Trek V: The Final Frontier vs. The Town * Defending Your Life vs. Rabid * Fast Times at Ridgemont High vs. Day of the Locust * Cloverfield vs. The Philadelphia Story * Duck, You Sucker vs. Intacto * Born on the Fourth of July vs. 2001: A Space Odyssey * Lady Vengeance vs. Underworld: Evolution * Interstellar vs. The Man With Two Brains * Roma vs. Son of the Bride * National Lampoon’s Vacation vs. Detour * Dead Ringers vs. The Lonely Guy * The Illusionist (2006) vs. Letters From Iwo Jima * Silver Streak vs. Sophie’s Choice * The Hurt Locker vs. Pennies From Heaven * Drive vs. Alice Doesn’t Live Here Anymore
We also look at our top 5 and bottom 5. Should we feel guilty about any of these or are we okay with where they are? What do you think?
So much blood in our re-rankings this month. Wanna look at our entire chart? Just click here to visit our Flickchart page!
The release of Rose Glass’s 2019 film Saint Maud was cut short due to the pandemic, but the film still garnered enough attention from festival play and the awards circuit to become a talking point in movie circles as the newest horror film worth seeing. Glass received a lot of the praise as a new director who clearly has a sense of vision and story with this, her debut feature. And the performances of both Morfydd Clark and Jennifer Ehle were discussed as true highlights. Join us – Pete Wright and Andy Nelson – as we wrap up our Horror Debuts series with Glass’s 2019 film Saint Maud.
We are a bit split on Saint Maud. Despite the fact that the trailer for this was selected for a Saturday Matinée episode in December 2019, Pete didn’t remember watching it so had no idea what to expect when he started this movie. When the story shifted at its midway point, that disappointed him because he was so engaged with what had been set up in that first half and he was never able to really connect with the film after that point. Andy, on the other hand, remembered the trailer and while he didn’t feel the trailer changed his opinion of the film, he was able to move along with the shift in the story.
So does that matter? Or does it end up becoming a point in the story where you just have to go along with the shift? Some people seem to be able to go along with that better than others but there certainly is a contingent of people online who seemed to connect more to the first half of the story.
Outside of that, though, it’s clear that Glass has a sense of story. We both firmly connected with Maud’s journey, particularly as it relates to her time with Amanda. Both Clark and Ehle are perfect in their parts and the exploration of obsession, possession, and mental breakdowns are handled well.
Glass crafted a difficult but affecting journey with Maud. We discuss the way she works through Maud’s descent into madness and religious fervor. There’s also some talk about her self harm. Maud also uses sex as a tool when she is trying to get out of her personal nadir before reconnecting with God.
Then there’s the conversation with Joy. If Joy had agreed to hang out, would all of this have gone away? Or would it have gotten there eventually? It’s hard to say but interesting to think about.
It’s a powerful film that didn’t affect us equally but is still a strong one worth looking at. So check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Film Sundries * Find out where you can watch this at JustWatch * Theatrical trailer * Poster artwork * Flickchart * Letterboxd
There is clearly a coming of age story in Agnieszka Smoczynksa’s 2015 film The Lure, which is also a horror and a musical. And it’s likely that genre mashup that made it difficult for people to connect to the movie and why it did poorly at the box office. Smoczynska created a strong vision for her first film, though, and because of that, the film’s cult following is already growing not to mention people taking it seriously because of its placement in Criterion’s lineup of releases.
Join us – Pete Wright and Andy Nelson – for the fifth film in our Horror Debuts series as we join the dance party in Smoczynska’s 2015 film The Lure.
The Lure is pretty bonkers, but at a level that works well for both of us. While the genre mashup may be difficult for some people to click with, it worked for us. Well, to that end, Andy feels more comfortable calling it a dark fairytale musical rather than a horror film. No matter how you slice it, though, it’s a fascinating film that metaphorically explores female coming-of-age and sexuality through a fairytale lens. There is a strong current of Hans Christian Anderson’s “The Little Mermaid” running through this film and the filmmakers have also imbued the mermaids with the darker elements from Homer’s “The Odyssey.”
Using horror films like The Lure to explore metaphorical issues We’ve talked about horror as metaphor in both The Babadook and Relic. Horror has often been a way for storytellers to deal with issues in metaphorical ways but there’s something strong in this recent run of films we’ve discussed that seems to make the metaphors very visual. It’s a wonderful genre to explore ideas like these and we love how recent filmmakers are pushing their stories forward so deliberately. Plus, they all have strong visual design and story structure that makes these films stand out. The Lure does have its share of story issues, particularly as it builds toward the climax in the third act, but the world is so unique and engaging that it’s easy to give it more of a pass.
But why does this need to be in the 80s? Is it just because that’s when the director, writer, and musicians upon which the story is very loosely based spent their childhood? Do the metaphors work when trying to explore what they’re saying about Communist Poland in the 80s? On top of that, we also have a metaphor for immigrants moving to foreign lands to make better lives for themselves only to get trapped in the sex industry. So when is it too much?
Regardless, we still really enjoy this film. The performances are great, particularly from the three actresses playing the two mermaids and their mother figure in the band. We have a lot to talk about with this one so check the film out and tune in. The Next Reel – when the movie ends, our conversation begins!
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Relic delivers on the haunted house tropes. There’s a tone and mood that often permeates horror films that give you a constant sense of dread and terror. Sometimes, it’s broken up with laughs or jump scares, but that’s clearly not what director/co-writer Natalie Erika James is looking for. Her debut film Relic generates this sense of dread and terror but maintains it throughout in a quiet way that for some keeps them on the edges of their seats but for others leaves them feeling bored. Which are we? Join us – Pete Wright and Andy Nelson – as we add to our Horror Debuts series this member bonus episode, James’ 2020 film Relic.
Relic is a quiet but moody metaphorical horror film. There are shadowy spirits lurking in the corners of Edna’s house, but are they really there? The way James constructs the film creates wonderful tension as we just catch glimpses of something in the shadows. It’s really a blink-and-you-miss-it type of treat because they’re not highlighted by musical stings that hit you over the head. We love the way she builds tension through these techniques, and how she uses her location to great effect.
The cast is wonderful as well. Emily Mortimer, Robyn Nevin and Bella Heathcote play the three generations of this family and as the story progresses, we are right there with mother and daughter as they try to sort out what’s wrong with Gram. Their performances become more affecting as the story reveals itself to be about the family struggle with Alzheimer’s. It’s a powerful metaphor handled well and works because of the power in the three lead performances.
Relic is a quiet horror film but one that works exceptionally well for us. It’s likely not for everyone, particularly people who are looking for those jump scares in their horror, but we had a great time watching it and talking about it. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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What is it about Jennifer Kent’s film The Babadook that draws so many people in? Before writer/director Jennifer Kent made her debut feature film The Babadook, she made a short film called Monster which bears a lot of similarities with her feature. What it doesn’t have is the metaphorical element that the feature carries, but it’s got a mom, her son, and a monster living in the closet. In some ways, the streamlined short story works better because it’s just a straightforward story. The feature film is hard to separate from its existence as a metaphor as grief. Still, countless people have found a connection with it.
Join us – Pete Wright and Andy Nelson – as we continue our Horror Debuts series with Kent’s first film, 2014’s The Babadook.
Here’s a hint at what we talk about in our conversation about The Babadook. Does the fact that the Babadook is so obviously a metaphor for the mother character’s grief after losing her husband in a car wreck make the film less interesting? Or perhaps that’s its strength and why so many people connect with it. Either way, the film seems to have garnered many fans who love it and just as many who find it too obvious as to what Kent is saying. (Oddly, when Andy first saw the film, he completely ignored any readings of the film and watched it only for what it was, and seeing it that way didn’t work that well for him.) What it does do, however, is allow for interesting conversations about grief after watching it, so perhaps it’s a win no matter how you see it.
But assuming you get past the grief metaphor, what about the way the mother and child are written? It’s a difficult duo to connect with because we’re asked to join Amelia seven years after she’s lost her husband and she’s a mess. She also isn’t a great parent – Samuel, who’s about to turn seven – is aggressive, violent, and uncontrollable. He often seems like he’s more in charge than she is. But is that a bad thing if they’re written this way and we can’t connect? Or does it force us to find a way to sympathize with them? (No matter how you slice it, though, six-year-old Noah Wiseman delivers as strong a child performance in a horror film as Danny Pintauro did in Cujo.)
These two elements seem to largely be the things that keep audiences from really connecting with The Babadook. If you can get into the metaphor and if you can connect with the characters, you’ll likely love this ride. If you can’t truck with one or both of these, however, you may struggle a bit more with the film.
And that’s where we sit.
That’s not to say we didn’t like The Babadook. Kent clearly has a handle on her directing style. The Babadook looks great. She uses creative transitions. We feel completely in this world and it works well. The character design of Mister Babadook, done with practical effects and patterned in part after Lon Chaney in London After Midnight, is terrifying. And honestly, there may be elements that we each struggle with but we still find it an effective ride.
So to that end, should we count this as a win? We think so. It’s a strong first film and clearly shows her vision as a storyteller. Plus, it allows for an exciting conversation. We have a great time digging into this one, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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- Script Draft 6.3 by Jennifer Kent
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A Girl Walks Home Alone at Night is a unique take on the vampire mythos. Ana Lily Amirpour had written a dozen screenplays but wasn’t getting any traction with getting them made. That’s when she had the idea for her Iranian vampire story. The script came easily and was something she could make in the small town of Taft CA on an ultra-low budget. Watching the film, though, Amirpour clearly had a vision and was able to bring it to screen. The film is hypnotic, dark, full of mood, and surprisingly romantic. Join us – Pete Wright and Andy Nelson – as we continue our Horror Debuts series with Amirpour’s 2014 film A Girl Walks Home Alone at Night.
They don’t say much in Amirpour’s film, but we have a lot to say about it. It’s an interesting film in its simplicity and pacing. Combing through reviews, it seems a good number of people find issue in the slow pace and long takes. Even Pete initially reacted this way. But this film has a way of sticking with you. Both of us found the film to be one that lingers, and in the end, we both ended up big fans of Amirpour’s vampire story. Is it the fact that it’s horror-lite? Or perhaps that we connected with the romance, which Amirpour herself talks about as being like in a John Hughes film? Regardless, it’s a bit hypnotic spending time in this film and one we’d return to readily.
The black-and-white cinematography by Lyle Vincent paired with Amirpour’s story as well as the soundtrack fully immerse us in this town of Bad City. It helps that Sheila Vand plays such a compelling vampire, stalking the streets in her chador and on her skateboard. And we’re intrigued by the larger messages Amirpour puts forth in the film, even if she’s not overtly trying to make comments on these things.
Things like the oppression of women in Iran and other Middle Eastern countries. Addiction. Social isolation. Depression. Social status. Even the way we drain the land of its oil like vampires on the Earth is emphasized over and over again with the shots of the oil pumpjacks moving up and down. But it’s not a message movie. Amirpour includes those elements as themes to look at and think about, but we think she’s really focused on the love story and these two lost souls trying to find a connection in a dark town.
A Girl Walks Home Alone at Night is really a love story. That connection between Arash, played by Arash Marandi, and Vand’s vampire (called simply The Girl) is the beating heart in this dark, cold movie. The scenes the two of them have together – at the street light, in her place, and at the power plant – create strong moments that are some of the more unforgettable moments in cinema.
We found a strong connection to this film. It’s one we’ll likely jump back into sooner rather than later to reconnect with Arash and The Girl. We have a great conversation about Amirpour’s film A Girl Walks Home Alone at Night. Check it out and tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins!
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Two Directors With a Shared Voice for Horror Directing duos are rare, but it may be a completely unique situation to have a directing duo be an aunt/nephew pair. That’s the case with Veronika Franz and Severin Fiala, the writers/directors of Goodnight Mommy. When they realized they shared a love for horror films, this duo decided to pursue it and to date have three horror features under their belt. They certainly found a strength in their tone and style, which was clear right out of the gate with their narrative debut.
Join us – Pete Wright and Andy Nelson – as we continue our Horror Debuts series with Franz’s and Fiala’s 2014 film Goodnight Mommy.
From the tone to the story, we have a lot to say about Goodnight Mommy. Goodnight Mommy is an exercise in cinematography that evokes mood. From the framing to the lighting, Franz and Fiala, along with cinematographer Martin Gschlacht, use the camera to set a tone of horror and discomfort right from the start. Even when the two twin boys, Elias and Lukas, adventure through the woods, they capture it with an aura of tension. Nothing feels safe. We love brilliant cinematography and that holds true here. (This was something that worked well for Steve and Ray in their conversation about Franz's and Fiala's The Lodge, which they talked about here on Trailer Rewind.)
But how does the story hold up? It’s one of those films with a big surprise. We both picked up on it right away. Does that ruin the film? Or perhaps leave it feeling plodding? We come at that from two perspectives and in the end think it works either way. The question still remains if the film just becomes boring afterward.
The performances are top notch both from the twins, played by Lukas and Elias Schwarz, and from Susanne Wuest playing their mother. It says a lot about the directors what they were able to get from these kids. It also says a lot about Wuest who has to act for half the film with her head wrapped up in bandages. Even when the story feels a bit incredulous, their performances work brilliantly.
Do we buy the story? But speaking to the story feeling incredulous, particularly as it builds toward its conclusion, how much do we care that it’s not as believable? Or does it ruin the film when we never see the mother call the father to discuss the children? Or doesn’t put them in grief counseling? Are we able to look past those issues and just assume Mommy is making some dumb decisions that pushes things a certain way? (Even though we spoil the film thoroughly in our conversation, we’re trying not to spoil it here.) Where is the line in the decisions that get made that’s too far?
And speaking of ‘too far,’ what is up with those Red Cross workers? Is there something we don’t know about Austrian customs as far as unlocked doors? Because these two Red Cross workers looking for donations who swing by to ask for money then just won’t leave after the child says Mom’s not home definitely cross the line for us. It’s a great tense scene, but it’s nonsense because it’s only here to serve the plot – not the reality of the story. But can we keep it anyway?
The concept of coping mechanisms to deal with grief play strongly in this film. We like how they tie to the concept of lullabies as a way to sooth children. This film largely works, even with some of its less believable elements, because this theme holds strong and creates a frightening portrait of unmanaged grief at the worst of possible moments that leads to devastating consequences. The film is certainly one to watch.
It has its problems, but is immensely watchable. There are enough issues we find with the story that we’d be hard-pressed to give this film five stars. Still, it’s a fun watch – and beautiful to look at for a horror film. We have a great time talking about it on the show this week. This is definitely an episode to listen to after you’ve seen the movie, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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While Gloria Katz and Willard Huyck wrote the script for American Graffiti for their USC chum George Lucas, they were working on a low budget horror film that they would produce, write, and direct together. This film was Messiah of Evil. Unfortunately for them, the producers took it away before they could finish filming. The producers hastily cut the project together and released a version in 1973, hoping it would make its money back.
Because of that, Katz and Huyck largely dismissed the film for decades. Their attitude changed with time, and by the time the film's restoration for its 35th anniversary rolled around, they recognized the film was peculiar but had its fans and its strengths.
Join us – Pete Wright and Andy Nelson – as we kick off our ‘Horror Debut’ series with Katz’s and Huyck’s 1973 horror film Messiah of Evil.
What works in Messiah of Evil and what doesn’t? Katz and Huyck delivered a script that is a bit of a mess when you look at the story, but can we look past that? Perhaps if Katz and Huyck had been able to finish it their way. Then again, who knows? They did make Howard the Duck. So, we have to look at the film as what we have here. And honestly, the story may not be that strong, but it is definitely a horror tone poem. Katz, Huyck and team created a strong mood and tone for sure.
Pete struggles a bit more with this tone because he felt like he’d been set up for more slasher killings. The film starts with several brutal murders, after all, before it shifts into less overt, bloody killings. But the film gets under Andy’s skin, which he really likes. He feels it’s enough. He thinks the film is excelling at creating a vibe that’s hard to shake.
We try tackling the story to see if we can sort out what we’re meant to get from it. Because the story is more vague and ill-defined, it’s tricky. There’s a lot of guesswork in here on our parts. We think we have it sorted out, but again, this speaks to the problems with the story as it was constructed for this finished film.
The story is rough, but are we here for the story? The colors, scene construction, lighting, editing, music, production design and effects all lend tremendously to this mood. Again, is that enough? Regardless, how great is it seeing so many film artists in these roles that would go on to contribute so strongly to the industry.
The artfulness with the visuals really speaks to us though. From the first out of focus shot of Arletty in the hallway as she walks toward camera and eventually into focus, we’re hooked. From creepy zombie people’s silhouettes on the skylight to the crazy paintings on Arletty’s dad’s studio, to the killing in the movie theatre, the images are designed to terrify.
And speaking of that movie theatre scene, that’s likely the strongest horror scene in the film. It builds the tension well and becomes truly terrifying. The grocery store is great too, but doesn’t work quite as well as this. And it leaves the question – if these townspeople are mindless zombies eating whatever meat they can find, why does the albino leave her alone when he picks her up hitchhiking? Is it because he’s full from eating rats? Or has the sickness not quite completely infected him? These are those story points that can be frustrating.
Regardless, it’s a great film selection to kick off our Horror Debuts series. It gives us a chance to talk about Gloria Katz and Willard Huyck, which is particularly touching having lost Katz in 2018 to ovarian cancer. We have a great conversation about this film so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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How Does Heckerling’s Biggest Hit Hold Up 30+ Years Later? It’s funny looking back on writer/director Amy Heckerling’s 1989 romantic comedy Look Who’s Talking now and thinking that studios thought it was too sexual for the genre or that women couldn’t carry a comedy like this. Heckerling has said that she had to pitch the film as a talking baby voiced by a hot male comic because of that fact. Remembering that it was the 80s perhaps is all the reminder we need as to why she struggled to find a studio for the film. But the president of Tri-Star saw Heckerling’s ‘quirky, offbeat sense’ and greenlit the film. Lucky for all of them, it was a huge hit that led to a very successful franchise. Join us – Pete Wright and Andy Nelson – as we wrap up our ‘80s Comedy with Coolidge & Heckerling’ series with Heckerling’s 1989 romantic comedy Look Who’s Talking.
Mikey’s not the only one talking. We’ve clearly got a few things to say about Look Who’s Talking. What about the movie makes it feel dated? There are definitely some derogatory comments that people just wouldn’t say today, but there’s more to it than that. Is it how Kirstie Alley’s Molly tells everyone that she was artificially inseminated instead of coming clean about accidentally getting pregnant? Should she have had more agency and just admitted that she accidentally got pregnant? Does that feel dated, or is that relevant still today? Maybe it’s that people were so surprised by a working, single woman deciding to raise a child on her own. Between this and Baby Boom it was definitely a topic at the time. We bat around a few ideas but never quite agree on why some of the elements feel dated.
One thing that certainly doesn’t feel dated is the relationship between Molly and John Travolta’s James. They’re a delightful pair and we love the chemistry they clearly have on screen. The movie also doesn’t feel like it has to rush with their relationship. In the realm of romantic comedies, this works well.
Pete really struggles with the talking baby conceit though. Why is it in here? It’s a fun element that, when paired with Molly’s fantastical dreams and visions throughout the film, lend the movie a sense of fantasy that we don’t often see in romantic comedies. We like that they’re doing something different with the genre here. But Bruce Willis as the baby? Pete never can quite come to terms with it, whereas Andy doesn’t find any problems with it. We think largely it’s one of those things you either can buy into or can’t when you sit down to watch the film.
But what about Heckerling’s script? Do we like Molly’s and James’ meet-cute in the taxi cab? It has its issues, largely centered around the silly race through the city to get Molly to the hospital in time. What about the way Heckerling comes up with to keep James in Molly’s life after that initial meeting? This is a potential problem for some because of the way he lies to use her mailbox for grandpa’s residency, but they both handle the element realistically and because of that, we buy into it.
But speaking of grandpa, it’s a toothless Abe Vigoda! This is an interesting part of the script because it gives us the conclusion of the film, and to that end actually delivers on something we buy into.
What we have a harder time buying into is the way James sabotages one of Molly’s dates. Why? The date is clearly a schlub and she won’t end up with him. Does he do it just for fun? We’re not really sure.
One thing we are sure of is how great Heckerling is at putting amazing soundtracks together. The music in this film is eminently listenable.
Something that may not hold up as well as the music selections – the kinda creepy fetus puppet we see before Mikey’s born. It’s kinda fun but those eyes... yeah... just a bit creepy...
What was it about this film that drew so many people in at the time? It was successful enough for them to greenlight two sequels and a TV show. Our recollection of the subsequent films is thin but it’s hard to get people to realize just how massively this film was at the time.
We have a great time talking about this film, which may be our least favorite in this series thus far but was still an entertaining watch and a welcome entry into the show. Check it out then tune in to hear all of these thoughts and more. The Next Reel – when the movie ends, our conversation begins!
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The producer of Real Genius, Brian Grazer, approached director Martha Coolidge a number of times, trying to convince her to direct the film. From Coolidge’s perspective, the script just wasn’t there. It was a juvenile, teen male-oriented comedy and just wasn’t her thing. But Grazer wouldn’t give up. He wanted Coolidge as director for Real Genius so the two of them talked and he agreed to bring on another screenwriter, and also let Coolidge do some uncredited rewrites as well. Coolidge was able to get the script to feel like a story about real students at a real CalTech-adjacent school and kept it from being as straightforward juvenile comedy. The result is smart and fun. Join us – Pete Wright and Andy Nelson – as we continue our 80s Comedy with Coolidge & Heckerling series with Coolidge’s 1985 film Real Genius.
From Val Kilmer and William Atherton to the nods to CalTech to popcorn, here’s what we talk about in this episode about Real Genius We both watched the new doc Val about Val Kilmer’s life and recent battle with throat cancer. That put an interesting perspective on his performance here as Chris Knight, the goofball senior. To that point, we also have an opportunity to talk about how much we love his shirts throughout the movie.
William Atherton is a fantastic foil as Dr. Hathaway, the mean and manipulative professor and Robert Prescott is brilliant as the nerd villain. And as it turns out, Coolidge and company didn’t even realize how accurate they were being with how the government has manipulated students into working on weapons secretly for them.
Speaking of weapons, we talk about how accurate Coolidge fought to be in the script and why this film has influenced so many people to become scientists. And you know how they blow up Hathaway’s house with popcorn? They actually used 140 tons of popcorn for that scene. That’s a lot of popcorn! (I wonder if it was GMO...?)
Aside from Kilmer, we also have Gabriel Jarret, Michelle Meyrink, Jon Gries, Mark Kamiyama, Dean Devlin, and more as our students. They’re all great, particularly Meyrink as Jordan and Jarret as Mitch, but we sure would’ve loved more in-depth characters for some of our non-white males in the group. Regardless, it’s a fun group.
But who is the protagonist? Is it Mitch or is it Chris? It seems we’re following both. On a cursory level, it makes it a bit difficult to figure out who we’re supposed to be following. But what’s all this about having a separate main character and protagonist? How does that work and why would someone do it? Turns out, it’s fairly complex but works well here leaving Mitch as the main character and Chris as the protagonist.
What makes this film hold up so well though is the fact that Coolidge wanted to keep the science as real as possible and make school life feel accurate. From the lasers to the dorm graffiti to the party to the strange student living in the steam tunnels, it all feels real. This makes for such a great revisit after all these years.
So check out the movie then tune in to this week’s show. It’s a strong film that is ripe for discovery or re-discovery. The Next Reel – when the movie ends, our conversation begins!
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- CalTech References
- I Heart Toxic Waste t-shirt
- Surf Nicaragua t-shirt
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- Toxic Summer Games 1984
- International Order for Gorillas
- Mythbusters episode Car vs. Rain
Director Amy Heckerling obviously did something right with her first feature film, Fast Times at Ridgemont High. For Heckerling’s second feature film, she had almost double the budget that she had before. Considering her second film was a period film, that likely helped. Now it may seem that Johnny Dangerously was a strange choice after her first film captured modern teens so well, but she clearly was tuned into young audiences. Perhaps the producer and studio felt she could carry a period parody and do it in such a way to bring in young audiences. The studio, Twentieth Century Fox, needed a hit after all. And while there were decisions made that date the film, we still find it works. Join us – Pete Wright and Andy Nelson – as we continue our 80s Comedy With Coolidge & Heckerling series with Heckerling’s 1984 film Johnny Dangerously.
Is there really much to talk about with Johnny Dangerously? You bet there is! We talk about the nature of parody films, why some work really well, and why this one may not have stood the test of time with some bigger ones like Airplane! and Blazing Saddles. All the same, we can’t stop our effusive love for this film. That’s likely because of the impressionable age we saw it. We think this is even more true after talking to our Discord community about it only to find many had never even heard of this film.
The cast is bonkers. Michael Keaton. Joe Piscopo. Marilu Henner (theatre genius!). Peter Boyle. Maureen Stapleton. Griffin Dunne. Dom DeLuise. Danny DeVito. Ray Walston. Dick Butkus. Alan Hale Jr. Neal Israel. Jack Nance. Taylor Negron. Vincent Schiavelli. Richard Dimitri. And they all deliver. Especially Marilu Henner – what a voice! They’re all clearly having fun and even when it’s a big surprise to see someone like Stapleton in the film, it’s clear she’s having a good time.
But what’s with the 30s style eye makeup? Yeah, we get that it’s meant to feel like we’re watching a movie from the era, but it feels a bit strange when watching a color film. All the same, we don’t really care too much about this.
The script is chock full of laugh lines, meta humor, fourth wall breakage, and visual gags, and we laugh at most of them. It’s damn funny! We’re not sure why some people just don’t click with it. When writing constant jokes in a script, though, you have to expect some are going to fall flat. But would it have all worked better with the original ending where Johnny dies?
But seriously – what’s with the weird bull joke? It took us forever, but while we were recording, we found the source Schlitz Malt Liquor ad campaign on YouTube to help make the joke make more sense. This leads to a whole conversation about the nature of timed jokes vs. timeless ones, and why jokes that are so key to the era may fall completely flat if you don’t know the reference point. (All the same, check out some of the Schlitz Malt Liquor Bull commercials in our show notes. They’re bonkers! Kevin Kline even turns up on one as Robin Hood!)
Was this the film that saved Fox from certain bankruptcy at the end of the year? Okay, maybe that’s putting a bit too much on this one film but its box office success certainly was welcome for the studio that had been struggling all year.
Last but not least, what are your feelings about “Weird” Al Yankovic? He’s been around for decades and whether you like his stuff or not, it’s hard to argue that he’s not cranking out some very clever work. His title song in this film is a lot of fun!
We acknowledge that Johnny Dangerously may be a film you need to have seen when it came out and have been of a certain age to really click with it, but if you did, you’re likely are like us and have strong feelings for this film. We have such a great time talking about it and reminiscing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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- Original theatrical trailer
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- Schlitz Malt Liquor Bull commercials with Kool & the Gang and The Commodores, Rufus Thomas, Don Adams, Kevin Kline as Robin Hood, Richard Roundtree, Gunga Din, The Old West, Marshall Tucker Band, and more (The Teddy Roosevelt one at 2:30 is great!)
The story of Valley Girl is simply another Romeo & Juliet type of tale, but director Martha Coolidge captured a lot more in her film. The movie depicts an authentic look at life as a teenager in the early 80s, particularly the culture that grew out of Valley Speak and the whole concept of what a ‘valley girl’ represented, not just in the San Fernando Valley but anywhere in the country. Because of this sense of authenticity, Coolidge’s film has stood the test of time. Join us – Pete Wright and Andy Nelson – as we continue our 80s Comedy With Coolidge & Heckerling series with Coolidge’s 1983 film Valley Girl.
Here’s a hint at what we talk about in this episode looking at Valley Girl. Like, totally. Valspeak. Ironic or not, it was a part of our youth, for sure. How was Frank and Moon Unit Zappa’s song connected to it though? And to this film? How did Martha Coolidge find the young Nicolas Cage and get him for one of her leads? And how easy is it to fall in love with Deborah Foreman? The cast is all together perfect in the film, and turns out they largely supplied their own wardrobes! Ah, indie filmmaking. There’s a strong story about finding your own identity though, and that shines through strong. Martha Coolidge is as good at putting soundtracks together as Amy Heckerling is! Wall to wall music and we love it all. And how about the look that defines the two worlds? But what about the required breasts that Coolidge had to include per instructions from the executive producers?
We talk about all that and more in this episode, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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- Original theatrical trailer
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- ”Valley Girl” • Moon Zappa
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Cameron Crowe already had success as a writer when he went undercover and posed as a high school student to write his book “Fast Times at Ridgemont High: A True Story.” Of course, he was high school age so it made perfect sense, and perhaps that’s why the film adapted from his book feels so authentic of the time and of these youths portrayed. And perhaps part of that is because of how first-time director Amy Heckerling approached the subject matter – for a teen sex comedy, this is actually carrying some fairly heavy themes. But how well do these themes work for us? Turns out they work really well for Andy but not as well for Pete. Still, it’s a nostalgic flashback to our own youths! Join us – Pete Wright and Andy Nelson – as we kick off our 10th season with the ‘80s Comedy with Coolidge & Heckerling’ series, starting with Heckerling’s 1982 film Fast Times at Ridgemont High.
Here’s a hint at what we talk about in this episode looking at Heckerling’s film. The film completely brings us back to our younger days with popped collars and bigger hair. The story, however, doesn’t completely work for Pete because it’s spread across too many characters and we don’t get enough time to really connect with any of them. Andy feels the story completely works and operates well as a depiction of the adult world these kids are starting to deal with. Perhaps the problem is that the filmmakers seemed to feel that Jeff Spicoli, played by Sean Penn, was the lead when in reality, it seems to be Stacy’s film (played by Jennifer Jason Leigh). Regardless, it’s an incredible cast of young actors from the day – a good number in their first roles – and they all do great. There are some strong scenes that carry a lot of weight, but perhaps not enough payoff for them? The music is great and the look completely feels right. Heckerling approaches the film from a matter-of-fact perspective that makes the situations feel real, but perhaps that’s also why it’s harder to connect.
But it’s a film that has a lot more to it than many other teen sex comedies from the decade and to that end, this one definitely stands out. We have a great time talking about it as we kick off our new season. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Fast Times at Ridgemont High: A True Story by Cameron Crowe
- Flickchart
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Identity was James Mangold’s first opportunity to direct a film based on a script he didn’t write. The screenplay, written by Michael Cooney, was inspired by Agatha Christie’s “And Then There Were None,” but adds some twists to the story that take it in a new direction. Mangold was immediately attracted to the material because he relished the opportunity to tell what is essentially a closed room mystery. The film is taut and a thrill of a ride, but it certainly became a love it or hate it type of movie because of the big twists it takes. Join us – Pete Wright and Andy Nelson – as we wrap up our brief ‘Spoiled. Rotten? Twist Endings’ series with Mangold’s 2003 film Identity.
Here’s a hint at what we talk about. The twists in this film work for us, but why don’t they work for so many others? Do you just have to buy into the bonkers made-up science presented here for it to succeed? The cast is great, but why does Pete have such an issue with Clea Duvall’s and William Lee Scott’s characters? We totally forget to talk about Pruitt Taylor Vince’s fantastically creepy eyes. Turns out it’s a condition called nystagmus and he’s used it as often as he can to be cast or to enhance his roles. Do the plot threads with no payoffs create problems for us, particularly when the story begins pointing at the supernatural? This film’s a great reminder as to why we love John Hawkes so much. And the fact that it’s a fun film Mangold provides for us that doesn’t take itself seriously and really goes all-in on the crazy world set up.
We have a great time talking about it as our season wrap-up. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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- Watch this film: Reelgood
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Christopher Nolan’s second film, Memento from 2001, caught a lot of attention on its release because of the clever screenplay structure where the story unfolds both forward and backward in time, in a way creating an experience much like our protagonist Leonard Shelby (wonderfully played by Guy Pearce), a man suffering from anterior grade memory loss. Some people said Memento was too clever for its own good or that it was all style with little substance. Others found it to be incredibly creative with a unique story exploring the psychology of our character. No matter how you approach it, Memento is a film worth looking at in greater depth. Join us – Pete Wright and Andy Nelson – as we kick off our very abbreviated twist endings series called ‘Spoiled. Rotten?’, in which we debate if a film is ruined if you already know the twist. Pete’s selection is Nolan’s 2001 film Memento.
Here’s a hint at what we talk about. What do we think of twist endings? In the world of twist endings, what are some that work for us and some that don’t? Do we find Memento to be an effective example, even if the twist ending actually happens at the midway point of the chronological story? Guy Pearce is always wonderful, but it’s so great seeing Carrie-Anne Moss and Joe Pantoliano together again right on the heels of their success with The Matrix. How much do we actually understand the story and what are our opinions about what really happened with Leonard, Sammy, and the mysterious John G? Nolan started working with Wally Pfister here for his cinematographer. What do we think of the look? David Julyan composed music for a few films for Nolan before he switched to working with Hans Zimmer. Do we like the music? And how much do we love this film, as compared to so many who clearly hate it?
It’s a strong entry into our catalogue and one we’re glad to have discussed. It’s twists hold up and we have a great time talking about them. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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- Original theatrical trailer
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- Original Material
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With Sword of Trust, writer/director Lynn Shelton continued her exploration of low budget, independent comedies while stepping a bit outside her comfort zone by filming a story in Alabama instead of the Pacific Northwest. It gave her another opportunity to work with her partner at the time Marc Maron. In the film, she skewers conspiracy theorists and clearly is having fun with it. But how does her improvisational style work as the film builds to its third act? Join us – Pete Wright and Andy Nelson – as we conclude our Lynn Shelton series with her 2019 comedy Sword of Trust.
Here’s a hint at what we talk about. We love the comedy as it relates to making fun of the belief systems that support some of these nutty conspiracy theories. Unfortunately, Shelton and her co-writer Mike O’Brien rely too heavily on the improv style, which doesn’t allow for a satisfactory third act. Marc Maron is great as the cantankerous pawn shop owner. We buy his emotion in the dramatic story involving his former girlfriend. But he comes across as a bit lost in that third act as well. Jon Bass, Michaela Watkins, and Jillian Bell are great as the rest of the team rounding out Maron’s group as they try to sell an antique Civil War sword, but even they fall prey to some of the struggles of improv performing in the film. It’s great to see Shelton filming in another area of the country, but does the indie budget and her lack of knowledge of the area keep them from really getting the Southern locations to stand out? Sadly, Shelton passed away in 2020 from a rare form of blood cancer, but her films will live on and even if we didn’t love all of these, we fell under her spell as a director and certainly want to explore more of her output.
Largely, we like Sword of Trust quite a bit, but that third act does bog things down. Still, we’d absolutely watch it again. It’s a very fun and funny movie. It’s worth checking out, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins!
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Outside In comes after a big box office failure from writer/director Lynn Shelton with her film Laggies. That film never found its audience and lost a lot of money, so it makes sense that Shelton returned to her ‘even more indie’ roots, teaming up with Mark and Jay Duplass again to make this film with a lower, indie-sized budget. Outside In features Edie Falco as a high school teacher who worked for years to help free a former student, played by Jay Duplass, from prison after being wrongfully convicted in a murder case. She and Duplass have a complicated and messy emotional affair, all while he tries to figure out post-prison life and she tries to sort out her failing marriage and her relationship with her daughter. It’s a touching, powerful film that resonates well with us, and is a strong turn for Shelton to try her hand at a straight-up drama. Join us – Pete Wright and Andy Nelson – as we continue our Lynn Shelton series with her 2017 film Outside In.
Here’s a hint at what we talk about. Who’s our favorite Duplass brother? And why haven’t we seen as much of Jay? Does Shelton direct a straightforward drama better than when she directs comedy? Edie Falco, Jay Duplass, and Kaitlyn Dever are so great to watch, particularly Falco who works so well here. Why didn’t she get more attention? Why didn’t the film get more attention overall? Does this small town in the Pacific Northwest stand out as compared to her other PacNorth locations? The script that Duplass and Shelton co-wrote works effectively because it conveys a lot with little bits of info. And Shelton’s penchant for messy people and forgiveness continues in this film!
We both really loved this film. In Shelton’s career, it’s a standout. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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Laggies was Lynn Shelton’s chance to step up and make a film for a bit more money than she’s had before. She’s not working with the Duplass brothers. She’s directing an original script that she didn’t write. So how does it fare compared to her earlier work? Join us – Pete Wright and Andy Nelson – as we hit the midpoint of our Lynn Shelton series with her 2014 film Laggies, starring Keira Knightley, Sam Rockwell, Chloë Grace Moretz, Ellie Kemper, Mark Webber, and Kaitlyn Dever.
Here’s a hint at what we talk about. What’s with the title? According to Andrea Seigel, the screenwriter, a laggie is an adult slacker and is a common term. Shelton and the producers all went along with it before learning it really meant nothing. But hey – that’s how words get started, right? Sam Rockwell and Keira Knightley are fantastic in their roles, and the script has some laughs, but why does everything feel so expected? It’s frustrating that Megan, Knightley’s character, seems to be struggling with her group of friends and her boyfriend, but we don’t like any of them from the start which makes for story problems. Shelton definitely seems to have a thing for human faults and forgiveness. We’ve seen it in all the films in this series so far, but why does it work better sometimes than at others? Do they do much to capture the Seattle area in Laggies? And how did Shelton do with stepping out of her indie comfort zone to make this bigger budget film?
It’s a film that strikes a chord for many people but wasn’t something we connected to that much. Regardless, the main characters are a delight and there are some really strong moments. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Our Lynn Shelton Series * Humpday * Your Sister’s Sister * Laggies (You’re here!) * Outside In (coming soon) * Sword of Trust (coming soon)
Once Lynn Shelton and her producers had locked in plans to make Your Sister’s Sister, they cast Mark Duplass, Emily Blunt and Rachel Weisz in the three lead roles. They worked on the script and concepts over eight months and then they had to push the production back. When they did this, they lost Weisz due to scheduling conflicts she had with Deep Blue Sea. With only two days before they started shooting, Shelton cast Rosemary DeWitt to replace Weisz whom she had met when directing an episode of “Mad Men.” DeWitt connected right away with the project and the loose production style, and they got the film made. Join us – Pete Wright and Andy Nelson – as we continue our Lynn Shelton series with her 2012 film Your Sister’s Sister.
We talk about the nonsensical confusion the title creates for us, because it feels like there should be three sisters, but how it really doesn’t matter because it’s a cool and memorable title. Just don’t think about it too much. We chat about the great central performances by Duplass, Blunt, and DeWitt and debate if the story is too dramatic for the subject or if it works. We look at the idea of Shelton’s films as comedies and debate the genre label for them, deciding they’re more comedic dramas. We discuss our struggle with the dramatic open and how it never feels like an element that’s dealt with in the film. And we chat about the gorgeous filming location in the Seattle area and the San Juan Islands.
It’s a solid story with great actors, even if it has some story elements we struggled with. Regardless, it’s a film worth watching and discussing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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- Original theatrical trailer
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Lynn Shelton sadly passed away about a year ago at the age of 54, but left a mark on the independent film scene with the personal stories she created. Her third theatrical feature film, Humpday, got a lot of attention when it premiered at Sundance, and that gave Shelton the boost she needed to get more of her storytelling out into the world. Join us – Pete Wright and Andy Nelson – as we kick off our Lynn Shelton series with her 2009 indie hit Humpday.
We talk about the mumblecore film movement, what these types of films consist of, and why perhaps so many involved (and critics as well) aren’t a fan of the moniker. We look at Shelton and her personal storytelling here, and perhaps why this story idea was an easy one to latch on to and one to make to get noticed. We chat about the characters in the film and why elements of them work so well for us but why others don’t. We discuss the concept of friendship and manliness and what Shelton and the story are saying about that. We touch on our frustrations with how the film ends. And we revel in a few scenes that really stand out, including one character moment that we really don’t like.
It’s an interesting film that has a lot to say, even if there are issues we have with the film itself. Regardless, it’s a film worth checking out, so see what you think then tune in! The Next Reel – when the movie ends, our conversation begins!
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- Dan Savage’s Hump Film Festival
Frank Darabont wanted to adapt Stephen King’s novella “The Mist” as his directorial debut, but obviously that didn’t happen. It took him 13 years and three feature films, not to mention all the TV writing he was involved in, before he’d finally get around to adapting the story and making the film. What’s great about it is that he went dark with the story and took the original story even further than King took it. It worked for some people but not that well for others who found it far too bleak. Still, it’s found its audience and is generally considered one of the strongest horror adaptations of Kings’ work. Join us – Pete Wright and Andy Nelson – as we wrap up our Stephen King à la Darabont series, with his 2007 film The Mist.
We talk about the bleak nature of the story and how well it works for us in context of what King was doing with it. We look at the color version versus the director’s preferred black-and-white version and why we both prefer the black-and-white as well. We chat about the performances, notably Thomas Jane and Marcia Gay Harden (not to mention all the Darabont regulars) and why they work so well in their respective roles. We discuss the Lord of the Flies aspect to the humans in the story and why it fits so perfectly in this world. We chat about the creatures and why we find them so perfectly terrifying. We touch on the music and why the haunting voice of Lisa Gerrard works so well in context of this story. We debate the ending and why it works so well for us while certainly not as well for others – and how it can be interpreted in different ways. And if you’re tuning in to hear us talk about how cool it is that Darabont is such a fan of Drew Struzan’s poster art that he builds it into his lead character’s occupation, you’ll be disappointed. We completely forget to bring it up! So we’ll just mention it here.
It’s a fantastically freaky film and we both love it. We had a great time talking about it on the show this week, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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- Original Material
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When Stephen King published “The Green Mile,” it was quite a novelty as he chose to release it in six serialized segments, each releasing a month apart. It was inevitable that it would get adapted as a film, as so many other of King’s works, but perhaps because of its popularity, its subject matter, and because of Frank Darabont’s connection to King after making The Shawshank Redemption, it came as no surprise that Darabont was adapting and directing it as his next film. Join us – Pete Wright and Andy Nelson – as we talk about the next film in our Stephen King à la Darabont series, his 1999 film adaptation The Green Mile.
We talk about the episodic nature the film has, perhaps because of its original serialized format, and how that affects our viewing of it. We look at the flashback structure with Old Paul in the nursing home at the start and finish and debate if it helps or hurts the film. We also talk about the mean orderly in the nursing home in the novel and why perhaps the film would’ve worked better if that character was kept. We discuss the magical negro nature of the film and why it can be harmful to the interpretations of the film today. We look at all of the performances but notably Michael Clarke Duncan and how well he works as John Coffey. We touch on the cinematography, production design, music, and editing and why they all work well in this long story. And we ponder what it’s saying about death sentences, if anything.
It’s a good film, despite the problems it has with the magical negro element, but doesn’t approach the level of Shawshank for us. Still, it’s worth watching, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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- Script Transcript
- Original theatrical trailer
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- The Green Mile: The Complete Serial Novel by Stephen King
- Flickchart
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- I Really Like You • Carly Raw Jepsen
Frank Darabont may not have been Stephen King’s first Dollar Baby, but he certainly was one of the earliest. And according to King himself, Darabont’s short film The Woman in the Room is his favorite of the bunch. The story Darabont really wanted to adapt of King’s, however, was “Rita Hayworth & Shawshank Redemption.” It wouldn’t be until much later in his career, after he’d already established himself as a screenwriter of horror properties, that he’d be able to return to King and lock in the rights. Join us – Andy Nelson and Pete Wright – as we kick off our Stephen King à la Darabont series – with guests Tom & Tony Bancroft from the Bancroft Brothers Animation Podcast – to talk about his 1994 film The Shawshank Redemption.
We talk about our first experiences with the film and why it’s stuck with us over time. We chat about Tim Robbins and Morgan Freeman and all the other potentials that could have played those parts. We look at the nature of Robbins’ character Andy Dufresne and how he embodies the type of protagonist that doesn’t necessarily follow his own character arc but changes those around him over the course of the film. We also argue how he still does have some strong moments of change himself, and how often the film is used as a parable in Christian circles. We touch on the greatness of the cinematography and music. And we marvel that the film didn’t get much award or box office love, considering how much we all love it.
It’s a marvelous film and a great way to kick off this series. We have a great time talking about it with Tom and Tony, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Different Seasons by Stephen King (1982)
- Flickchart
- Letterboxd
- The Bancroft Brothers Animation Podcast
- Bancroft Bros.’ Podcast With Pete Docter
- Pencilish Animation Studio
- MerMay
- Tom on TikTok
- Tony on Instagram
- Tom on Instagram
For Mary Harron’s third feature film, she went back to the biopic well. For this film, she focused on the rise of pornographic images told through the lens of the life of Bettie Page, one of the top pin-up models of the time. Having a woman direct the film helps ensure the male gaze won’t dominate in a film about this subject, but that doesn’t mean the film works as well as it should. Join us – Pete Wright and Andy Nelson – as we wrap up our short Mary Harron series with her 2005 film The Notorious Bettie Page.
We talk about the biopic structure of the film and why it feels like Harron and co-writer Guinevere Turner struggled to find the core of the story they wanted to tell. We chat about Gretchen Mol and how perfect she is in the role, and why she’s really the only reason to watch the film. We discuss the nature of the porn industry as depicted in the story and the different elements of it, and how the film never feels like it’s feminist enough or taking a stand. It always feels safe. We look at the shift between black and white and color and why it never feels fully thought out. And we chat about Page herself and how she was such an icon that still influences pop culture.
It’s a Hallmark-feeling biopic, albeit with nudity, and one we struggled with, even though it does have a wonderful central performance. Regardless, we had a great time talking about it so tune in! The Next Reel – when the movie ends, our conversation begins!
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Bret Easton Ellis’ book “American Psycho” was published in 1991 under much controversy. The initial publisher cancelled the contract because of “aesthetic differences” with the content. The new publisher wouldn’t release it in hardback until 2012. Several countries refused to release it and many only released it shrink-wrapped, only available to those over 18. Such controversy often spurs more in Hollywood to nab the property for cinematic adaptation, and even though Edward R. Pressman secured the rights right away, it still took nearly a decade to get the film made. Join us – Pete Wright and Andy Nelson – as we continue our Mary Harron series with her 2000 film American Psycho.
We talk about the dark satire of the book and how it is easy to misread satire in such a bloody violent film, but how the film’s humor really helped it come through more. We look at the way Christian Bale takes on the role of Patrick Bateman and some of his influences in the role. We talk more about getting the book to the screen and the various hands attached at points in time. We debate the unreliable narrator throughout the movie and our interpretations on what’s real vs. what’s not. We discuss the use of pop culture and how that ties to Bateman’s personality. We compare the film to Wall Street which is an interesting one especially as Oliver Stone had been on board as director at one point. And we ponder the existence of the mysterious Davis...
It’s a strong film and certainly a favorite of ours, albeit a difficult one to watch. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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- Funny or Die: Huey Lewis & “Weird” Al Yankovic
Mary Harron started as a music journalist before moving into PBS documentaries. When she first learned about Valerie Solanas, the woman who shot Andy Warhol, she thought the subject would make an interesting documentary. Unfortunately, the lack of footage and disinterest in being interviewed from people who knew her led Mary and her producing team to realize a feature film may make more sense. Even Warhol himself apparently pushed for the feature focusing on Solanas. Harron co-wrote the script and made it as her debut feature. It’s a tough film to watch about a tough character, but may have been the right sort of project to get her filmmaking career started. Join us – Pete Wright and Andy Nelson – as we kick off our Mary Harron series with her debut 1996 feature I Shot Andy Warhol.
We talk about our backgrounds with Andy Warhol and Solanas and how this story was largely not something we grew up knowing anything about, and how that possibly influenced how we saw the film. We look at Solanas and Lili Taylor’s remarkable portrayal of her, and how challenging it can be to make a film with an unlikeable protagonist. We chat about Jared Harris as Warhol and why he works in this film. We reveal our surprise that Warhol was wearing a wig all this time. We look at Martha Plimpton, Stephen Dorff, and others in the film and how they work. We discuss Solanas’ writing, notably “The SCUM Manifesto” and her play “Up Your Ass,” and how we feel her writing is used in the film to convey her mental state and in general what it says about Solanas and how people saw her. And we chat about the nature of unchecked mental illness and how that darkness can push someone to places like this where murder seems the only way out.
It’s a difficult film with strong performances, but not an easy one to return to. We have a great time talking about it though so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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- The SCUM Manifesto by Valerie Solanas
- ”I Believe” by Lou Reed & John Cale
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- Original theatrical trailer
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- My Face for the World to See: The Diaries, Letters, and Drawings of Candy Darling, Andy Warhol Superstar
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It was originally Al Pacino and his producing partner Martin Bregman who optioned Ron Kovic’s autobiographical book “Born on the Fourth of July” in 1977 so Pacino could play the role. They hired a young Oliver Stone to adapt it but after a few years of not getting anywhere, they dropped it. Stone told Kovic that if he made it, he’d circle back to get it made. True to his word, after the success of Platoon, Stone reached back out and they began the process again, this time with Stone directing. Join us – Pete Wright and Andy Nelson – as we close out our Oliver Stone in the 80s series with Stone’s 1989 film Born on the Fourth of July.
We talk about the small amount of Vietnam in this second film of Stone’s Vietnam trilogy and how it’s interesting in how much that element shapes the overall story. We discuss Tom Cruise in the lead role and how this is a perfect example of Cruise always pushing to be the best and why we love him so much here. We argue over whether the facial hair and wig work is good or not. We run through the list of all the other fantastic performers seen over the course of this epic life story. We debate the nature of biopics and if there’s another word to describe this type or not. We chat about Robert Richardson and all the amazing cinematographical choices made throughout this film. And we marvel at the incredible John Williams score which works so well.
We have a great time talking about this film so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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Oliver Stone had been planning on starting Born on the Fourth of July after finishing Wall Street but had to wait for Tom Cruise to finish making Rain Man. While doing so, his producer Ed Pressman introduced him to a new play he’d optioned called “Talk Radio.” Stone agreed to help adapt the script with Eric Bogosian, one of the original writers and performer, and in the process took to the project. He ended up signing on to direct it and in the process, turned out one of his most interesting films that sadly doesn’t get talked about. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with his 1988 film Talk Radio.
We talk about the nature of this film and our perhaps more personal connection to it, being in the world of podcasting, and the nature of talking in people’s ears. We share our thoughts on the translation from stage to screen and why opening up the story to pull in elements of the real life gunning down of shock jock Alan Berg in 1984 allowed Stone to include more of his ideologies but also allowed Bogosian to create more inner turmoil in the character. We discuss the cinematography at length, from the split diopters to the dollies with rotating sets to the theatrical lighting shifts to the detailed closeups and more. We also revel in the incredible sound design and why it works so brilliantly in creating this world. And we touch on the days of Cineplex Odeon films and the fact that this theatre chain was also distributing movies.
It’s a powerful film that worked really well for us but never seemed to find a connection to its audience. Still, we have a fantastic time talking about it and certainly think more people need to check it out. So do so, then tune in! The Next Reel – when the movie ends, our conversation begins!
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- ‘Talk Radio’ Stage Play by Eric Bogosian
- Talked to Death: The Life and Murder of Alan Berg by Stephen Singular
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"The most valuable commodity that I know of is information.” Platoon was Oliver Stone’s autobiographical movie, but Wall Street was a bit of a biographical story as well as his father had been a stock broker and Stone grew up a bit in that world. That being said, the movie doesn’t really reflect Stone’s father (unless you look at Hal Holbrook’s character). What Stone and co-writer Stanley Weiser did is attack the Reagan era growth of greed and used the insider trader scandals of the era to paint a portrait of this high stakes world. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with his 1988 film Wall Street.
We talk about the tone of the film and why elements of it work and why some don’t. We look at the nature of the film’s portrait of the city of New York and why Stone might have deliberately painted the film as an intrinsic part of the city. We chat about Charlie Sheen and why he doesn’t work as well as he did in Platoon and about Michael Douglas any why he largely steals the show in every scene he’s in. We touch on Martin Sheen working in this film with his son playing his son, as well as many of the other cast members. We look at Robert Richardson’s beautiful look he’s created for this world. And we touch on Stewart Copeland’s music and why we can’t really remember it (and wonder if Jerry Goldsmith’s lost score might’ve been better).
It’s an interesting film about an interesting world we know nothing of but one which is endlessly fascinating, with a powerful performance by Douglas at its core. We have a great time chatting about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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Oliver Stone had written his experiences as a soldier in Vietnam shortly after his return to the US but he wouldn’t get a chance to direct it for nearly 20 years. In that time, he wrote other scripts and started his directing career. When Platoon was finally made and released in 1986, it became the first film about the Vietnam War made by an actual veteran of it. The film was received well and set Stone on his career path as a director with a specific vision... and with specific messages. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with the 1986 film Platoon.
We talk about how the film holds up today and why it works well, even if there are elements in some character depictions that feel very much like tropes now. We chat about Charlie Sheen as the young protagonist and how he balances with Willem Dafoe and Tom Berenger as two of his sergeants with very different senses of morality. We look at the rest of the incredible cast and how well everyone did. We discuss Dale Dye and his role in this film and war films afterward. We touch on the cinematography and music and how well it all works in context of the film. And we debate some of the uses of narration and if it is too much or too on the nose.
It’s a strong film that’s worth revisiting and talking about. We have a great conversation about it on this week’s show so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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- Letterboxd Lists Charlie Sheen Acting On Drugs • Every Vietnam War Movie
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Hal Ashby was behind several seminal films from the 60s and 70s, but by the time the 80s rolled around, his addictions made him unreliable. For his last feature film, he tackled novelist Lawrence Block’s famous character Matthew Scudder, and initially it sounded like it could be promising. Oliver Stone adapted the novel, and he’d proven he had a gritty edge to his work as a writer through the first half of the decade. Unfortunately the producers and Ashby wanted to move the story from New York to LA. While not an obvious problem, this decision seemed to set in motion a series of creative changes that led to several writers – including Ashby – tackling the script and eventually the film getting taken away from Ashby before going into post-production. The issues show through, but that doesn’t mean the film doesn’t have its merits. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Ashby’s 1986 film 8 Million Ways to Die.
We talk about the problems we have with the script and direction, but find ourselves on two sides of liking this film – Pete didn’t like it at all and Andy really enjoyed it. We chat about Ashby’s moments of character and humanity that come through several key scenes, notably when Bridges’ character of Scudder is speaking at AA dealing with his alcoholism. We look at Rosanna Arquette and Alexandra Paul as two high-class hookers and how well they do, as well as Randy Brooks and Andy Garcia as the men Scudder comes up against. We look at the cinematography and the score. And we fawn over several of the key locations in the film, notably the one with the funicular.
It’s a film that fails on many counts but also one with some compelling things going for it. We’re split on it here but still think it’s worth a watch so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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News of the civil war in El Salvador certainly was prevalent in the early 80s when Oliver Stone returned to the director’s chair. For his return, he joined forces with photojournalist Richard Boyle to tell Boyle’s own stories of his time in El Salvador during the US’s transition from Carter to Reagan and how US aid to the military junta running the country was fueling the death squads and atrocities. The political angle seemed ripe for Stone and the types of stories he wanted to tell, but it also seemed to be an early example of his stories focusing more on the policies than the people. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Stone’s 1986 film Salvador.
We talk about the politics of El Salvador to get a sense of the dictatorship at the time and why the US was providing ‘aid,’ and how that gave Stone the angle he wanted for his film. We debate the idea of having Boyle as our protagonist, as portrayed by James Woods, because he’s such a despicable character from start to finish. We talk about the idea of photojournalists and the angle they take when looking for the perfect photo and why that idea seems to get lost for such a time in the film. We look at the other actors and talk about what they’re bringing to the table. And we discuss the technical angles and why those elements work.
It’s a frustrating film that doesn’t give us what we want in a film about a Central American dictatorship and the atrocities committed, but does at least provide a window for curious Americans to start their own explorations. We have a great time talking about it on the show this week so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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As a writer-director, Oliver Stone can maintain a clear vision and deliver the story he wants. When he’s working as a writer for hire, it’s often difficult to clearly get his story across. This certainly was the case when he worked on Year of the Dragon with director Michael Cimino, who wanted to add a Vietnam vet element to the story that wasn’t in the original source material. Stone did that and wrote an effective script, but between the two of them (both credited writers), they seemed to lose any sense as to how to write a fully fleshed out story. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Cimino’s 1985 film Year of the Dragon.
We talk about the problems we find in this story as they relate to the characters and their relationships but find we disagree on our overall reactions to the film. Pete found the problems weighed the entire thing down and didn’t like any of it but Andy found the crime story incredibly compelling and made the film enjoyable, despite its character issues. We discuss the actors and why some of them work better than others. We look at the cinematography and why so much looks great though conversations can often be bland. And we go on about the crime story and how the research they did in this area pays off to make it feel authentic.
It’s a film full of issues but it’s going to be the individual viewer’s ability to look past them or not that will determine if they enjoy it or not. We had a great time talking about it regardless, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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When Oliver Stone was hired to write the adaptation of Howard Hawks’ 1932 film Scarface, Sidney Lumet was on board to direct the film. Lumet wanted to update the story with a modern angle using colorful Miami in the early 80s as its backdrop focusing on the Cuban refugees coming in on the Mariel boatlift, specifically the criminal element. Stone loved the idea and took the job for that reason alone. Dealing with his own cocaine issue, Stone researched heavily for the film and wrote a gritty story that Lumet didn’t like but producer Marty Bregman did. Lumet left and Brian De Palma came on board instead. And thus, the film was born. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Brian De Palma’s 1983 film Scarface.
We talk about the over-the-top nature of the film, from the performances to the violence to the swearing, and how it works for us. We look at Pacino’s excitement about the project and how his initial viewing of the original film actually spurred this film on to begin with. We chat about Stone and his development of the script including some scary trips to South America to meet with people involved in the drug trade. We discuss what De Palma is doing here and why his creative filmmaking style works well for the story. We look at the nature of the stereotypes depicted in the film and why it affected people so much. And we touch on the original X-rating and the lengths De Palma went through to get his original version in theatres.
We have a great time talking about this movie, even if it’s a difficult one to watch. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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Oliver Stone had written his draft for the script of Conan the Barbarian before John Milius was on board, but even then everyone knew it was too grand and extravagant. With an estimated $40 million budget, they knew they had to thin it down quite a bit. Milius tossed quite a bit of Stone’s work though the two men clearly had similar masculine sensibilities so Milius’ tone still feels very much like Stone’s. So does the end result feel like something that Stone had helped develop? Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Milius’ 1982 fantasy Conan the Barbarian.
We talk about the nature of fantasy films and why this style with scantily clad characters didn’t take off cinematically the way Lord of the Rings did. We also chat about how Milius, Stone, and the rest of the team still do strong work creating an effective, believable, and expansive fantasy world. We look at Arnold Schwarzenegger in this iconic, career-making role and what he brings to it. We discuss James Earl Jones as Thulsa Doom, the villain of the piece, as well as what’s effective with his character and what’s ineffective. We touch on the nature of cults and conspiracy theories and how it seems Stone and Milius certainly seem to be drawing on stories relevant to them at the time but interestingly are still so relevant today. We point out the reasons this film landed on the American Humane Association’s “unacceptable” list. And we celebrate the iconic and unforgettable music by Basil Poledouris.
It’s a fun fantasy film that Pete and Andy are split on but still provides for quite an expansive conversation. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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- Conan The Barbarian Game Evolution 1984-2019
Oliver Stone had already made an indie feature film in 1973 and had written the adapted screenplay for Midnight Express which garnered him an Oscar. These elements put him in the position to write and direct his first feature film, albeit one still relatively under studio control. He found the book “The Lizard’s Tail” by Marc Brandell and really enjoyed the psychological angle of the story. He decided to adapt it as The Hand and he set to work. But for Stone’s debut directing a studio feature, does the movie work? Join us – Pete Wright and Andy Nelson – as we kick off our Oliver Stone in the 80s series with his 1981 film The Hand.
We talk about the nature of killer hand movies and why they’re largely so hard to buy into, but how the psychological angle of this one almost gets past that. We look at Stone and what signs of his works to come we can already see in this film. We chat about Michael Caine and his turn as an overbearing man slowly going insane and how it almost feels like a villain’s origin story. We discuss the elements of the story – divorce, emasculation as represented by the protagonist’s drawing hand getting amputated in a accident, the psychological collapse of a man unable to control his world – and look at how they work in horror films... as well as in this film. We look at the effects – from the severing of the hand to the various tricks to film a hand attacking and debate how well it works. And we look at tropes in the film and 80s attitudes toward yoga and psychologists.
It’s an entertaining film that doesn’t work completely but still is fun enough to watch. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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- Original theatrical trailer
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- The Lizard's Tail by Marc Brandell
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Looking at films that explore Soviet society and culture in the 70s through 80s allows for interesting glimpses into reactions to and critiques of changes happening through communism, perestroika and glasnost. The third film in our current series was made in 1988 and explores reactions to glasnost and changes leading up to the breakdown of the USSR. It’s not really science fiction, but is an absurdist, fantastical mystery that feels very Lynchian. Join us – Pete Wright and Andy Nelson – as we finish our Soviet Science Fiction series with Karen Shakhnazarov’s 1988 film City Zero.
We look at the absurdity in this film and how it took some research for us to really grasp what the filmmakers were trying to say about society. We chat about a few specific scenes like the cake scene, the secretary scene, the museum scene, and the tree scene, and explore what Shakhnazarov and co-writer Aleksandr Borodyansky may have been wanting to say. We look at other absurdist elements that don’t really seem to be saying anything but allow for that dreamlike Lynchian vibe to spread. We discuss Leonid Filatov as our lead character and why he works so well. And we talk about the stillness of the shots and how the direction and cinematography play into the vibe of this story.
We had a lot of fun with this one, even though we determine it’s not really science fiction. Check it out – it’s available on YouTube – then tune in! The Next Reel – when the movie ends, our conversation begins!
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In 2001, Nikolai Viktorov restored his father’s 1981 film Per Aspera Ad Astra for its 20th anniversary. This version has new special effects and a restored soundtrack, but Viktorov also decided to excise 25 minutes of footage from the film. Apparently, this decision was to tighten everything up a bit but also to remove some of the Soviet ideologies from the story. Whichever version of the film you watch, the ideologies seem relatively light so it seems an odd choice to remove content for a restored version. Regardless, the film makes for an interesting conversation. Join us – Pete Wright and Andy Nelson – as we continue our Soviet Science Fiction series with Richard Viktorov’s 1981 film To the Stars By Hard Ways.
We talk about the ideologies present in the film and the mild changes in the new version. We look at how the film works and why largely it doesn’t. We chat about the effects and why they work in interesting ways, despite feeling very dated for the age. We discuss some of the performers like Yelena Metyolkina and Vladimir Fyodorov and why they all work so well in this film. And we hit on how this film could’ve worked better for us.
It’s not a completely successful film but certainly an interesting one to watch and discuss. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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Science fiction stories often work well as a shell in which authors and filmmakers can provide social commentary without it being obvious. In the case of Dead Mountaineer’s Hotel, based on the book by Arkady and Boris Strugatsky who also wrote the screenplay, the film uses a detective story that ends up involving aliens and androids as a way to look at the closed-off nature of life under the Soviet regime. Is it a perfect film? No, but it’s a fascinating one. Join us – Pete Wright and Andy Nelson – as we kick off our Soviet Science Fiction series with Grigori Kromanov’s 1979 film Dead Mountaineer’s Hotel.
We talk about the nature of the story and why it works well as both science fiction and social commentary. We look at the setting of the film and why the cold, oppressive mountains with the brilliant moog synth score work so well to set the tone. We chat about the surreal qualities of the film and how sometimes, it’s these elements that contribute to a confusing story, affecting our understanding and enjoyment of the film. We look at the authors/screenwriters and director, talking about what they brought to the table. we discuss the dark and cold cinematography by Jüri Sillart and why it’s so effective. And we look into Estonian folklore and how it may have influenced certain elements in the film.
It’s a fascinating film and one well worth checking out. We have a great time chatting about it so give it a watch – it’s streaming for free on YouTube – then tune in. The Next Reel – when the movie ends, our conversation begins!
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- Inspector Glebsky’s Puzzle by Arkady and Boris Strugatsky
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Initially planned as a reboot of the franchise, Lakeshore Entertainment eventually decided to make the fifth and final film in the Underworld franchise to be a continuation of Selene’s story after the end of the last film. She’s separated herself from her daughter and is still out fighting lycans. But is this a direction that makes sense as the fifth and perhaps final film in the franchise? Join us – Pete Wright and Andy Nelson – as we wrap up our Underworld series with Anna Foerster’s 2016 film Underworld: Blood Wars.
We talk about the wintery look the movie eventually takes us to and debate... is that enough of a change? We discuss the rules of this universe and all the problems that have developed with the sloppy nature of storytelling. We chat about this film’s Romeo & Juliet addition and wonder why they couldn’t have done more with this. We look at the effects and what’s changed here. We wonder if this is a good way to wrap up the series or if it leaves us with too much hanging. And we ask ourselves... is it still okay to like this franchise despite its problems?
It’s a fun albeit problem-laced film but an easy and entertaining watch. We have a great chat about it on this week’s show so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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By the time the Underworld franchise swung around to the fourth entry, it largely had a new team behind all of it. Sure, Len Wiseman was still on as producer and story and Kate Beckinsale was still leading the charge as Selene the vampire death dealer, but they join new writers, directors, crew, and cast. So how does this new direction for the franchise hold up? Join us – Pete Wright and Andy Nelson – as we continue our Underworld series with Måns Mårlind’s and Björn Stein’s 2012 film Underworld: Awakening.
We talk about the return to this world and debate the creative decisions in how they move the story forward while leaving the look largely locked in from the previous films. We look at what this new cast is doing and how well they work. We ponder the many tropes included in this film. And we debate new elements added to werewolf and vampire lore.
It’s a bit of a mess of a film, but did we have fun watching it? Yes we did. So check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins!
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According to Len Wiseman, he and his pals had been planning an Underworld trilogy right from the start with the third film being a prequel laying out the foundations of the vampire/lycan war. If that’s the case, why does this feel so sloppy? Join us – Pete Wright and Andy Nelson – as we continue our Underworld series with the third film, Patrick Tatopoulos’ 2012 film Underworld: Rise of the Lycans.
We talk about the problems with the foundation of the rules Wiseman, Danny McBride, and Kevin Grevioux set up right at the start, which they don’t seem to have any problems with breaking or making convoluted. We chat about the performers and how they’re bringing good performances to their roles, even if they’re not written that well. We look at the effects and how for the most part, they really do feel like a step up. And we debate the storyline and try to figure out just when some of these elements actually were taking place.
It’s an entertaining film but an overly problematic one. We still have fun watching it even if the problems outweigh the successes. Regardless, it’s a great one to chat about so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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It’s time to cross wires! This week on the show, Pete and Andy bring Seth Nelson of How to Split a Toaster to talk about their favorite experiences of the law in film. Part of CrossTalk from TruStory FM.
The Next Reel Film Podcasts have been covering film and popular culture since 2011, dissecting movies in obsessive detail. They've even covered legal movies, but only as ignoramuses in the audience. This week, they get to find out how much they got right, and how much they should care.
Attorney Seth Nelson has a deep love of movies, even if he doesn't always back it up with an encyclopedic knowledge of industry trivia on his law podcast. This week, law school will finally pay off as he teaches the movie guys a thing or two.
Seth
- ⭐ My Cousin Vinny
- ⭐ The Paper Chase (1973)
- A Few Good Men
- Intolerable Cruelty
Pete
- 🌟12 Angry Men (1957)
- Chicago (2002)
- ⭐ To Kill a Mockingbird (1962)
- Reversal of Fortune (1990)
Andy
- Miracle on 34th Street (1934)
- Kramer vs. Kramer
- Liar Liar
- The Accused
Shortly after the clear success of Underworld, the studio signed on for two more films to round out a trilogy. Len Wiseman and Danny McBride said they’d already planned out the concept for a trilogy, but was it more a macroscopic view? Join us – Pete Wright and Andy Nelson – as we talk about the second film in our Underworld series, Wiseman’s 2006 film Underworld: Evolution.
We talk about the many problems with the film, including those which should’ve been clear for storytellers who had planned it all out ahead of time. We chat about Kate Beckinsale and Scott Speedman and how well they fare in this return to the world of Underworldia. We debate many of the changes to vampire and werewolf lore, wondering which, if any, will last. We look at the fight scenes, which work, and which fall short. (We may also touch on the broken laws of physics in some of these fights.) We talk about the cast and crew and how well everyone does to continue the world created in the first film. And we have a great time digging into the award nominations for this film.
It’s a sequel full of problems, but one that’s awfully fun to watch. We have a great time with it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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Moving from the art department on films like Independence Day to commercials to music videos, it makes sense that Len Wiseman brings a very specific look to his films. Pairing that look with his passion for genre movies, it seems obvious that he would be the man behind the Underworld franchise. Join us – Pete Wright and Andy Nelson – as we kick off our foray into Wiseman’s franchise with is 2003 film Underworld.
We talk about the history of werewolves and vampires and how their pairing works effectively. We look at Wiseman’s journey to this film and how it was his art background that nabbed him the job. We chat about Kate Beckinsale as Selene and why she works so well in this film and franchise, which came at a point in her career where it seemed like a step away from the expected path. We touch on Scott Speedman, Bill Nighy, Michael Sheen, and other actors and what they bring to the table. We discuss the soap operatic feel the script has and how it works in context of this story. We look at the team behind the cinematography, production design, costume design, and music and how well their individual parts come together to form this unique whole. And we look at the cinematically defining moments that make even the sometimes dated CG work.
It’s a delightful and fun dive into a brilliantly constructed world. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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- Mythbusters: Holes in the Floor
In the world of horror films, Sam Raimi carries a bit of heft so the fact that he wanted to work with Alexandre Aja and produce the film Crawl with him says a lot about the film you’re walking into. It’s a creature feature. And it’s a ton of fun. Join us – Pete Wright and Andy Nelson – as we wrap up our Aquatic Killers series with Aja’s 2019 alligator-attack-during-a-class-5-hurricane movie Crawl.
We talk about what makes this film work so well and what Aja and his screenwriters, Michael & Shawn Rasmussen, bring to the table. We look at alligators and rank them against all the other aquatic killers we’ve featured (hint: they top it out!). We chat about the visual effects they pull off here and debate about which ones work and which ones might feel a bit rough. We discuss Kaya Scodelario and Barry Pepper, our two leads, and how well they work in their roles. And we touch on how Quentin Tarantino said this may just be his favorite film from 2019.
It’s a tight, fun creature feature that does exactly what they set out to do. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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"Monsters... are they real? Or did the stories exist only to make us respect the sea’s dark secrets?” There have been a number of stories written about the tragedy of the whaling ship The Essex. The captain wrote about it. His first mate wrote about it. And as it turns out, one of the cabin boys wrote about it as well. The recounting by this cabin boy, Thomas Nickerson, became the primary source for Nathaniel Philbrick’s 2000 novel “In the Heart of the Sea,” which was the source for the 2015 film version. It’s hard to argue with many of the facts as reported in the sources because they’re generally comparable. The film, however, takes more licenses with accuracy. Did it need to? Or does it work this way? Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Ron Howard’s 2015 film In the Heart of the Sea.
We talk about why this film feels like a perfect film for our wheelhouse... and debate about why it fell so flat in the end. We look at changes made to the original story and wonder if the changes work or make it worse. We chat about the performances from the solid cast... and ponder how almost every one of them can butcher the accent so much. We discuss the whaling and sailing aspects of the film and how generally impressed we were with their depictions. We talk about sperm whales and the realities of them. We look at the construction of the script and how it feels like it peaks midway through. And we look at technical aspects that work for us – Roque Baños’ score – and that we struggled with – some of Anthony Dod Mantle’s cinematography choices.
It’s a film that’s engaging to watch but feels like it has constant problems. We find it to be an interesting watch, but largely leaves us flat. It provides for a great conversation though, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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“I know that, under the circumstances, biting my head off might seem viable, but it would cheapen you.” When the name David E. Kelley pops up, its usually in relation to one of the many incredible TV shows he created – Ally McBeal, The Practice, Doogie Howser, M.D., etc. His name rarely pops up when it comes to films. That’s why it was likely a big surprise to crowds in 1999 to see his name pop up on a creature feature. Director Steve Miner, on the other hand – also someone whose name is attached to incredible TV like The Wonder Years – comes up more often when it comes to horror films, having started working with Wes Craven before jumping into the Friday the 13th films. But was this film what audiences were looking for? Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Miner’s 1999 film Lake Placid.
We talk about the nature of this film and why it seemed so strange coming from Kelley. We look at how the characters work as compared to how the film works for us overall and find the creature feature portion is fun but some of the character writing feels far too stereotypical. We discuss the passion Stan Winston had for the project and how incredible his creation looks, particularly when paired with CG. Not to mention the cow. We touch on the complexities of filming in a lake and why they ended up making their own lake front in a giant tank up in Canada. We look at what the actors are doing – Bridget Fonda, Bill Pullman, Brendan Gleeson, and Oliver Platt – and how well they do with Kelley’s dated writing. And of course we discuss Betty White and what she’s bringing to the party.
It’s a fun romp that satisfies Andy a lot more than it does Pete, but we both have a lot of fun talking about it on this week’s show. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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Peruvian filmmaker Luis Llosa had been working on some films for Roger Corman before Hollywood came calling for some larger budgeted fare. After the action thriller The Specialist with Sylvester Stallone and Sharon Stone, he was asked to helm a creature feature back in his home turf. This film would be an early start for Jennifer Lopez as leading lady as well as Ice Cube, who had been growing his film career over the past few years. And of course, why not throw John Voight into the mix as the big bad snake hunter. Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Llosa’s 1997 film Anaconda.
We talk about the campiness of the film but how enjoyable it is, and how the people involved clearly knew what sort of movie they were making. We chat about the cast, notably Voight, who is obviously having a wonderful time playing such an over-the-top villain. We look at the anaconda itself, both the reality of them in South America and how this one appears in the film (that CG is pretty bad). And we ponder the editing decision to keep a backward waterfall in the film. Why would they do that?
It’s a ridiculously fun film and we have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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"Come home, Amy. I dare you.” Shortly after making his arguably unnecessary adaptation of The Girl With the Dragon Tattoo, David Fincher disappeared into TV land and began focusing his attentions to the Netflix TV series House of Cards. With the show’s success and immediate second season planned, it was thrilling to see him return to movies, this time with an adaptation of the incredibly popular book “Gone Girl” by Gillian Flynn. Join us – Pete Wright and Andy Nelson – as we drop our first members-only episode and catch up with our David Fincher series (until Mank comes out later this year) with Fincher’s 2014 Gone Girl.
We talk about why this film and story likely was something that attracted Fincher, and how it fits in with other adaptations and original scripts he’s directed. We look at the nature of unlikeable characters and why they’re still so compelling. We discuss what Flynn may be saying about women – or what she may not be saying, depending on who you listen to – and how the character of Amy is a fascinating case study no matter how you slice it. We talk about Ben Affleck and how perfectly he embodies his character, and how he stopped the production for four days because he refused to wear a Yankees ball cap. We look at a number of the other actors and what they bring to the table. We look into the switch to Adobe for the post-production and how they found it more effective to manage 500 hours of raw footage. And we chat about Trent Reznor and Atticus Ross and why their music works so well in Fincher’s latest creations.
It’s another brilliant entry in Fincher’s filmography, though perhaps not near the top, and we have a great time chatting about it. Check it out and tune in! After this, our members-only episodes are going to be for members only, so make sure you head to thenextreel.com/membership and join us! The Next Reel – when the movie ends, our conversation begins!
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Roger Corman’s always made profitable films, and sometimes that meant stealing some ideas from current releases to capitalize on the similarities. That’s certainly the case with the film he produced that ripped off Steven Spielberg’s Jaws: Joe Dante’s Piranha. Often, these films fell into legal issues, but with this film, Spielberg himself gave it his blessing and Universal stopped its injunctions. With that, we’re able to enjoy and talk about one of Dante’s early films. Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Dante’s 1978 film Piranha.
We talk about the nature of rip-offs and how this one feels like it’s a bit more than just a rip-off. We chat about the nature of Dante’s comedy and horror, particularly how it pairs with the script by none other than John Sayles. We look at the story and chat about the tropes it contains but also how much fun it is. We touch on some of the actors and why they work well in this film. We laugh at a story Andy shares about watching it with his 10-year-old son. And we revel in the greatness that is Pino Donaggio’s score.
It’s not a great film but it’s a ton of fun. We have a great time chatting about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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From the time artists began creating, there were those stealing their ideas. This certainly holds true in film, where some filmmakers from around the world see one movie’s success as the opportunity to rip it off and make their own version of it. True, this often leads to litigation, but that doesn’t stop some filmmakers from trying to find ways around it anyway. After all, if it’ll make a buck, it’s worth doing, right? Steven Spielberg’s Jaws was such a success that it spawned countless rip-offs. One of the early ones was the Italian-American giant octopus production called Tentacles. Helmed by Oliver Hellman, aka Ovidio G. Assonitis, this Jaws rip-off doesn’t bring much new to the screen. But is it any good? Join us – Pete Wright and Andy Nelson – as we kick off our Aquatic Killers series with Assonitis’ 1977 film Tentacles.
We talk about the nature of rip-offs and if they can be any good (and when you draw the line – we’re looking at you, Asylum!). We chat about the bonkers cast here – John Huston, Shelley Winters, Henry Fonda, and more – and what, if anything, they bring to the table. We look at the octopus and what, if anything works about it. We discuss some of the octopus’s kills, including a baby right at the start of the film, and what they’re lacking to really make this work. And we talk about the cinematic sin of being boring, to which this film falls prey.
It’s an interesting film to kick things off with. Full of problems, a few interesting elements to entertain, but largely dull. Still, it makes for a great conversation! Check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins!
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It should come as no surprise that while making Snowpiercer, writer/director Bong Joon-Ho came up with the idea for Parasite. They’re both films that deal with social class after all. But where Snowpiercer tells its story in a dystopian, frozen sci-fi future aboard a train perpetually traveling the world, Parasite is a story grounded in reality. Perhaps that’s the reason it found a connection with so many more people. Join us – Pete Wright and Andy Nelson – as we wrap up our Foreign Language Films Nominated for Best Picture series with the film that broke the mold and became the first foreign language film to win Best Picture, Bong Joon-Ho’s 2019 film Parasite.
We talk about why the film works so well and the themes Bong explores. We look at the construction of the film and the ways Bong separates the classes both in the story and visually. We chat about the fantastic production design of the Park house and why it brings so much to the film. We discuss the stairs and the descent and how that’s used in perfect ways as the story builds. We look at the performers and other craftspeople involved. And we talk about its popularity at awards season and how it set a new benchmark at the Academy Awards.
It’s a brilliant film and we’re thrilled to end our current series with it. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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- Binging with Babish: Ram-Don from Parasite
The conversations about Roma at the time of its release and discussions about awards seemed to center on the fact that it was released on Netflix with only a limited theatrical run. People were convinced it wouldn’t have a shot for this very reason, but the quality of the film proved that even a Netflix release could be considered for Best Picture. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Alfonso Cuarón’s 2018 film Roma.
We talk about the tone of the story and why it works well, regardless of viewing format. We look at what Cuarón did technically to achieve the look of the film. We discuss the acting, both by newcomers and pros, and how they bring so much life to the story. We touch on the personal connection Cuarón had in the making of this film and why capturing his own memories was so important, especially in moments like the Halconazo riot. And we look at the nature of the ‘upstairs/downstairs’ sense of this film and how small, personal stories intersect with larger ones.
It’s a powerful film that gets better with age and certainly is one deserving of a conversation. We have a great time talking about it this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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Michael Haneke is always one to provoke with his films, but rarely do they feel so personal as his 2012 film Amour. He pulled from personal experience with the suicide of his 90-year-old aunt to write the story and then crafted a film that maintains the Haneke distance even while allowing for an emotional film. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Haneke’s 2012 film Amour.
We talk about why this film works even though it’s a film that’s incredibly hard to watch. We chat about Haneke and his filmmaking style, and how that pairs with Darius Khondji’s cinematography. We discuss the powerful performances at the heart of this film from Jean-Louis Trintignant and Emmanuelle Riva. We debate the nature of this type of story and what it takes to be nominated for Best Picture. And we look at the still camerawork throughout and return to one of our favorite websites, Cinemetrics, to look at average shot length.
It’s not an easy film to watch but it is one that lingers. We have a great chat about it on this week’s show so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
Khondji Nights: Something Darius Khondji did so well when working with David Fincher he does here in spades — filming night scenes so dark that you can’t see anything happening on screen at all, to the point you think the projection is somehow broken.
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During pre-production on Flags of Our Fathers, Clint Eastwood was doing research and became curious about who it was on the Japanese side of the Battle of Iwo Jima who was leading their troops. This interest led him down a rabbit hole of curiosities that made him want to tell that story too. When he brought this up to producer Steven Spielberg, they decided that it was interesting enough to make a second film detailing that perspective. With that, Letters From Iwo Jima was born. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Eastwood’s 2006 film Letters From Iwo Jima.
We talk about the interesting journey this film took in getting put together as a companion piece to the film Eastwood was originally making about the famous WWII battle. We discuss the reasons this film ended up in our series but was not eligible to be nominated for a Best Foreign Language Film Oscar. We look at the nature of Japanese society and the rituals depicted in this film, and chat about why this film connected with so many Japanese people on its release. We chat about Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, and Ryô Kase and look at what they each bring to the table. We also talk about the casting and the nature of acting, and why this was Phyllis Huffman’s last film with Eastwood as his casting director. We look at the incredible albeit muted cinematography of Tom Stern paired with the great production design by the legendary Henry Bumstead in his last film. And we touch on the music and the composers behind it.
It’s another strong entry into our series and despite its sobering content, we have a fantastic conversation about it. So check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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Ang Lee has made a career of always doing something different, so it likely came as no surprise to people after his Jane Austen adaptation, his 70s period family drama, and his western that he then moved straight into a Chinese wuxia film full of magical realism. Despite the wide variance between subjects, his passion for stories full of emotion and repression is reflected in them all in some capacity. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Lee’s 2000 film Crouching Tiger, Hidden Dragon.
We talk about the nature of this film and how it became such a touchstone for not only celebrating Asian culture but also a shift in wirework and stunts in films. We look at the nature of emotion in Lee’s films and how that’s reflected throughout with various characters here. We discuss the challenge of making a film like this with a cast who didn’t all speak Mandarin, or did with heavy accents. We chat about the performers and how much Chow Yun-Fat, Michelle Yeoh, Zhang Ziyi and Chang Chen bring to their roles. We discuss the color green and its use here paired with Peter Pau’s cinematography and Yuen Woo-ping’s action choreography. We touch on Tan Dun’s amazing score, and we debate about the Oscars and how things played out.
It’s a brilliant film that holds up just as well as it did on its initial release. We have a great time talking about it, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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By 1998’s awards season, Miramax’s marketing machine was cranking away at its hardest, and some would argue hit a point that was offensive. In the 1999 Oscar ceremony, not only did their film Shakespeare in Love usurp the odds-on favorite of Saving Private Ryan for Best Picture as well as Gwyneth Paltrow’s Best Actress award over several other arguably stronger performances, but their film Life Is Beautiful won for Best Actor, Best Score, and Best Foreign Language Film, not to mention the fact that it was one of the very small club of foreign films earning a nomination for Best Picture. Roberto Benigni’s chair-jumping and over-the-top pronouncement of his love for everybody was fun to watch, but in the end, was Life Is Beautiful all that and a bag of chips? Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Benigni’s 1997 film Life Is Beautiful.
We talk about the passage of time and how that’s affected our feelings about this film, even if it’s hard to argue that it’s the worst film ever made as some do. We debate Benigni as director, screenwriter, and actor and try to figure out just how much is too much, and why the film often feels more like a chance for him to showboat than a solid story. We talk about the nature of telling a comedic story during horrible circumstances like the Holocaust and what it takes to make it really work right. We also talk about the nature of fables and debate the nature of this being a fable when pushed through Benigni’s prism. We look at the cast and some of the scenes they’re in that work really well. We touch on the music and how beautiful it is. And we chat about the awards circuit for this film with lots of opinions about its nominations and wins. (Central Station absolutely should’ve been receiving the accolades.)
It’s a divisive film that doesn’t hold up as well when revisiting 20+ years later, but it still makes for a delicious conversation. Check it out, make up your own mind, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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Massimo Troisi had a driving passion to make The Postman, so much so that he put medical care off to get it made. This lead to his death immediately after principal photography, but his passion project was able to be seen by the world. But would it have the success story it has if it wasn’t for the Miramax marketing machine? Hard to say, but we don’t think so, despite it being an absolutely adorable film. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Michael Radford’s 1994 film The Postman (Il Postino).
We talk about the nature of foreign language films being left out of the Best Picture race from the early 70s to the mid 90s and why that may have been. We also talk about the nature of the Best Picture award and what a film should have intrinsically to get that nomination, but how marketing efforts really led to shifts there. We discuss Troisi’s passion for this film and how it pushed him to get it made, regardless of his health. We look at the nature of a biographical story and why including Pablo Neruda in this film doesn’t make it biographical. We chat about the power of Neruda’s poetry and why it works so well in this film. We touch on Radford as a director and Luis Bacalov’s incredible score. And we look at other films that were left out of the Best Picture race.
It’s a beautiful and heartwarming film. Maybe not Best Picture material, but certainly something that warmed both our hearts. We had a great time talking about it so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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“I can’t take it! Can’t anyone help me? I can’t take it! Help me!” Starting with an image dreamed of four women in white in a red room, Ingmar Bergman was able to build the story that became his film Cries and Whispers. The film would go on to become one of his most successful films, certainly the highest-grossing film of his released in the US. But Bergman said it’s very hard to say anything about this film, so clearly the film was enigmatic to him, and perhaps made intentionally that way as well, so does it make sense that so many people (including us now) have taken to analyzing his film? Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Bergman’s 1973 film Cries and Whispers.
We talk about the struggle we both have with Bergman’s films, even acknowledging that his films are full of art and intention, and how that shapes our thoughts on the film. We look at the use of the color red throughout the film, how it can be interpreted, and why it may be analytically problematic to use is so pervasively. We also chat about Sven Nykvist’s challenges to capture so much red on film stock at the time. We discuss the performances of the actors here and look at how great they all are. And we look at some of the theories about the film and debate if we can pull much from them.
It’s a tough film to watch but an impeccably constructed film. We have a great conversation about it on this week’s show, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
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- Cries and Whispers Swedish stamp
“Here we go. It’s a murder now. They’ll be calling it a plot if this drags on.” Being from Greece but raised in France, director Costa-Gavras still felt very much connected to his home country. When the democratic politician and leftist activist Grigoris Lambrakis was assassinated in 1963 by right-wing zealots, which pushed the country into mass riots and political unrest that led to a dictatorship, Costa-Gavras was inspired to tell the story cinematically. Based on a book that was a roman à clef, he chose to use the same deliberate way to craft his film, making it a very thinly veiled fiction about this real-world story. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Films Nominated for Best Picture series with Costa-Gavras’ 1969 film Z.
We talk about the nature of this true story and how it’s fictional, but very deliberate in its telling of Lambrakis’ murder. We chat about the was that Costa-Gavras put the film together and how intense and alive it is right out of the gate – and how fitting it is for its time. We look at the shifts in the story and debate if it works going from the assassination to the investigation to the trial. We look at the cast and how well they do in their parts. We talk about the documentary-style approach to the film in camera work and editing. And we debate its run at the Oscars and if it deserved the awards it took home.
We have a great time talking about this great film, so check it out then tune in. The Next Reel. When the movie ends, our conversation begins.
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- Z, 50th Anniversary Edition by Vassilis Vassilikos
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Seeing a foreign language film get nominated for Best Picture may have seemed strange for those in the Academy back in the late 30s, but after seeing Jean Renoir’s film La Grande Illusion, it may have made more sense. The film was about World War I – the Great War (if there really can be such a thing) – but was made during the rise of fascism and the rumblings of World War II. Renoir preaches a humanistic take, which one might have said was too optimistic for its time, but it certainly was affecting and popular because of it. That popularity also led to its being banned in several countries because its viewpoint didn’t make sense at that moment in history – or seemed downright dangerous. Still, the film’s found its way into many people’s hearts and into the annals of cinema history as one of the greats. But a Best Picture nomination? How does that fit in with the Academy? Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at Foreign Language Films Nominated for Best Picture, starting with Renoir’s 1937 film Grand Illusion.
We talk about the nature of a war film like this that doesn’t show battles or trenches but instead focuses on POW camps and social classes, and what that means for the film and expectations. We look at Renoir and his realist type of filmmaking. We chat about Jean Gabin, Erich von Stroheim, Pierre Fresnay, Dita Parlo, and more actors and look at what they bring to the table. We touch on the camerawork, production design, and music. And we break down the Best Picture race in 1938, debating whether this film makes sense in the lineup and if it should’ve won or not.
It’s a classic film, but one that certainly takes some warming up to. We have a great time talking about it on this week’s show, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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"Give me a twister... make it two. Hold the flies.” Coming back just a few short years later, Ice Cube sets his third film in the Friday franchise at Christmastime. It’s a fun shift in the franchise, which also shifts locations yet again to a low-end strip mall where Craig and his cousin Day-Day work as security guards. But Cube is yet again tackling the script by himself and bringing on a first-time filmmaker to bring the film to life, this time through music video director Marcus Raboy. We had problems with those choices in his last film, Next Friday. Will we have the same ones this time? Join us – Pete Wright and Andy Nelson – as we wrap up our Friday franchise series with Raboy’s 2002 film Friday After Next.
We talk about the improvements this film makes over its predecessor, even if they’re not huge, like the better fleshed out characters and the more interesting villain. To that end, we also talk about the abundance of villains in this film and how many of them just don’t work that well because they’re not developed, particularly the Santa Claus hoodlum. We look at what Mike Epps is bringing to the table as Day-Day here and why he works much better than he did in the last film. We chat about the position that films like this have in context of bigger discussions today – #metoo, jokes about rape and homosexuality, even “I can’t breathe” – and what that means for their longevity.
It’s a film with problems, but better jokes than the previous film. It’s fair-to-middling, but still a fun end to the franchise for now. We have fun talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- ’Terry Crews explains why sexual assault survivors don't come forward’ — CNN
"I’m about to show you who the real puff daddy is!” When Ice Cube started up his own production company, CubeVision, it made sense to jump back to the first film that he wrote, Friday, to make a sequel. After all, most sequels are guaranteed to earn back a part of what their predecessors made. But Chris Tucker had become a born-again Christian and didn’t want to be in this type of movie anymore and DJ Pooh, his co-writer, was off directing his own first movie. That didn’t stop Cube, who pushed forward anyway, taking his character Craig to the suburbs for new adventures and more marijuana. Join us – Pete Wright and Andy Nelson – as we continue our series looking at the Friday franchise with Steve Carr’s 2000 film Next Friday.
We talk about what we loved so much about the first film and why this film feels like a disappointment following that one. We look at specific characters and story beats with the film that exemplify why this film is problematic and what Cube, Carr and Co. could have done differently to make this one shine. We talk about various beats and characters that work really well for us, again further laying out what Cube did well here versus what he didn’t. We chat about Carr’s background and how he came to land this film, as well as Tucker’s reasons for not joining on. And we look at actors in this film who did great stuff, even if the material is weak.
It’s a disappointing sequel that has some of the laughs from the first but doesn’t have any of the heart, and for that, we’re forever disappointed. Still, it makes for a great conversation, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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Ice Cube’s rap career was on fire because of the work he was doing with N.W.A., but after playing Doughboy in John Singleton’s 1991 film Boyz n the Hood, he got the acting bug and wanted to do more films. He talked to N.W.A.’s publicist Patricia Charbonnet, and the two of them came up with the idea of telling a story of life in the hood that wasn’t so dark like Singleton’s film or others like it. With that, Cube and his friend DJ Pooh set to work on the script and Charbonnet cut a deal with New Line Cinema. Cube wanted F. Gary Gray to direct it, who he knew from directing several videos for his group. This team put together what they thought was a small comedy, but it’s turned into an iconic film that’s endured the test of time. Join us – Pete Wright and Andy Nelson – as we kick off our new series looking at the Friday franchise with Gray’s 1995 film Friday.
We talk about why the comedy in this film works so well and the impression it continues to make. We look at the nature of stoner films and how this fits in – and differs. We discuss the brilliant cast and what everyone’s bringing to the table, especially Chris Tucker and Cube himself. We chat about the tone that Gray, Cube, Pooh and team were looking to create with the film and discuss why these characters are so unforgettable. And we remember John Witherspoon, who brilliantly plays Craig’s father in the film, and has been burned in our brains.
It’s a riot of a film and one we love to watch, so light up, check it out, then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.
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Toward the end of Grant’s acting career, he had stopped playing the romantic interest, concerned how his age reflected in the on-screen relationships, particularly with younger women. After this point, he only played a romantic interest one last time, and it was opposite Audrey Hepburn in Charade. Even then, he felt so uncomfortable with it that director Stanley Donen had the script changed to allow for it to be a conversation point between their characters and to have Hepburn’s character be the pursuer. And clearly it worked for them as well as for audiences then and now. Join us – Pete Wright and Andy Nelson – as we wrap up our Cary Grant series with Donen’s 1963 film Charade.
We talk about why this film has such charm and works so well as ‘the best Hitchcock film Hitchcock never made.’ We look at the genres it mixes and answer the question – does it have too many twists and turns? We talk about Grant and Hepburn and what they bring to the table, as well as Walter Matthau, James Coburn, George Kennedy and Ned Glass. We chat about Henry Mancini’s fantastic score and magical song he wrote with Johnny Mercer. And we explore the world of philately, particularly as it centers on the three stamps featured in this film.
It’s a glorious ride of a film that’s a thrill to watch over and over. We have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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"I’m an advertising man, not a red herring.” When it came time to cast the lead for his new film North by Northwest, Alfred Hitchcock found himself in a pickle. He had already discussed the film with James Stewart, the star of the film he just wrapped up – Vertigo – and Stewart wanted the role. Hitchcock had another actor he’d worked with in mind – Cary Grant. Too embarrassed to tell Stewart that, Hitchcock had to put off the filming of the movie until Stewart was locked in with his next film before he told him. That way, Stewart would be forced to turn it down due to his prior commitments and Hitchcock could go along and cast Grant, the actor he’d wanted from the start. Join us – Pete Wright and Andy Nelson – as we continue our Cary Grant series with Hitchcock’s 1959 film North by Northwest.
We talk about why this film works so well and how it’s such a strong representative of the ‘wrongfully accused man on the run’ trope. We chat about the actors Hitchcock cast in the film with Grant – Eva Marie Saint, James Mason, Martin Landau, and more – and what they bring to the table. We look at how well constructed the film is, from the largely quiet crop duster scene to the climax hanging from the edges of Mt. Rushmore. And we chat about Robert Burks’ cinematography, Robert Boyle’s production design, and of course Bernard Herrmann’s score and how they contributed to the picture.
It’s a top notch thrill ride and we have a great time talking about it on this week’s show. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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- Hooked on Houses — North by Northwest
"That man’s an imposter, and if he came here to be buried in our cellar, he’s mistaken!” Cary Grant was cast and ready to play the lead in the film adaptation of The Man Who Came to Dinner, but people were so upset that Monty Wooley wouldn’t be continuing the part he had created that the studio ousted Grant for Wooley. That left a hole in Grant’s schedule. He knew Frank Capra was busy casting for his new film, an adaptation of the Broadway hit Arsenic and Old Lace, and he knew that Ronald Reagan and Jack Benny had both turned the lead role down, so he told Capra he was interested and available. Capra was thrilled, and they set to work. Join us – Pete Wright and Andy Nelson – as we kick off our Cary Grant series with his Capra 1944 comedy, Arsenic and Old Lace.
We talk about Grant and why at times, his big, over-the-top performance may be a bit too much (it was even too much for the actor who hated his own performance here). We look at the rest of the cast, both those who came over from the stage show and those cast in Hollywood, and chat about what they bring to the film. We look at why Capra jumped into this film and why it took so long to make it to the big screen. And we chat about Sol Polito’s cinematography and Max Steiner’s music, and why they both work well in context of the film.
It’s a fun and funny film that is a broad type of comedy that definitely works more for some than others. We have a great time talking about it on the show this week, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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- ’Arsenic and Old Lace’ — play by Joseph Kesselring
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"Maybe you're a penguin, Tim, but Julie's not a penguin. She's a lioness. Don't try to mate a lioness with a penguin. Ever.” Aside from a few dips onto other genres, Jay Roach generally sticks with comedies, and seems to fare well when he's doing big, broad ones. Take the Austin Power films, or perhaps Meet the Fockers. With such a strong curriculum vitae in comedy films, having him direct a remake of Francis Veber's Le Dîner de Cons looks great on paper. But when it comes time to write, make, and release the movie, does it hold up as well? Join us – Pete Wright and Andy Nelson – as we wrap up our Francis Veber and His Remakes series with the remake of his 1998 film Le Dîner de Cons with Roach's 2010 film Dinner for Schmucks.
We talk about the general vibe that this remake feels so American, and what that means to the farce in the translation. We look at the construction of the characters and why we preferred them in the original. We chat about comedy beats that worked really well for us and gave us a sense of the Roach we were wanting. We discuss the nature of Veber's films and why they seem so translatable. We talk about the actors, notably Paul Rudd and Steve Carell, but also Bruce Greenwood, Octavia Spencer, Stéphanie Szostak, Zach Galifianakis, Jemaine Clement, Lucy Punch, and more. We touch on Theodore Shapiro's always great comedy score. And we touch on the title and how it compares to the original.
It's an interesting concept for a film that doesn't hold up to the original, but it still allows for a great conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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"I don't have an idiot yet! I'm panicked!” Francis Veber had written plays, TV shows, and films. He had also directed plenty of well by the time he decided to adapt his hit play "Le Dîner de Cons" for the big screen. Luckily, his brand of farcical humor worked brilliantly with the film version, and it became a huge hit in his home country of France. Join us – Pete Wright and Andy Nelson – as we continue our Francis Veber & His Remakes series with his 1998 film Le Dîner de Cons.
We talk about why the farcical humor in this film works so well for us. We look at the brilliant performance of Jacques Villeret as Pignon and why he works so well in the role. We chat about the trick of translating this title to English and how some of the comedy itself doesn't really translate. We look at the other performances in the film and why they work so well We touch on the look and music and how well they serve the story. And we chat about the film's success and why it likely was a hard one to translate to English.
We had a blast with this film and have a great time talking about it. Check it out then tune in to this week's episode! The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
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When Mike Nichols and Elaine May teamed up again for the first time in over thirty years, it was to adapt Francis Veber's most famous and celebrated works, the 1978 film La Cage aux Folles. Veber's films had been remade in English before — in fact, he'd directed a number of them — but this one was the big one so it needed to be big. But would it work with an American audience in the 90s? Join us — Pete Wright and Andy Nelson — as we continue our Francis Veber and his remakes series with Nichols' 1996 film The Birdcage.
We talk about the nature of comedy films and the experience of seeing them in theatres versus home alone, and how this one holds up when watched with an audience of one. We look at the transition from Saint-Tropez to Miami and why it works, especially with Bob Dole's moral majority. We chat about our struggles with Dan Futterman's character (and Futterman himself) and why he feels so much more selfish in this film than in the original – and what that does to the story. We praise Robin Williams, Nathan Lane, Gene Hackman, Dianne Wiest, Hank Azaria, and Christine Baranski effusively, and compare the writing by May and direction by Nichols for these characters as compared to Futterman and Calista Flockhart. And we chat about Stephen Sondheim and old songs of his repurposed for this film.
It's a fun romp of a film that holds up about as well as the original. We have a great time talking about it on this week's show, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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When asked to adapt the hit stage show "La Cage Aux Folles" to the big screen, director Édouard Molinaro knew he had to get comedy writer/director Francis Veber involved to not only get the story out of the one-set show and open up the world, but also — and more importantly — to flesh out the core relationship so the film wasn't just all stereotypes. Veber did his work, and with Molinaro's direction, became a huge hit in France. Join us – Pete Wright and Andy Nelson – as we kick off a short series looking at French writer/director Francis Veber and his remakes, starting with Molinaro's 1978 comedy La Cage Aux Folles.
We talk about the tone of the film – a broad, farcical comedy – and debate how the caricatures and stereotypes play throughout. Are they too much? Are they okay? We ponder the difficulties for Molinaro of dealing with actors Ugo Tognazzi and Michel Serrault and how they made getting the film made that much more difficult. We discuss the relationship the film has to the period in which it was made as well as the location in which it's set – Saint-Tropez – and how not knowing the connections may affect ones viewing. And we chat about some of the people behind the technical aspects, including composer Ennio Morricone.
It's a fun film that works because of the small, honest moments and we have a great time talking about it on this week's show. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
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- La Cage Aux Folles by Jean Poiret
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When Agnieszka Holland described her film Spoor at the New York Film Festival, she said it was, "an anarchistic, feminist, ecological crime story with elements of black comedy and magic realism." That statement, paired with comments from a correspondent at Poland's state media outlet, calling the film "a pagan film promoting ecoterrorism," speaks exactly to what likely drew Holland to the original source material. It's not a story that is easily definable by Hollywood's genre boxes. But how well does that work in telling a film and trying to find distribution? Join us – Pete Wright and Andy Nelson – as we wrap up our series on director Agnieszka Holland with her 2017 film she co-directed with her daughter Kasia Adamik, Spoor.
We talk about our struggles with the film but also why it worked for us largely. We look at the nature of the story and the views Holland is pushing in society, like young vs. old, man vs. nature, and more. We debate the ending and its magic realism feel, even with a plot device to get us there that's frustrating. We chat about animal violence in film, how we feel about it, and how they accomplished it here. We look at the gorgeous cinematography and score and how well they work here. And we touch on the brilliant performance of Agnieszka Mandat in the lead role, paired with Wiktor Zborowski and Miroslav Krobot, and how much we love what these older actors bring to the story.
It's a film that likely will be a challenge for a lot of people, but one that works for us, despite some frustrations. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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Film Sundries * Watch this film: Amazon * Original theatrical trailer * Original poster artwork * Drive Your Plow Over the Bones of the Dead by by Olga Tokarczuk * Flickchart * Letterboxd
For Agnieszka Holland's third and final (she says) film about the Holocaust, she landed on a unique story that has shades of others before and after detailing gentiles saving Jews, but that's set in a very unique location – the sewers below the city. That meant a lot of dark scenes, but Holland didn't shy away from them. She worked with Jolanta Dylewska, her cinematographer, and together, they created a beautifully dark palette that feels authentic and not like The Third Man. Join us – Pete Wright and Andy Nelson – as we continue our Agnieszka Holland series with her 2011 film In Darkness.
We discuss the nature of Holocaust films and the nature of criticism when looking at stories that are so authentically real and horrible, but are also films. We look at the brilliant lead performance by Robert Wieckiewicz and why he works so well in the film. We chat about the nature of characters in this film and why Holland works so hard to allow her characters to challenge us with their flaws. And we discuss the design of the dark sewer locations, filming in them, and how to write music that works for the film.
It's a powerful film, albeit a tough one, that has its issues but still works effectively. We have a great time talking about it, so check it out then tune in to this week's show! The Next Reel – when the movie ends, our conversation begins.
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- Script Transcript
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- In Light: The True Story of the Girl who Spent Her Childhood In Darkness by Agnieszka Holland
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When Agnieszka Holland was given early pages from Solomon Perel's unfinished memoirs about surviving the Holocaust, she was immediately taken by it. The fact that it was about a young Jewish boy who stayed alive by hiding out as one of the Hitler Youth among other things was fascinating to her, but it was his lack of embellishing and complete honesty that drew her in. Thus began her journey in making a film based on his experiences. Join us – Pete Wright and Andy Nelson – as we kick off a series about the works of Agnieszka Holland with her 1990 film Europa Europa.
We talk about how the nature of this story and how it's done very much in a Pilgrim's Progress style, and why it works for this coming of age story. We chat about Holland adapting the story to not just focus on the tragic but also be playful. And we look at reactions and why some people may have had issues with the telling of this story.
It's a powerful, wonderful story and we have a great time chatting about it on this week's show. Check it out and tune in! The Next Reel – when the movie ends, our conversation begins.
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- Europa Europa: A Memoir of World War II by Solomon Perel
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Many consider the 1979 mini-series adaptation of John le Carré's "Tinker Tailor Soldier Spy" to be not only the definitive le Carré adaptation but also that Alec Guinness to be the definitive George Smiley. Because of that, tackling the story again can be seen as a tricky task. Luckily, the team behind the film adaptation in 2011 found the right people to adapt the script, the right director to helm it, and the perfect actor to fill Guinness' shoes. Join us – Pete Wright and Andy Nelson – as we wrap up our John le Carré series with Tomas Alfredson's 2011 film Tinker Tailor Soldier Spy.
We talk about why Gary Oldman works so well in this part and how quiet his performance is. We look at the way the story is crafted and compare it to last week's film, looking at why this adaptation works and that one doesn't. And we look at the style Alfredson brought to the film.
It's a great film and one we have a great time chatting about. Check it out then tune in to this week's show! The Next Reel – when the movie ends, our conversation begins.
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Film Sundries * Watch this film: iTunes • Amazon • Netflix • YouTube * Script Transcript * Original theatrical trailer * Original poster artwork * Tinker, Tailer, Soldier, Spy: A George Smiley Novel by John le Carré * Flickchart * Letterboxd
John le Carré's book "The Little Drummer Girl" was somewhat controversial as it managed to offend both the Israelis and the Palestinians in its depiction of its terrorism story. Controversy, however, can often be seen as a moneymaker, at least that's what the team at Warner Bros. must've thought when they set to work right away of optioning the book, adapting it, and having George Roy Hill direct it. Unfortunately, Hill didn't seem to be the right guy for the job as the film ended up fairly flat. Then again, maybe it was the fact that they cast a nearly-40 Diane Keaton to play a role written for an early 20s actress. Or maybe the script was a bit too streamlined? Join us – Pete Wright and Andy Nelson – as we continue our John le Carré series with Hills' 1984 adaptation The Little Drummer Girl.
We talk about where the problems were for us in this adaptation – the direction? acting? script? – and how it stacks up against the more recent miniseries adaptation. We look at the nature of the story and why it may not have worked well at the time. We look at Keaton and debate some other possible actresses who would have fit the role better than she. And we chat about Dave Grusin's score, which sadly didn't work for us.
It's a sloppy telling of this story – one which is told much better – but it's still interesting to visit. Check it out then tune in to this week's show as we have a great conversation about it. The Next Reel – when the movie ends, our conversation begins.
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Film Sundries * Watch this film: iTunes • Amazon • YouTube * Original theatrical trailer * Original poster artwork * The Little Drummer Girl by John le Carré * Flickchart * Letterboxd
When John le Carré wrote his third novel "The Spy Who Came in From the Cold," it was such a success and brought him so much acclaim that it essentially outed him as a spy for MI6. He'd been doing it for only five years, but in that time, he learned a great deal about how the machine worked (or the 'circus' as he calls it in his books) and was able to bring that world to life with greater accuracy than had been seen before. Because of that, it was inevitable that the story would be adapted to film, and true enough, two years after it was published, the film was released. Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at adaptations of John le Carré's novels with Martin Ritt's 1965 The Spy Who Came in From the Cold.
We talk about the tone of the story and the various themes presented here about loyalty, alienation, ideologies vs. morality. We chat about some of the performances, like Richard Burton, Claire Bloom, Oskar Werner and Peter van Eyck, and what they bring to the table. We look at Oswald Morris's cinematography, the long shots, and what the black-and-white brings to it. And we dig into the nature of a bleak ending as depicted here and what it does to the film (and to Pete!).
It's a wonderful film and a great entry to this series. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- The Spy Who Came in from the Cold: A George Smiley Novel Book 3 by John le Carré
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Ron Stallworth's story seems ridiculous and unbelievable, but it's true – as an African American undercover cop with the Colorado Springs Police Department, Ron infiltrated the local KKK group with one of his fellow detectives and managed to bring them down. It's the sort of story that Spike Lee seems perfect for, so who better to direct it than Lee himself? Join us – Pete Wright and Andy Nelson – as we wrap up our brief Spike Lee series with his 2018 film BlacKkKlansman.
We talk about Lee's messaging in this biopic and if and how it works. We look at the bookends of the film and discuss how they fit and if we feel they work. We chat about the comedic tone throughout the film and why it works. We examine the intercutting done in some key sequences and why it works so effectively. We touch on the actors and what they're bringing to the table. And we close up our series by digging into Lee's works discussed on the show and why he's such an important filmmaker.
We have a great time talking about this movie. It's a film that's incredibly relevant and will likely be as relevant decades from now as it is today. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
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- Black Klansman: Race, Hate, and the Undercover Investigation of a Lifetime by Ron Stallworth
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“Everybody wants to be black.” By the time year 2000 rolled around, Spike Lee had made 13 feature films (if you count his 60-minute student film Joe’s Bed-Stuy Barbershop: We Cut Heads as a feature) and had been celebrated, denigrated, disparaged, praised, and sometimes ignored. Regardless of the reactions, Lee showed himself to be a straight-up artist – always pushing to make noise with his cinematic art, whether people ended up listening or not. And then along comes his 2000 film Bamboozled, a film that examines black culture as depicted in media and art that is as much a satire on media and entertainment as it is a look at the history of African Americans in art. With this film, Lee seems to be pushing his artistic bounds, even if he seems to be moving away from telling a cinematic story that’s going to earn its money back. But it’s art, and Lee is an artist, proving once again that he’s a master of his craft. Join us – Pete Wright and Andy Nelson – as we continue our Spike Lee series with his 2000 film Bamboozled.
We talk about the nature of a satire like this and how well it works. We look at Lee’s perspective on these issues and society and how his influences shine in this story. We chat about the many elements within society Lee addresses in this film and how effective his storytelling is. We look at the performances, notably the biggest one of them all – Damon Wayans as Pierre Delacroix – and what they’re bringing to the table. We chat about the cameras used to film the story and what Lee was perhaps intending with the different formats. And we talk about the pain we feel in the blackface application scenes and how difficult it was emotionally for the actors to put it on.
It’s a powerful film that defines Lee as much as it emphasizes his position. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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“Wake up!” For Spike Lee’s third feature film, he blended an idea he got from an Alfred Hitchcock Presents episode where the characters talk about the theory that hot weather increases violent tendencies with stories of police violence against African Americans that ended in their deaths. He created a film that speaks to family and neighborhood as much as it speaks to violence and anger. It’s a film chock full of flawed characters who feel lived in as much as the streets of this fantastical version of Bed-Stuy do themselves. It’s a film with no easy answers. One that raises a lot of questions and makes you think. Join us – Pete Wright and Andy Nelson – as we kick off our Spike Lee series with his 1989 film Do the Right Thing.
We talk about the nature of family and how it relates to ‘neighborhood,’ and how that doesn’t necessarily mean everyone likes each other. We discuss the violence as tensions erupt in the third act, what we think Lee is saying, and how many critics interpreted it. We chat about the brilliant performances across the board from many faces who only grew in stature as the years went by. And we look at how the cinematography, production design, costume design, and music all lent a hand in creating this seemingly alternate version of the neighborhood that feels both slightly outside of reality and overwhelmingly hot.
It’s a masterclass in filmmaking from an incendiary auteur. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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“What kind of man are you?” Jean-Pierre Melville wrote the script for Le Samouraï for Alain Delon. When he started telling Delon about the script, Delon stopped him after ten minutes, commenting on how there was no dialogue yet. Melville said that was correct, and Delon’s immediate reaction was to say, “I’ll do it.” He then brought Melville to his bedroom where he revealed that it was decorated in a very sparse Japanese style with a samurai sword hanging over his bed. It seemed it was meant to be. Now, looking at the film, it’s hard to imagine anyone but Delon playing the part of Jef Costello, the hitman, because he’s so perfect in the part. Join us – Pete Wright and Andy Nelson – as we wrap up our short French crime film series with Melville’s 1967 film Le Samouraï.
We talk about Delon and the nature of silence in this film of Melvilles. We look at the color palette and debate if it would make more sense as a black-and-white film. We talk about the procedural nature of the film, exploring the criminal and police sides of this. And we discuss the cinematography, sound design and music and what they bring to the table.
It’s a fantastic, moody film that definitely creates a tone. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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Film Sundries * Watch this film: iTunes • Amazon • Netflix • YouTube * Original theatrical trailer * Original poster artwork * Flickchart * Letterboxd
“I liked you. I really liked you, Macaroni, but you knew the rules.” After Jules Dassin was blacklisted from Hollywood, he went to Europe to see if he could find anyone willing to hire him. Even there, it took some time but eventually, producer Henri Bérard asked him if he would write and direct the adaptation of Auguste Le Breton’s novel “Rififi.” Jean-Pierre Melville had been asked prior but gave Dassin his blessing to take it on, and Dassin made the film, now hailed as one of the great crime films of the era. Join us – Pete Wright and Andy Nelson – as we continue our French Crime Film series with Dassin’s 1955 film Rififi.
We talk about how Dassin came to this project and got it made, changing some unsavory elements of the source material. We look at the nature of the characters and how the story ends, tying it to crime films of the past. We chat about the nature of criminals as protagonists and what that means in context of watching the film. We look at some of the actors and what they bring to the story. We discuss the lengthy robbery sequence in the middle of the film and how well it works to bring out tension in naturalistic ways. And we talk about the look of the story and how it ties into crime and noir elements.
It’s a fantastic crime film that holds up incredibly well. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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- Watch this film: Amazon • Netflix
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- Du Rififi Chez Les Hommes by Auguste Le Breton (French)
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With a passion for American films noir, French filmmakers in the 50s started making their own takes on crime stories and created an entire new subgenre of crime films, the policiers, which in turn inspired many American filmmakers. Join us – Pete Wright and Andy Nelson – as we kick off our new series on French crime films with Jacques Becker’s 1960 prison breakout movie, Le Trou.
We look at the nature of prison break movies and what filmmakers do to get us to side with these criminals as our protagonists. We chat about the documentary style employed a bit by Becker in this film and debate the approaches he uses to tell this true story. We look at the actors who play the roles and how well they work. We touch on the sound design, editing, and cinematography and why they’re all such integral elements to making this story succeed. And we talk about unreliable protagonists and ways to interpret our lead’s actions at the end of the film.
It’s a stellar film and a great way to kick off this new series. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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- Watch this film: iTunes • Amazon • Criterion Channel
- Original theatrical trailer
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“They’re probably just looking at my smock. It tends to catch the light.” After collaborating on Tammy and The Boss, husband and wife team Melissa McCarthy and Ben Falcone proved that the third time’s a charm with Life of the Party. Of course, ‘charm’ may not be the most accurate word as the film was reviewed fairly poorly, but if it hadn’t been reviewed poorly, it wouldn’t fit into our current guilty pleasure series! Join us – Pete Wright and Andy Nelson – as we wrap up this year’s Guilty Pleasure series with Andy’s guilty pleasure, Falcone’s 2018 film Life of the Party.
We talk about why Andy finds so much joy in this film and why he finds Melissa McCarthy to be such an enjoyable actress to watch. We chat about the reasons Melissa works so well in this film, despite the fact that this film is so full of film tropes. We look at the rest of the cast filling out the roles and how well they work in their parts (or don’t, in a few cases). We look at the ways the script works and some ways it feels a bit clunky. And we discuss how the writing shows some smarts in some areas that seem like they’re to go the typical direction only to have them go another.
It’s not a perfect film and clearly isn’t liked by a great many people, but Andy loves it, and as it turns out so does Pete. We have a lot of fun talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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Bruce Willis’ star power rose quite a bit with the release of Die Hard, but strangely it was his supporting role in Bonfire of the Vanities that seemed to give him the clout he needed to do his own rewrites on the action thriller he was working on at the time, Hudson Hawk. Through his vision, this film became goofier and very Looney Tunes-esque. Unfortunately, the marketing stuck with the action side of Willis and the film flopped in the States. But it’s a quirky film that found its audience over time and became a bit of a cult classic. Join us – Pete Wright and Andy Nelson – as we start up a new round of our guilty pleasure series for the new year and look at one of Pete’s guilty pleasures, Michael Lehmann’s 1991 film Hudson Hawk.
We talk about why Pete has this on his guilty pleasures list and what Andy thought of it. We look at the backstory and what went into getting it made. We discuss the marketing for the film and ponder if a different approach may have allowed for a successful release. We chat about the over-the-top antics of the rest of the cast but principally Richard E. Grant and Sandra Bernhard as the Mayflowers. We touch on Dante Spinotti’s look and Chris Lebenzon’s & Michael Tronick’s editing of the film and what they brought to it, paired with Lehmann. And we debate the tonal shifts in the film between goofy, bonkers comedy and surprising moments of strong violence.
It’s a strange little film that many people don’t click with but some people – like us – really enjoy. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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- Walkthrough of Super NES version of Hudson Hawk Video Game
“It’s just a lil’ ole bitty pissant country place. Nothing much to see.” After Nine to Five, Colin Higgins had been working on a few ideas of his own when he was asked by his recent collaborator Dolly Parton to direct her next film, the adaptation of the Broadway musical The Best Little Whorehouse in Texas. While coming on board a relatively put together story may not have allowed Higgins to craft the story his way, the project still did fit with the types of stories about outsiders that he was best known for. Join us – Pete Wright and Andy Nelson – as we wrap up our Colin Higgins series with his 1982 film The Best Little Whorehouse in Texas.
We talk about the challenges of a film about prostitution and making the characters relatable. We look at the on-screen chemistry between Parton and her co-star Burt Reynolds. We chat about some supporting staff like Charles Durning, Dom DeLuise, and Jim Nabors. We discuss what the film’s saying about politics, the media, and legislating morality. We touch on Dolly’s iconic song “I Will Always Love You” which she included in this film, and discuss who did it better – Dolly or Whitney? And we look at Higgins’ career and discuss what makes a Higgins film a Higgins film?
It’s a fun film but not something that wowed us. Either way we have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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- The Best Little Whorehouse in Texas The Musical (Wikipedia)
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When Jane Fonda and her producing partner Bruce Gilbert brought Colin Higgins on to rewrite Patricia Resnick’s workplace drama, they knew they were going to shift the story to a comedy instead. They also knew that Higgins would flesh out the three female protagonists at the core of the story. What they also got was an incredibly well-structured script that was full of wild humor while also keeping the characters honest and grounded. Considering these were features that Higgins consistently wrote into his scripts, it really didn’t come as a surprise, but what did surprise everyone is how much audiences connected to this story. Join us – Pete Wright and Andy Nelson – as we continue our Colin Higgins series with his 1980 comedy classic Nine to Five.
We talk about how smart this script was for its time and how sadly relevant it is today still. We look at Fonda, Lily Tomlin, and Dolly Parton and chat about how perfect they are as an on-screen trio. We look at the perfect Dabney Coleman as their nemesis and chat about the awful crimes he commits in the workplace, and how it’s viewed through today’s eyes. We discuss how Parton’s title song became such an iconic anthem for a cultural movement at the time. And we look at elements in the film that we can point to that define Higgins’ style of storytelling (not to mention his love for comedy tropes).
It’s an absolute comedy classic that everyone should see, so stop what you’re doing, watch it, then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.
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- [Original Material][original]
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“People just don’t drop dead in cinemas watching horror movies and whispering, 'Look out for the elf!'” Even if his first screenplay was for a film that was a box office flop at the time, the success of the second film he wrote gave Colin Higgins enough clout to finally direct. As a clear fan of Hitchcock’s work, he delivered his second comedy thriller that felt very much an homage to Hitchcock in Foul Play, and he delivered another box office hit. Join us – Pete Wright and Andy Nelson – as we continue our Colin Higgins series with his 1978 directorial debut Foul Play.
We talk about Higgins as director and debate how he does on his first time out of the gate. We look at many of the tropes he fills the film with, both Hitchcockian thriller tropes and comedy tropes of the time. We chat about the casting of Goldie Hawn and Chevy Chase and how they got the roles, plus we look at many of the other actors fleshing the film out. We touch on politically incorrect comedy involving little people and ponder how that affects our viewing in 2020. We look at the cinematography and music, and wonder if Barry Manilow, although popular at the time, made sense for a comedy thriller. And we revel in the playful titles the Swedes gave to this film as well as many other Hawn films over the years.
It’s a fun film and definitely worth talking about, even if only in context of the time when it comes to jokes involving laughing at little people suffering. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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- Watch this film: Amazon • YouTube
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“If there’s ever anything that you need, don’t call me.” For Colin Higgins’ second film, he wanted to write something that had a Hitchcockian flair, and he was partial to the thrillers on trains. What we got – and what Arthur Hiller deftly directed – was Silver Streak. What we also got was the legendary comedy pairing of Gene Wilder and Richard Pryor, two comedians who would end up making three more films together after this. Join us – Pete Wright and Andy Nelson – as we continue our Colin Higgins series with Hiller’s 1976 train thriller Silver Streak.
We talk about Pryor and Wilder and if blackface comedy is still something we’re allowed to laugh at, especially when the actors are so clearly pointing out that it’s not okay. We chat about the thrills balanced with the comedy in this film and how well it works. We look at Wilder and Pryor, but also Jill Clayburgh, Patrick McGoohan, Ned Beatty, Clifton James, Scatman Crothers, Ray Walston, Valerie Curtin, and Richard Kiel, to see what they’re all bringing to the table. We touch on Henry Mancini’s score and the vibes it brings. And we look at the many tropes throughout this film, wondering if they work well here because at the time, they likely weren’t as commonly used as they came to be.
It’s a fun film and we have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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“You can’t let the world judge you too much.” Colin Higgins had one of those incredibly lucky starts to his career in motion pictures – knowing the right people at the right time while still in school. Of course, he also proved right out of the gate that he was incredibly talented, which always helps. His first script, Harold and Maude, was written as his thesis project while at UCLA, and even if he didn’t end up getting to direct it, with Hal Ashby on board, he was able to be involved from start to finish to see his vision come to life. Join us – Pete Wright and Andy Nelson – as we kick off our Colin Higgins series with his first film, Ashby’s 1971 film Harold and Maude.
We talk about Higgins and why he still resonates as a great writer/director. We look at Ashby’s career and discuss this in relation to it. We discuss why this film had a hard time finding its audience upon its initial release but how it’s become a popular classic now. We look at the humor in it and chat about why jokes about suicide end up being okay in the movie. We touch on Cat Stevens and his music which feels so of a part of the movie. And we cover the amazing Ruth Gordon and Bud Cort in the titular roles (not to mention several of the other amazing actors rounding out the cast).
It’s one of our favorites and we have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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By the time Steve Martin came around to act in All of Me, his film career was in full bloom and he could be counted on to make a movie work (albeit not always make money). He had proven that he could do over-the-top goofball comedy, more serious roles, and more straight-forward comedy in which he plays a regular person. Join us – Pete Wright and Andy Nelson – as we conclude our series on Martin’s early career with Carl Reiner’s final film with him, 1984’s All of Me.
We talk about Martin and his lovely co-star, Lily Tomlin, and how well they work together in this film. We look at the nonsense rules established in the film about when they each have to speak out loud, when they speak in their heads, and debate if any breaking of these rules really matters since they so firmly sell us on this fantastical situation. We look at some other cast members and what they bring to the table, including the swami who doesn’t work very well for Andy. And we look at some of the crew members and what they bring to the table, especially in some complicated scenes through mirrors – or at least seemingly through mirrors.
It’s a great film that works on all fronts, making for a great experience, and a great entry for Martin’s filmography. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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Film Sundries * Watch this film: iTunes • Amazon • Netflix • YouTube * Script Transcript * Original theatrical trailer * Original poster artwork * What ever happened to Me Two? * Flickchart * Letterboxd
By 1984, Steve Martin had played an idiot, a down-on-his-luck sheet music salesman in 30s Chicago, a noir detective, and a mad scientist – quite a variety of characters, though all very specific in their characterizations. Because of that, seeing him play a pretty normal, non-affected straight guy in Arthur Hiller’s comedy The Lonely Guy almost seemed a bit of a surprise. Surely, Martin was looking for a variety of parts so he could show off what we could do, so it makes sense. The film didn’t end up being a success, but it still allowed Martin the chance to play something a bit different yet again. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with Hillers’ 1984 film The Lonely Guy.
We talk about why a lot of this film doesn’t work, but why parts of it do work. We look at why comedy beats with Dr. Joyce Brothers may work (or not, depending on your take), but how her presence does seem to date the film a bit. We look at the team behind some of the technical elements, including composer Jerry Goldsmith. And we look at other cast members like Charles Grodin and Judith Ivey and chat about what works with their performances versus Martin’s.
It’s a tricky little film that feels at times like the parts are better than the sum. Regardless, it has some great comedic beats, even if the tone is a mess. We have a great time talking about it on this week’s show so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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- The Lonely Guy’s Book of Life by Bruce Jay Friedman
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CJ and Jordan from The Nerd Critic podcast are taking over the feed today to share the first of their series leading up to next weekend’s big release with the first of the JJ-Star-Warsies in Star Wars: The Force Awakens.
Like what you hear, but you’ve never heard of The Nerd Critic? No worries! Just head over to reelcontender.com, or find them in Himalaya, Apple Podcasts, or anywhere else you get your podcasts. Like we do!
Enjoy the show, and be on the lookout for a little Next Reel invasion over there soon!
"I’ve had the top of her head off, but that’s as far as it went.” When Steve Martin and Carl Reiner reunited for a third time, they took some of the parody comedy joy the found in Dead Men Don’t Wear Plaid and the absurd comedy from The Jerk, to make The Man With Two Brains. There is a clear sense here that they enjoy playing with conventions from mad scientist films, but it’s not as much an homage like their last film. It also feels like they’ve grown quite a bit in their comedy writing, as the jokes work really well here, especially the ones that repeat throughout the film. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with Reiner’s 1983 film The Man With Two Brains.
We talk about why this film works so well for us, and why the comedy tends to stick more often in this one. We look at elements of the comedy that also didn’t work as well, and why that may be. We chat about Martin and Kathleen Turner, looking at what they each bring to the table, along with other cast members. We complain about the editing and wonder if it’s the fault of the editor or if it was a problem inherent in the script before they realized what the issues were. And we chat about some of our favorite comedy bits throughout.
It’s a fun film and we have a great time talking about it, so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.
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“You know how to dial, don’t you? You just put your finger in the hole and make a tiny little circle.” When Steve Martin and Carl Reiner latched onto the idea of acting in a scene opposite characters in other movies, they thought it was pretty funny and thought it would be even funnier if they could do an entire movie that way. It took some work to get there, but they managed to pull off a pretty clever film in Dead Men Don’t Wear Plaid, even if they devolve into dumb comedy at times. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with Reiner’s 1982 film Dead Men Don’t Wear Plaid.
We talk about the nature of comedy, particularly when it’s a film that is operating as both a parody of and an homage to films noir – and why the silly humor they throw in sometimes just doesn’t work. We look at the brilliant technical feat it was to recreate costumes, sets, lighting designs, music, script, and more to make this movie work. We chat about Martin, Reiner, and Rachel Ward, and how well they work in the film. We chat about the origins of the film and why the story feels so convoluted. And we look at some other films that have tried to pull similar things off.
It’s a really interesting film in the lineup of Reiner/Martin collaborations, and we have a great time talking about it. Definitely check it out, then tune in! The Next Reel – when the movie ends, our conversation begins.
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“I want to live in a world where the songs come true.” It may have seemed more strange at the time than it does now, but after his success of his comedy film The Jerk, comedian Steve Martin used his career momentum to next make… a depressing musical in which he’s a completely unlikeable character. In context of the career path that Martin has taken and the variety of projects he’s been a part of, it’s clear that it was a smart decision, but he’s lucky the flop of Pennies From Heaven didn’t kill his career completely. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with his next film, Herbert Ross’ 1981 film Pennies From Heaven.
We talk about the peculiarities of this film and why so much of it seems like it isn’t working, but how enough of it does where it’s a flawed but unique project. We chat about the lip synced musical numbers and debate why they chose to do the music this way instead of having everyone sing. We discuss the brilliant direction by Ross, cinematography by Gordon Willis, and production design by Philip Harrison, and how beautiful the film is, particularly during the dance numbers. And we debate if this film and its structure makes us more interested or less in watching the original BBC TV series from 1978.
It’s a flawed film, one that Andy likes more than Pete, but it’s certainly worth watching and discussing. So check it out, then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.
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Film Sundries * Watch this film: iTunes • Amazon • YouTube * Script Transcript * Original theatrical trailer * Original poster artwork * Flickchart * Letterboxd
“I don’t need anything… except this. This ashtray, and that’s the only thing I need is this. I don’t need this or this. Just this ashtray… and this paddle game.” Steve Martin was having great success as a comedian, but felt like he was at his peak and wouldn’t last very much longer if he didn’t push into another avenue. That other avenue, as it turned out, was film. Of course, that wasn’t as easy to get into as he had hoped and it took him some time, but eventually, one of the studios latched onto his idea for a script and he was off and away. Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at the early films of Steve Martin starting right here with Carl Reiner’s 1979 film The Jerk.
We talk about Martin and how this film worked to give him not just a film career but so much more, and why his brand of comedy helped get him there. We look at why comedy in a film like this may feel dated, particularly for people looking at it for the first time. We chat about several of the comedy moments in the film, both famous and not-so-famous, and look at why some stand out better than others. We discuss Bernadette Peters and why she’s such an amazing performer. We touch on the performance of “Tonight You Belong to Me” and why it works brilliantly but also feels out of place. And we debate why the film’s title is The Jerk.
It’s a dated film that seems to work better for people who connected with it earlier in life, but still has some charm and definite iconic comedy moments. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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Making a film about identical twin gynecologists after having two successful Hollywood films may seem like folly, or it may seem like exactly what a filmmaker like David Cronenberg would do. Cronenberg used the boost of success to get a complex, psychological drama made, and while it may not have paid off at the box office, it’s become an essential work of the director that pulls elements from his body horror films while moving him into the more psychological examinations he would explore later. Join us – Pete Wright and Andy Nelson – as we wrap up our Cronenberg series with his 1988 film Dead Ringers.
We talk about the nature of identity as it relates to twins and acting, and what the film is saying about it. We look at the central performance by Jeremy Irons who creates two incredibly nuanced characters, as well as Geneviève Bujold, who is brilliant as the woman who comes between them. We discuss the twinning effects used to create some incredibly complicated and stunning shots (and some that are a bit more obvious). We touch on Howard Shore’s beautiful score. And we chat about Cronenberg as he’s grown from his early career through to now and where he goes from here.
It’s a fascinating film that allows for a spirited discussion. Check the movie out then tune in! The Next Reel – when the movie ends, our conversation begins.
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“Television is reality, and reality is less than television.” There’s a film critic who called David Cronenberg ‘the thinking man’s genre filmmaker.’ If you look at the body horror films Cronenberg puts together, you will find that there is often a lot to unpack. They’re more artistic and have a lot more to chew on than most horror films. To that end, this reviewer’s comment about Cronenberg makes perfect sense. But does that mean what Cronenberg is trying to say with his films always makes sense? Join us – Pete Wright and Andy Nelson – as we continue our Cronenberg series with his 1983 film Videodrome.
We talk about what this film has to say about the media, about portrayals of violence seen through it, our need to always be watching, and more. We look at where this film works and where elements start becoming more problematic for us. We chat about the incredible and horrifying effects of Rick Baker and his team. We look at the wonderful cast headed up by James Woods and Debbie Harry and how well they do to bring this story to life. And we imagine what people who grow up never having seen physical media will think of older films like this.
It’s a compelling and powerful story that has its share of problems but still works really well, even more so in today’s modern world. Check it out then tune in – The Next Reel. When the movie ends, our conversation begins.
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David Cronenberg took a bit more of a science fiction route rather than straight-up body horror with his 1981 film Scanners. It didn’t have a personal connection like The Brood, his previous effort, either, so it stands out a bit in his work. That being said, the body horror elements certainly crop up in the gruesome effects he uses. But is he hiding a nonsense story in atmosphere? Join us – Pete Wright and Andy Nelson – as we continue our Cronenberg series with Scanners.
We talk about the nature of this film and how it fits in his body of work. We look at the cast and debate if their acting during mind battles makes any sense or if it’s just over-the-top acting. We discuss the incredible effects used in the film and chat about why the effects are so few and far between. We touch on the incredible sound design and score. And we look at why a film like this can work for some and not others.
It’s a divisive film on this show but one we have a great time discussing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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“Raglan encouraged my body to revolt against me… and it did.” After going through a difficult divorce and custody battle, David Cronenberg decided to integrate elements of that part of his life into his screenplay for The Brood. It’s not an obvious parallel to his life, but when you know it’s there, it’s easy to see. Does that integration of his own life’s battles into the film help make it a stronger one than his previous ones? Join us – Pete Wright and Andy Nelson – as we continue our Cronenberg series with his 1979 film The Brood.
We talk about the elements of his real life that informed this story, and how they helped shape his worldview of mental illness, grief, and cultish psychotherapy. We chat about the rage babies and how they worked in the context of the film. We debate some of the elements of the story, trying to figure out just what Dr. Raglan was up to at his institute. We chat about the performances throughout the film. And we look at the growing roster of Cronenberg’s regular crew helping out here, including Howard Shore for the first time.
It’s an interesting film that certainly shows Cronenberg’s growth with his body horror films, even if it still has problems. We have a great time talking about it, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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When people familiar with the works of David Cronenberg view his 1979 film Fast Company, many are taken aback because it feels like an anomaly in his oeuvre. There is no body horror. It’s a straight up carsploitation movie. But to Cronenberg, he views it as one of his many children, and like kids, they each are their own unique being. For fans of his films and those who study them, however, does it represent Cronenberg as a filmmaker very well? Join us – Pete Wright and Andy Nelson – as we continue our Cronenberg series with his 1979 film Fast Company.
We talk about what works in this film and what doesn’t, and if it even feels like it fits as a carsploitation movie. We chat about the idea Cronenberg and his team brought to this one to make a western film in the car racing world, and debate if it works or not. We look at the cast and how well they fit the film. And we talk about how this film really was the start of many long-term partnerships to come for Cronenberg with various department heads.
It’s an interesting film for Cronenberg and one that we debate if it works in its own genre. We still have a lot of fun chatting about it, so check it out (or not) then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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“I have to have blood. It’s all I can eat.” David Cronenberg seemed to continue from where he left off with his first theatrical feature film, Shivers, when he wrote his script for his next film. Certainly, there are differences, but largely, the stories have a lot of similarities. That being said, there are definite signs of growth for this storyteller, and as far as his body horror films, there is a big step up with his second film. Join us – Pete Wright and Andy Nelson – as we continue our David Cronenberg series with his 1977 film, Rabid.
We talk about the improvements Cronenberg shows with this film, and also look at a few areas he still needs work. We chat about working with adult film star Marilyn Chambers in this film and how she generally does a great job in it. We look at the effects and the nature of the body horror and debate if it’s scary or not, and why. And we look at the comparison Cronenberg is making to sexually transmitted diseases and how well it works in that regard.
It’s a solid and entertaining film, even with some of its story issues, and we have a great time digging into it. Check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.
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“Why not breed a parasite that can do something useful?” David Cronenberg has long been called the ‘king of body horror,’ which is a title that he came to early in his career. When looking at his first theatrical feature, Shivers, it’s perhaps easy to see why he was dubbed with this moniker, and also easy to see why it stuck. Join us – Pete Wright and Andy Nelson – as we kick off our David Cronenberg series with his 1975 film Shivers.
We talk about the nature of Cronenberg’s films and why this film fits that Cronenberg style. We look at some of the strong work Cronenberg puts together as he gets the film started. We look at sloppy elements within the film that feel very much like a first-time filmmaker’s stumbling blocks. We debate if there’s a way to make a horror movie effective if the end result is everyone having sex. And we chat about body horror and what this film does to make itself stand out.
It’s an interesting film that works on some levels while not on others, but we still enjoyed it and had a great time talking about it on the show this week. Check it out! The Next Reel – when the movie ends, our conversation begins.
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“Rise and rise again until lambs become lions.” When Russell Crowe and Ridley Scott signed on to make Nottingham, a revisionist take on the Robin Hood myth that pitted a Sherlock Holmes-like Sheriff of Nottingham against the villainous Robin, little did anyone realize where it would end up. After years of rewrites, Scott had the version of the myth that he wanted to make, taking on a much more historical angle placing Robin in the middle of the political machinations leading to the Magna Carta. But is that where it should have landed instead of where it started? Join us – Pete Wright and Andy Nelson – as we conclude our Robin Hood series with Scott’s 2010 film Robin Hood.
We talk about Scott and his seeming need to release extended cuts of his films, as if he can’t get it right the first time. We look at why they felt this version of the story needed to be told and if it works for us. We chat about the ages of the various actors who we’ve seen play the title character and if we feel the age really matters with this story. We look at Crowe, Cate Blanchett, Mark Strong, and more and chat about what they’re bringing to the table. We look at the tropes of the myth and discuss if this film hits them or not. And we discuss what makes epic moments epic versus simply overblown.
It’s an interesting film that’s beautiful to look at, and certainly plays with the myth quite a bit. Tune in to this week’s show to hear us chat. The Next Reel. When the movie ends, our conversation begins.
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Pulling off a good parody can be quite difficult. Mel Brooks has done it a few times, but he’s also made some lesser parody films that don’t quite hold up. So where did his sendup of the Robin Hood myths end up? Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Brooks’ 1993 film Robin Hood: Men in Tights.
We talk about parody films and look at why a parody film of the Robin Hood films, particularly Prince of Thieves from two years earlier, seemed like a good idea at the time. We also debate how well it worked – just because there are laughs, does that mean it’s a success? We chat about several cast members like Richard Lewis, Dave Chappelle, Amy Yasbeck, Roger Rees, and Tracey Ullman, and what they bring to the table, but most of our praise lies with Cary Elwes and the brilliant job he does at playing a spot-on perfect Robin Hood while also jumping in wholeheartedly to the Brooks comedy pool. We ponder how timeless a film like this can be. And we praise Brooks for some catchy tunes.
It’s a fun film that is perhaps rightfully called a ‘lesser Brooks film,’ but entertaining enough. Tune in to this week’s show to check it out! The Next Reel – when the movie ends, our conversation begins.
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Every few years it seems, two films telling the same (or similar) story start production near the same time and inevitably, it turns into a race to see who gets to the box office first and who ends up the victor. Armageddon vs. Deep Impact. Antz vs. A Bug’s Life. Snow White and the Huntsman vs. Mirror Mirror. So when John Irvin’s film was set to release opposite Kevin Reynolds’ Robin Hood: Prince of Thieves, the studio balked and opted to just release it on television in the States. But does that mean the film was bad? Or just not, well, a fun Hollywood romp? Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Irvin’s 1991 film Robin Hood.
We talk about what works in this film, but how unfortunately all of that is thrown out of balance by everything that doesn’t work. We marvel at the fact that this is the film that Robin Hood scholars say is closest to the myths. We chat about the performances and wonder if the rough performances are because of the script, the direction, or the actors themselves. And we chat about some changes made to the myth that actually make for a more interesting film, or at least would have if the rest around them worked better.
It’s a frustrating entry to our series, but certainly allows for a fun-filled chat, so tune in! The Next Reel – when the movie ends, our conversation begins.
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Kevin Costner and Kevin Reynolds had been buddies from early in their careers before Reynolds directed Fandango, which starred Costner. Their friendship lasted for a decade before temporarily being waylaid by the production problems on Waterworld, but before their rift, they were called upon to make an update of the Robin Hood tale. The film received mixed reviews but audiences loved it and it became the second highest grossing film in 1991. Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Reynolds’ rousing 1991 film Robin Hood: Prince of Thieves.
We talk about the myth of Robin Hood and how some of that history influenced this story. We chat about Costner, our opinions of him as an actor and how he does in this role. We look at some of the rest of the cast – Morgan Freeman, Alan Rickman, Christian Slater, Mary Elizabeth Mastrantonio, and Michael Wincott – and talk about what they bring to the table. We also give a nod to the Sean Connery cameo and discuss how it works for us. We talk about the scenes added back in for the extended edition and wonder how much they’re needed. And we praise Michael Kamen’s score, which is still as thrilling now as it was then.
It’s a film with problems that are more visible now, but still one that’s a blast to watch. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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When Sean Connery agreed to star in The Death of Robin Hood, the James Bond star was thrilled to play a character where they wouldn’t ask him to come back for a sequel. But when the film was renamed Robin and Marian to be more marketable, did that affect the way the film was perceived? Or was the script reworked to try and capture the romance? It’s hard to say, but it does make for interesting discussion. Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Richard Lester’s 1976 film Robin and Marian.
We talk about the expectations of a film about an old Robin Hood and the romance and wonder what would’ve made it work the way it was meant to. Was it the script by John Goldman and some sloppy comedy elements? Was it something in Lester’s direction, or perhaps the performances by Connery, Audrey Hepburn, Robert Shaw, Richard Harris, or one of the other great actors in it? We look at what Lester brings to the film and where it fits in his career. We argue about our readings of moments in the film, especially the climactic finale. And we touch on John Barry’s score and wonder if Michel Legrand’s rejected score may have worked better.
It’s an interesting film and a welcome entry in our series, but perhaps just because it changes the story in ways that allow it to be interesting because of those changes. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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Walt Disney had long been interested in telling the story of Reynard the Fox, but never could find the way to tell it that he thought would be palatable to kids. Because of that, it kept getting shelved. After Disney’s death, they finally found a way to integrate the anthropomorphic characters into an animated film. It wasn’t Reynard the Fox as it turned out but the story of Robin Hood.
For people growing up in the 70s, this version of Robin Hood is often cited as the one that was the most influential as far as impressions of this tale. Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Wolfgang Reitherman’s 1973 animated film Robin Hood.
We talk about our memories of the film and whether it’s held up all these years later. We look at the characterizations of the main players and debate whether they should’ve been so simplistic or if it works just the way it was. We chat about the stellar cast and how everyone worked so well (even if we disagree about how Prince John is portrayed). We touch on the animation style that Disney was using at the time and how it affects this film. We look at where this film was pulling from for its references. And we realize that perhaps this film, Chicken Little, and Zootopia are all a part of the same cinematic universe.
It’s Disney lite with this film, something that’s fun but also a bit forgettable. Still, we have a great time discussing it. Check it out then tune into this week’s show! The Next Reel – when the movie ends, our conversation begins.
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It seemed fitting for Jack Warner and Warner Bros. to stick with a gangster picture for their big 60s musical. The fact that they tied the Robin Hood character into it was a pretty clever way to put a twist on it and make it stand out. And, of course, bringing Frank Sinatra and his Rat Pack on board made perfect sense – Frank, Dean Martin and Sammy Davis, Jr. were all amazing singers. But how well would it work out? Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Gordon Douglas’s 1964 film Robin and the 7 Hoods.
We talk about what works in the film for us and what doesn’t. We look at Sinatra and debate how much he’s bringing to the project and why it was a particularly difficult film for him to finish. We chat about the musical numbers and if any song is as memorable as ‘My Kind of Town,’ the most notable of the lot. And we look at how the film works in the mythology of Robin Hood and how the changes work.
It’s an interesting and unique film in the telling of Robin Hood that often doesn’t work but which they’re always doing their best to make it fun. We have a good time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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Tasmanian Errol Flynn had already proven himself a solid action star for Warner Bros. in films like Captain Blood, so when the dealings with James Cagney to play Robin Hood fell through, Flynn seemed like a logical choice. And it’s lucky for all of us that things went this way because Flynn created one of the most iconic portrayals of Robin Hood that has graced the silver screen. Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series to talk about Michael Curtiz’s and William Keighley’s 1938 film The Adventures of Robin Hood.
We talk about the differences in the myths and portrayals of the title character between this and the Douglas Fairbanks version, and how these differences affect our opinion of the film. We look at Errol Flynn and how effective he is as the titular character. We chat about the rest of the cast that stands out to us – Olivia de Havilland, Alan Hale, Claude Rains, and Basil Rathbone. We discuss the stunt work – both archery and swordplay – and how it all came together to make for incredibly effective action sequences. And we touched on the fabulous use of technicolor.
It’s a wonderful and thrilling film that’s well worth checking out. It holds up as a central figure in the modern Robin Hood myths. We have a great time chatting about it. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Sponsor: Audible — Download the book of your choice free, or search for our recommended pick this week: The Merry Adventures of Robin Hood by Howard Pyle!
Stories of Robin Hood, the nobleman who stole from the rich to give to the poor, go back for centuries, with tales as far back as the 1300s. The story has been told in countless ways, and when cinema was invented, filmmakers began telling this story on film. The first version was made in 1908, but the first one that really created an iconic character of Robin Hood was Allan Dwan’s 1922 tale starring Douglas Fairbanks. Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at cinematic versions of Robin Hood with Dwan’s 1922 film Robin Hood.
We talk about what works in the film and what doesn’t – notably the long setup of the main character. We look at Fairbanks and gauge how well he works for us. We look at some of the other key performers and how well they play. We discuss the tone shifts – from silly, cartoon humor to violent murder scenes. We talk about the tropes of Robin Hood and what works here. And we touch on King Richard the Lion-Hearted’s possible homosexuality and how (and if) this film deals with it.
It’s an interesting film to start off with and one that will be a fun benchmark for the rest of the films in the series. So check it out then tune in to this week’s show on The Next Reel – when the movie ends, our conversation begins.
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"I don’t know which I hated more – when you were at home or when you were on tour." Ingrid Bergman had wanted to work with Ingmar Bergman – unrelated – for quite some time, and finally got her chance in her last film. The film came shortly after she found out she had cancer, and it was a film full of raw emotion, so it was understandable if she wasn’t so sure about it. But she saw a lot of herself in her character Charlotte and, despite her battles with Ingmar, had a great time making the film, delivering one of her finest performances. It’s a powerful film and a strong wrap-up to her brilliant career. Join us – Pete Wright and Andy Nelson – as we conclude our Ingrid Bergman series with Ingmar Bergman’s 1978 film Autumn Sonata.
We talk about the sense of stage theatricality throughout the film and why Ingmar structured his film this way. We look at the brilliant central performances of Ingrid and Liv Ullmann and debate if the film works the way it is or if it would’ve worked better if there was more showing and less telling. We talk about Sven Nyqvist’s beautiful cinematography, fulfilling the autumnal title with reds and oranges. And we look at why Ingrid was so keen to work with Ingmar and how she let him know.
It’s an interesting film with powerful performances that we relish, even if we don’t love the film. Still, it’s one people should definitely check out. So do so then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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"Ladies and gentlemen, you are all aware that the repulsive murder has himself been repulsively and perhaps deservedly murdered. How and why?" Supposedly, Agatha Christie was not a fan of many adaptations of her stories. Sidney Lumet managed to assuage her concerns with his version of Murder on the Orient Express, however, as she had few problems with it (except, apparently, the mustache on Hercule Poirot). While a fun and intriguing mystery, though, the simplicity of her puzzle does wear thin through today’s eyes as we become more aware how basic the characters are. It all still works, but it’s not as thrilling. Still, this story does unique things with the murder mystery tropes that makes it stand out. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Lumet’s 1974 film, Murder on the Orient Express.
We talk about what works and what doesn’t in this mystery tale and how that affects whether the film holds up. We look at the incredible cast to see who is able to stand out. We talk about Albert Finney as Poirot and debate whether he’s the better Poirot or Kenneth Branagh. We discuss the awards for the film and question Bergman’s Oscar win. And we look at Geoffrey Unsworth’s cinematography and some of the tricks he and Lumet play to focus moments of the story.
It’s an interesting film and a fun one to talk about, but one that falls apart a bit when discussing at length. We have a great time breaking it down so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.
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"I can’t live like this in this filth!" When Ingrid Bergman wrote a letter to director Roberto Rossellini about her interest in being in a film of his, little did she realize how much that would change both of their lives. That letter led her to be the star of Rossellini’s Italian neo-realist film Stromboli, and led the two of them to their affair that killed her Hollywood career for a decade. At least the two of them were able to make five films together and have three children before another affair of his led them to separate. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Rossellini’s 1950 film Stromboli.
We talk about what works in this film for us and what doesn’t. We look at the ending and debate about whether it’s working or not. We look at the core relationship of Bergman and Mario Vitale and discuss if it’s working for us and why. We talk about neorealism and what the movement was made up of. We look at the actual island of Stromboli and the complexities of filming there. And we look at how the movie got made and try to figure out if it made any money back or not.
It’s an interesting film that works a lot better for Andy than it does for Pete. That certainly gives us a lot to discuss, so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.
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"I am married to an American agent." Hitchcock loved working with Ingrid Bergman. He was a notorious director for wanting everything his own way, but when it came to Bergman, he ended up being much more collaborative. That collaboration peaked in the production of Notorious, which also had the benefit of no longer being a David O. Selznick project. The film marked a turn for Hitchcock where he got to produce his own project and really set the foundation for what would become the classic Hitchcock mold. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Hitchcock’s 1946 film Notorious.
We talk about why this film works so much better for us than Spellbound did. We look at the strength in the story paired with the performances by Bergman, Cary Grant, and Claude Rains as our leads and how they elevate the story to incredible heights. We look at the subjective camera work as well as brilliant moments of camera movement that signify big steps for Hitch and the industry. And we talk about the music and why Roy Webb’s score works so well.
It’s a glorious film full of psychological complexities that works really well, especially for a film at the time dealing with war criminals fresh on the heels of WWII. We love it and have a great conversation about it. Check it out! The Next Reel – when the movie ends, our conversation begins.
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"It’s like looking into a mirror and seeing nothing but the mirror." Alfred Hitchcock had been working in Hollywood for a while by the time he made Spellbound, but it was only the second project he made with David O. Selznick under his three-picture contract. Unfortunately, it was a bit of a struggle for the two men as they both tend to be a bit stubborn in wanting things their way. In the case of this film, it was Selznick’s own interest in psychoanalysis that led him to wanting to make it, but even that became a sticking point with Hitch. Join us – Pete Wright and Andy Nelson – as we continue our own analysis of Ingrid Bergman’s films with a conversation about Hitchcock’s 1945 film Spellbound.
We talk about the nature of psychotherapy then and why this film is hard to take too seriously because of its depictions. We look at what Bergman and Gregory Peck as our two leads bring to the table. We chat about the dream sequence designed by Salvador Dalí and why it’s only two minutes instead of twenty. And we discuss the nature of the love story and why it makes this film a bit more difficult to buy into.
It’s an interesting film but one that we struggle with. We still enjoy it enough, though, and it allows for a great conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Script Transcript
- Original theatrical trailer
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- The House of Dr. Edwardes by Francis Beeding
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"Are you suggesting this is a knife I hold in my hand?" Ingrid Bergman took home her first Oscar for her portrayal of a woman who is psychologically broken down by her husband in Gaslight, but it was a film she was hesitant to star in. She was nervous about playing such a weak-willed woman. In the end, she delivered a stellar performance and was very proud of the film and her role in it. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with George Cukor’s 1944 film Gaslight.
We talk about this film and the 1940 version directed by Thorold Dickinson and how MGM almost gaslit that film out of existence. We discuss the idea of gaslighting and why it makes for such a successful story here. We look at Bergman paired with Charles Boyer and Joseph Cotten – not to mention Angela Lansbury in her screen debut – and what they bring to the table. We chat about Cukor and his working relationship with the women in his films. And we look at the gorgeous and noirish cinematography here and talk about how it lends to the overall tone of the film.
It’s an incredible film that people need to see (really, the 1940 version needs to be seen as well). We love it and are thrilled to talk about it on the show this week. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!
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- Gaslight 1938 play by Patrick Hamilton
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"A man fights for what he believes in." Ernest Hemingway was very involved in getting the adaptation of his 1940 novel “For Whom the Bell Tolls” off the ground. It was Gary Cooper who initially brought it to Cecil B. DeMille’s attention, and DeMille who bought the rights then introduced Cooper to Hemingway. After that fateful meeting, Hemingway saw no one except Cooper as his choice to play the lead. And opposite him, he wanted Ingrid Bergman. It took some time to get her – including two weeks of production with a different actress – but get her they did, and the rest is history. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Sam Wood’s 1943 film For Whom the Bell Tolls.
We talk about how we came to this film and why there are elements that work, but how it largely feels dated. We look at elements that do work, however, and how the film still gets some of Hemingway’s themes across. We look at Cooper and Bergman and why their relationship feels not quite right. We discuss Katina Paxinou and Akim Tamiroff as the two actors who deliver our favorite performances of the film. We look at the nature of the three-strip technicolor process and struggle with the way this film looks sadly. And we talk about the journey this film went on as far as its length is concerned, from Roadshow to theatrical cut to restored cut – yet how sad it is that it’s never received the royal treatment it deserves.
We aren’t in love with this adaptation of Hemingway’s book, but we did still find some interesting things in the film. And now, we’re both more interested in reading the book, so that’s saying something, right? So check out the movie and tune in! The Next Reel – when the movie ends, our conversation begins.
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- Script Transcript
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- For Whom The Bell Tolls by Ernest Hemingway
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"Play it once, Sam. For old time’s sake. Play it, Sam." Michael Curtiz’s 1942 film Casablanca never seemed to be on track to become a classic. It only fell into that mold after the fact, and maybe that’s why it seems to work so well – it doesn’t feel like it’s carrying any of that ‘award film’ baggage. It’s just a smartly written script with great characters performed by brilliant actors. Everything seemed to have worked. Join us – Pete Wright and Andy Nelson – as we kick off our Ingrid Bergman series with Curtiz’s Casablanca.
We look at why we love this film so much and why it still works so well. We talk about the central performances – Humphrey Bogart, Bergman, Paul Henreid, Claude Rains – not to mention the rest of the cast, and why they feel so perfect for this film. We chat about Curtiz and his directing. And we look at the music, notably the song “As Time Goes By.”
It’s a beautiful film that still works on every level. We love it and have a great time talking about it on the show this week. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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"It’s funny that you find life so complicated." Cédric Klapisch returned to the world of Xavier, Wendy, Isabelle and Martine with his 2013 film Chinese Puzzle in a story that takes place 10 years after the previous film. Is it a return worth taking? Join us – Pete Wright and Andy Nelson – as we wrap up our Spanish Apartment trilogy with Klapisch’s 2013 film.
We talk about what works and what doesn’t this go-around. We look at the nature of infidelity and ponder about why it’s so consistent in Klapisch’s films. We chat about the male gaze (again) and why some of the lesbian material in here is bothersome. We discuss the Chinatown elements of the film and why they work so nicely, even if we don’t get the relationship resolution from it that we wanted. And we look at the nature of storytelling with unlikeable characters and why that’s okay … if there are consequences for their actions.
It’s a frustrating end to the trilogy for us, but a film still enjoyable and one that makes for great conversation. So check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
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"How can I write a love story? I know nothing about love. I’m a self-centered egotist." Cédric Klapisch got a chance to return to the life of Xavier from his successful 2002 film L’Auberge Espagnole just a few years later, but how well does it work out? Join us – Pete Wright and Andy Nelson – as we continue our series on Klapisch’s Spanish Apartment trilogy with his 2005 film Russian Dolls.
We look at why this film is vastly more frustrating that its predecessor and that all of our difficulties stem from an unlikeable protagonist. We discuss why the focus on love is a real challenge in a world sullied by Klapisch’s and Xavier’s ‘male gaze’. We look at the creativity in the filmmaking style, why it works in some places, and why it fails in others. And we look at the rest of the wonderful cast and discuss their interesting roles.
It’s a frustrating follow-up to a film that we liked a lot, largely because it feels like Klapisch didn’t have as strong a direction with it. Regardless, we have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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"Life seems simpler for everyone else." Cédric Klapisch had been making films in France for ten years before he made his little film about a group of study abroad students from all over Europe working to understand each other, discover a new culture, and find themselves along the way. This little film, L’Auberge Espagnole, aka The Spanish Apartment or Potluck depending on where you find it, connected with people and became his biggest success. And rightly so – it’s a charming film about figuring out what to do with your life and is made by a filmmaker who clearly is having fun while making it. Join us – Pete Wright and Andy Nelson – as we kick off a series about Klapisch’s ‘Spanish Apartment’ trilogy with his 2002 film L’Auberge Espagnole.
We talk about the charm of this film and why it works so well with us. We look at some of the cast – notably Romain Duris, Judith Godrèche, Audrey Tautou, Cécile de France, Kevin Bishop, and Kelly Reilly – and why they all manage to work so well in their roles. We look at the nature of infidelity and how it fits into a story like this. And we talk about some of the clever filmmaking to sell the insanity of the ‘structured’ world and why it makes for such a visually fun film.
It’s a joyful film to watch and one that works really well for us. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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"All you gotta do is trust me." It took a number of years for this latest remake of A Star Is Born to come to fruition, but it seems like everything worked out the way it was supposed to. Bradley Cooper and Lady Gaga really connected with people and the film was incredibly well received, both critically and by audiences. Will there be other iterations of this story down the road? If we’ve learned anything from doing this series, Warner Bros. loves this story – and loves that each version makes them more money – so give it a couple of decades and we’ll likely see it come around again. But for now, join us – Pete Wright and Andy Nelson – as we wrap up our “A Star Is Born” series with Cooper’s 2018 version of A Star Is Born.
We talk about the elements that have been consistent through these films that really work well here – the meet cute, Jackson’s success and fall, Ally’s place before her discovery, the rise, the award ceremony, the people in their lives, etc. We look at what Cooper and Gaga are doing throughout the film and why it works so well. We chat about Sam Elliott and why he was such inspiration for Cooper with his character. We talk about the process of performing the music live and why that was important. And we look at the connection Jon Peters has to it and why he gets a credit.
It’s a great conversation about a great film that wraps up a very interesting series, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
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"Your own personal piece of the American dream." Like the remake before it, Barbra Streisand’s decision to produce and play the lead in her own version of A Star Is Born likely had something to do with ego, but it’s hard to argue that the story is also one with two wonderfully rich characters at the heart of it – characters any actor would likely want to perform. Regardless, Streisand opposite Kris Kristofferson, who was also a big musical talent at the time, seemed like a perfect fit for this version. But it didn’t land quite as strongly for us as the previous two did. Join us – Pete Wright and Andy Nelson – as we continue our “A Star Is Born” series with Frank Pierson’s 1976 take on A Star Is Born.
We debate what it is about this version of the story that leads us to find it the weakest of the three iterations thus far. We talk about Streisand and Kristofferson, what they each bring to the role, and how well they work for us. We look at the tone the film takes – very much a 70s feel – and how each of the versions thus far have really found a way to wholly ground themselves in their own period. We look at the songs and discuss how they work for us. And we look at some of the beats that repeat throughout these films and talk about why some don’t work that well here.
It’s an interesting film to discuss in this series because the tone feels so different. It’s not our favorite of the lot, but it certainly provides a lot to talk about, so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
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"I thought I was the answer for Norman, but love isn’t strong enough for him.” By the time 30-year-old Judy Garland was gearing up for her film comeback in George Cukor’s remake of A Star Is Born, she had already had a career full of ups and downs, almost mimicking both of the two main characters in the film. The recent buzz for her wonderful stage shows and for her having cleaned up her act led her new husband, Sidney Luft, to convince Warner Bros. that she was worth taking a chance on with this remake. They thought so too, and the story from 1937 was reborn with Garland and James Mason. Join us – Pete Wright and Andy Nelson – as we continue our “A Star Is Born” series with the 1957 Cukor version.
We talk about the nature of musicals and why this musical doesn’t work as well for us. We look at what Garland and Mason both bring to the table and why their relationship works so well in the film. We discuss how the film came to be and why it ended up getting chopped up in the editing stage before being released. And we look at the similarities and differences between the versions so far, noting why this version doesn’t work as well for us as the previous version does.
It’s an interesting film that has strength in the story but gets bogged down in the musical numbers, at least as far as we’re concerned. We have a great time talking about it, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
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"Remember, Esther: for every dream of yours you make come true, you’ll pay the price in heartbreak." The story is one that people connect with – a desire to follow your dreams, as crazy as they may be, and what happens when you make it. But with the rise of a new talent in each iteration of A Star Is Born, we also see the decline of another. Perhaps it’s that emotional balance between these two journeys that makes this such a popular story to tell and retell. Join us – Pete Wright and Andy Nelson – as we kick off our “A Star Is Born” series right at the beginning with William A. Wellman’s 1937 film A Star Is Born.
We talk about the origins of the film and how it was really birthed in George Cukor’s 1932 film What Price Hollywood?. We look at Janet Gaynor and Fredric March as our two leads and what they bring to the table. We discuss the story issues we have with the film, notably the disappearance of our lead’s family from the story for the bulk of the film, and why it feels problematic. And we look at the technical side of the film, notably the beautiful technicolor cinematography by W. Howard Greene, as well as Max Steiner’s score (plus a song we didn’t know was part of the film apparently).
It’s a great start to our series and certainly is one that sets the stage for the tale of fame and tragedy that we’re going to be seeing over and over again. We have a great time discussing it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
- Original poster artwork
- What Price Hollywood - dir. George Cukor
- “A Star Is Born” by Buddy Clark and the Eddy Duchin Orchestra
- Flickchart
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"Remember why you’re climbing these steps." In a franchise so full of sequels, it was inevitable that the success of the spin-quel Creed would be followed up with its own sequel. And while Ryan Coogler was busy on Black Panther, Sylvester Stallone and his team found a very capable director with Steven Caple Jr. The movie was released in 2018 and was a box office hit, even if people largely found it to be ‘just another sequel’ in the Rocky franchise. But is it more than that? Join us – Pete Wright and Andy Nelson – as we wrap up our look at the Rocky films with Caple’s 2018 film Creed II.
We talk about bringing back the Russians, the strength of making it a story about family, and why it all ties together so nicely. We look at the cast and why they all work so well in their respective parts, especially the supporting characters who never feel like they get sidelined. We chat about the look and how it never quite finds the magical look we get in fight scenes in the previous films, but how it still looks nice. We look at how relationships are developed throughout the film and the franchise. We touch on Stallone’s comments about retiring the character Rocky after this film. And we look at the franchise as a whole and why it works so well for us.
It’s a great film that stands up above many other sequels because the people behind it clearly had a great story to tell and kept it honest. We have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
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- Sly says goodbye to Rocky
"Use the name. It’s yours." Returning to the Rocky story without Rocky helming might sound like a big misstep, but with the guiding hands of Ryan Coogler, it was a huge success and breathed new life into the nearly 40-year-old franchise. Coogler’s Creed put a spin on the story that allowed for new characters to enter the frame while letting the established lead – Rocky Balboa – to take on the mantle of trainer. It all worked exceptionally well. Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Coogler’s 2015 film Creed.
We talk about why the film works so well for us and why the fresh spin on the story helps. We look at Michael B. Jordan, Tessa Thompson and Sylvester Stallone and what they bring to the table. We chat about DP Maryse Alberti and some of the incredible long shots scattered throughout the film and why they help lend to the authenticity of this world. We look at Ludwig Göransson’s music and how well it fits in this world, as well as the song “The Fire” by the Roots. And we debate the strength of the big moment finale in Creed’s training montage when Creed is circled by motocross bikes.
It’s a solid film and one we love, and it’s well worth checking out. So do so, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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- Art of the Title
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"What we’ll be calling on is good, old fashioned, blunt force trauma." Sixteen years after Rocky V opened, the final final installment of the story of Rocky Balboa hit screens. Sylvester Stallone admitted to making the fifth for the money and wanted to really come back strong to finish it right this time. And he certainly does, giving his final entry as the franchise’s lead a great wrap-up. Join us – Pete Wright and Andy Nelson – as we continue our exploration of the Rocky films with Stallone’s 2006 film Rocky Balboa.
We talk about the issues we have with the film, but why this film largely still works and is a strong finish. We look at what happens with Adrian and why it may be frustrating but makes for a better film. We chat about the antagonist and why we struggle with him in this one. We look at what works in the cinematography, particularly during the final fight, and what we struggle with in the editing and sound mix. And we discuss the new relationship that Rocky forms with Little Marie.
All in all, it’s got its problems but it’s also got a ton of heart and that goes a long way in this franchise. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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"It ain’t all muscle, it’s all heart. Heart and fire." Sylvester Stallone returned to his beloved Rocky series in 1990, fully intending to close it out with a story as powerful as the first one. He even got John G. Avildsen back to direct it. Unfortunately, the film was a weaker film, one that didn’t find much love from critics or audiences. It made its money back and was a financial success at the box office, but nowhere near the four films that preceded it. But how does it hold up nearly 30 years later? Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Avildsen’s 1990 film Rocky V.
We talk about the script and why most of the problems come from here (even if Andy finds them much more egregious than Pete). We look at what happens to the characters we’ve been following through this franchise so far – Rocky, Adrian, Paulie – and what this script and film is doing with them. We look at the antagonists of the film – Duke and Tommy – and chat about their strengths and weaknesses. We look at the relationship Rocky has with his son, played by Stallone’s real son Sage, and why that’s such a strong element of the story. And we look at what Avildsen is bringing to the film and wonder why it still feels largely like a Stallone film.
It’s a rough entry in the franchise, but it’s one that half of us still enjoy. And we certainly have a great time talking about it. So check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
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"I must break you." At the height of the Cold War, it seems fitting that Sylvester Stallone would find incredible success in his Rocky franchise by weaving a tale about his all-American boxer going up against a cold, almost-robotic Russian boxer. The film found tremendous success at the box office, becoming the highest grossing sports film ever, a record which it held for 24 years. But how well does it hold up today? Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Stallone’s 1985 film Rocky IV.
We talk about the decline this franchise has taken and how this one almost feels like a parody of the original characters – yet how it’s strangely still entertaining. We look at some of the nonsensical elements in the film – the robot, the montages, the dumbing down of characters – and we pair those with our levels of enjoyment. We chat about the returning talent continuing in the franchise – Stallone, Talia Shire, Carl Weathers, Burt Young – and look at the newcomers – specifically Dolph Lundgren and Brigitte Nielsen. We complain about the absence of Bill Conti but at least we have the music to talk about… so much music. And we wonder about product placement.
It’s a fun movie, even if it feels like the franchise is falling off the rails a bit. We have a great time talking about it, so check it out and tune in! The Next Reel – when the movie ends, our conversation begins.
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- The True Force of a Boxer’s Punch
"No, I don’t hate Balboa, but I pity the fool and I will destroy any man who tries to take what I got." Three years after the success of Rocky II, Sylvester Stallone went back to the mats with the third film in the franchise and made yet another box office smash. But was Rocky III as good as it could have been? Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Stallone’s 1982 film Rocky III.
We look at the formula that Stallone has created with this franchise so far, what works about it, and what’s getting old with it. We talk about the cast – Stallone, Mr. T, Burt Young, Talia Shire, Burgess Meredith and Carl Weathers primarily – and look at how well they work in this film. We look at the success of Survivor’s song “Eye of the Tiger” and its integration into the film, especially paired with Bill Conti’s score. We touch on the boxing matches and if they’re bringing anything new to the table here. We look at the hard work the actors have to do to prepare themselves for these roles. And we discuss the possible overuse of montages here.
It’s a fine entry into the franchise but not the best one so far. We have a good time talking about it regardless, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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"You got the heart, but you ain’t got the tools no more." Sylvester Stallone’s directorial debut, Paradise Alley, was a flop and the studio didn’t want to give him another shot when he said he wanted to direct Rocky II. Luckily, Rocky was such a success and the producers knew he was largely the man behind it, so they gave him another chance. Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Stallone’s 1979 film Rocky II.
We talk about how this film fixes some of the issues we had with the previous film, but also how it has some new problems of its own. We look at what Stallone is doing as a director and what we think about him in that role. We chat about the returning cast – notably Paulie, Adrian and Creed – and look at how their roles have evolved. We chat about Bill Butler’s cinematography, Bill Conti’s cinematography and more. And we dig into the final fight to really see what makes it work so well.
It’s a solid entry into the franchise and a great follow-up to the previous film. We have a great conversation about it so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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- Script Transcript
- Original theatrical trailer
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"All I wanna do is go the distance." Sylvester Stallone pretty much embodies everything about the character Rocky Balboa that he created for the film Rocky. He’s someone who wanted to go the distance, and may not have won but proved that he had the determination and stamina to really persevere in the long haul. And what’s interesting about the first film in the Rocky franchise is that it’s more a 70s character study than it really is a boxing film. Join us – Pete Wright and Andy Nelson – as we kick off our look into the films of the Rocky franchise with John G. Avildsen’s 1976 film Rocky.
We talk about how we went into the film and our histories with the franchise. We look at what the film is doing here and how it fits so well into 70s cinema, with boxing matches only bookending the story. We talk about Stallone as writer and the titular character and why this character is so endearing. We also talk about the characters around him – Adrian, Paulie, Mickey and of course Apollo Creed – and the wonderful actors playing the roles. We discuss Bill Conti’s iconic score. And we examine why this film hit so big at the time, both financially and in the awards circuits.
It’s an iconic sports movie that’s more about determination than anything, and it’s a great way to kick off this new year and new series. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, the conversation begins.
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"Parting is such sweet sorrow." The works of William Shakespeare have been adapted to the screen more times than any other author, and ‘Romeo and Juliet’ is way up there with at least 44 direct screen versions and even more adaptations (West Side Story, anyone?). It speaks to the way that Shakespeare still speaks to the populace, or at least to the number of filmmakers who want to make their own mark cinematically with the Bard’s words. To that end, Franco Zeffirelli’s 1968 version stands out largely because of the youth of the title couple. These young lovers caught the social unrest at the time and made a big splash on the big screen. But how well does it hold up today? Join us – Pete Wright and Andy Nelson – as we close out our celebration of films from 1968 celebrating their 50th anniversaries with Zeffirelli’s second Shakespeare adaptation – Romeo and Juliet.
We talk about our feelings about Shakespeare in general and this play specifically and how those feelings likely shaped our viewing of it. We look at the performances of Leonard Whiting and Olivia Hussey as the teen lovers and why they largely work for us. We chat about the feel of the film and if the cinematography, locations, costumes and production design help give us a feel of this world. And we debate not only this film’s place in the award season discussions of the year but also close out this overarching 1968 series with a look back at everything we’ve discussed and what, if anything, we’d change about the award recognition.
It’s a good adaptation of the Bard’s tale and allows for a spirited discussion. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Romeo and Juliet by William Shakespeare
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- Andy’s short film Romey & Jules
"We’re all fools. You can’t be part of the human race and not be a fool to somebody." Paul Newman and Joanne Woodward had already been married for a decade before Newman decided to make his directorial debut with Woodward as his star in 1968’s Rachel, Rachel. The film was a small character piece that likely garnered box office and awards attention because of the caliber of those two people heading it up. It was nominated for Best Picture in 1968, but seems to be largely lost in time these days. How well does it hold up today? Is it worth looking at? Join us – Pete Wright and Andy Nelson – as we continue looking at and celebrating 50th anniversaries of films from 1968 with our series on the Best Picture nominees of that year by talking about Newman’s film Rachel, Rachel.
We talk about why we think the film largely is forgotten these days, what works with it and what doesn’t. We look at Woodward’s performance, clearly a performance that stands out as the principal reason to look at the film. We chat about the other performances in the film, notably Estelle Parsons as Rachel’s friend, and what they bring to the table. We look at what Newman does as a director and talk about how well it works when paired with the cinematography and editing. And we debate what awards and nominations we would’ve bestowed on it if it was up to us.
It’s an interesting film to look at for context of the time, but doesn’t stand out as something worth looking at for anything more than that. Still, it allows for a great conversation, so tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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- A Jest of God by Margaret Laurence
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"You raised an artificial spirit in the lad unbecoming to his station in life. This would never have happened if you kept him on gruel." Film adaptations of Charles Dickens’ works almost seem as common as Shakespeare’s works. It’s even quite possible that certain stories of his may have been adapted for the screen more frequently than some from the Bard. When Carol Reed brought Lionel Bart’s musical stage adaptation to the big screen in 1968, the time was ripe for it. Audiences and critics loved it. The film won a bunch of Oscars. It made a bunch of money. But how well does it hold up 50 years later? Join us – Pete Wright and Andy Nelson – as we continue our look at films nominated for Best Picture at the Oscars 50 years ago, this time with Reed’s 1968 film Oliver!.
We talk about our struggles with this film this go-around. We discuss the adaptations of “Oliver Twist” to the screen and where this fits… and discuss where it succeeds and fails in its translation. We chat about the actors that bring it to life and the technicians that create this world. And, of course, we talk about the music.
It’s a fun film but not one we think merits an Oscar for Best Picture. Still, it’s definitely worth talking about, so tune in to this week’s show to get in on the conversation! The Next Reel – when the movie ends, our conversation begins!
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- Original theatrical trailer
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- Oliver Twist by Charles Dickens
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"What family doesn’t have its ups and downs?" British royalty is full of fascinating tales of power, conspiracies, distrust, and greed. They make such great characters that actors relish the opportunities to play them, sometimes even playing the same character more than once. Peter O’Toole certainly jumped at the chance when he read the script for The Lion in Winter based on the play. Having already played Henry II in Beckett a few years earlier, he seemed eager to dig back into the king’s life with this film. Join us – Pete Wright and Andy Nelson – as we continue celebrating films from 1968 celebrating their 50th anniversaries with a new series looking at the films that were nominated for Best Picture that year. How well do they hold up? Are they still relevant? Dated? Or boring? We kick this new series off with Anthony Harvey’s 1968 film The Lion in Winter.
We talk about the the messy world of this royal family and how angry everyone seems to be all the time. We look at elements of the film that immerse us fully in the world – the sets, the costumes, the production design – and those that pull us out, reminding us we’re in the 60s – those awful zooms. We chat about the wonderful – and wonderfully big – performances of O’Toole, Katherine Hepburn, Anthony Hopkins, Timothy Dalton, and more. And we touch on how much of this story is fiction versus fact, and if that helps or hurts the film.
It’s an interesting film with some powerhouse performances that certainly provides lots of fodder for a conversation, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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- The Lion in Winter: A Play by James Goldman
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"I’m the German Ethel Merman, don’tcha know!?" Adapting a non-musical into a Broadway musical into a film musical takes a lot of work, but Mel Brooks clearly had the gumption to do it, and was successful most of the way along. His Broadway adaptation of 1968’s The Producers was a massive hit with records that still haven’t been broken. The question, then, is why the film adaptation of that hit floundered at the box office? It’s a tricky question and as is almost always the case, there really isn’t a clear answer. Join us – Pete Wright and Andy Nelson – as we look at Susan Stroman’s 2005 film The Producers.
We talk about why Stroman – the Broadway director/choreographer – is on board as the director and look at if that really makes any sense, especially considering some of our issues with the direction. We debate the difference between big, comedic performances and ones that are over-the-top, trying to decide why we feel differently with Will Ferrell’s and Kenneth Mars’ performances as Fritz. We discuss the script and some of our struggles with elements that were left nearly identical from the original. And we review some of our favorite performers and songs.
It’s a fun film, even if it ends up struggling under its own weight. We have a great conversation about it all the same, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Original Material
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"How could this happen? I was so careful! I picked the wrong play, the wrong director, the wrong cast – where did I go right?" Mel Brooks got his start doing stand-up comedy and as a TV writer, but he finally got his chance to direct a feature film when he read his script The Producers to producer Sidney Glazier, who wanted to make it right away. Once the film was made, however, the backers were nervous about the film and wanted to shelf it. It took an accidental screening by actor Peter Sellers to champion the film, which eventually led to its official release. Join us – Pete Wright and Andy Nelson – as we continue our celebration of films from 1968 celebrating their 50th anniversaries with another Movies and Their Remakes series, this time looking at Brooks’ The Producers.
We talk about why the film works, and why it actually works this time for Andy. We look at the relationship between Bloom and Bialystock and how it got there through the great performances by Gene Wilder and Zero Mostel. We discuss the other actors and what they’re bringing to the table. We see what Brooks does as director and chat about how well it works. And we debate the musical element and if it should’ve been nominated for an Oscar.
We’re glad to have revisited this film and had a great time talking about it. Check it out then tune in! The Next Reel – When the movie ends, our conversation begins.
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"You really think there’s ‘happy ever after’ for people like us?" With his successful start as James Bond, Pierce Brosnan thought he’d try his hand at producing, and after a small film for their first test outing, he and producing partner Beau St. Clair opted to remake the McQueen/Dunaway heist classic The Thomas Crown Affair. For many people, it’s the definitive version of the story. But how well does it hold up when viewed next to the original? Join us – Pete Wright and Andy Nelson – as we continue our Movies and Their Remakes series with John McTiernan’s 1999 film The Thomas Crown Affair.
We talk about the similarities and differences between the two films, and why some elements, like the heist, work better in the original film. We look at the pairing of Pierce Brosnan and Rene Russo and talk about how the great chemistry they carry here. We discuss the story additions by McTiernan and why they don’t work for us. We touch on the casting of Faye Dunaway as the title character’s therapist and why we struggle with that. And we debate whether the addition of nudity and sex scenes can replace the sexually charged chess game.
It’s a film that doesn’t hold up as well on this viewing, but is still fun. We have a great time chatting about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Andy on the Friends in Your Ears podcast
"Do you play?" Norman Jewison had worked with Steve McQueen on the film The Cincinnati Kid, so it was natural for him to immediately think of McQueen in the title role of The Thomas Crown Affair when he got the script. Luckily for him, McQueen was interested, as the part was vastly different from other types of people he’d played in the past. He worked opposite Faye Dunaway in her second major leading role, and the two created some amazing screen chemistry. Join us – Pete Wright and Andy Nelson – as we continue celebrating films from 1968 celebrating their 50th anniversaries as we kick off our 2018 Movies and Their Remakes series with Jewison’s The Thomas Crown Affair.
We talk about the vibe of the film and look at how it fits in the late 60s, both in the world of cinema and in the world in general. We look at McQueen and Dunaway and how well they work together, even if the script by Alan Trustman seems a bit simple. We look at the jazzy way Jewison put the film together with cinematographer Haskell Wexler and editor Hal Ashby. We also discuss Pablo Ferro’s amazing contribution to the film through the magic of the multi-screen images seen throughout. And we talk about the film and how it was largely filmed in Boston, the first major film to do so.
It’s a fun film that is a breeze to watch even if it’s a bit light on content, we still have a great time talking about it. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Christopher Chapman’s A Place to Stand
- Art of the Title
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"I like the stink of the streets. It makes me feel good." By the time Sergio Leone got the cameras rolling on what would turn out to be his last film, nearly thirteen years had passed since he last sat behind the camera. If anyone expected a filmmaker with rusty skills however, they certainly didn’t get that. Leone was as masterful a filmmaker as he was in decades past. Join us – Pete Wright and Andy Nelson – as we wrap up our celebration of Leone’s Once Upon a Time trilogy with his 1984 film Once Upon a Time in America.
We talk about the length of this film and how that affects our viewings of it. We look at the story and explore how it’s a very Leone look at the world with male criminals making their ways through the world. We chat about some of the cast, notably Robert De Niro and James Woods, and look at what they’re bringing to the table. We touch on Ennio Morricone’s masterful score and compare it with the other films in this trilogy. And we look at the mess of edits this film went through on its journey to theaters.
It’s a fascinating (and lengthy) film that we have a great time exploring and discussing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- The Hoods by Harry Grey
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"If it’s a revolution, it’s confusion. Where there’s confusion, a man who knows what he wants stands a good chance of getting it." Sergio Leone really wanted to produce his next film after his western opus Once Upon a Time in the West, but unfortunately, no one would have it. They wanted him in the director’s chair. His reticence, paired with his delay in taking the reins, perhaps reflect in the output of his film Duck, You Sucker!, aka A Fistful of Dynamite, aka Once Upon a Time… The Revolution. It’s messier than his other films. It feels a bit more disorganized. And it feels a bit more political, which is strange coming from a filmmaker saying he doesn’t want to be political in his films. Join us – Pete Wright and Andy Nelson – as we continue celebrating Leone’s Once Upon a Time trilogy with his 1971 film, Duck, You Sucker!.
We talk about why this film feels so different from his others and parse out what works here and what doesn’t. We look at the cast – notably Rod Steiger and James Coburn – and chat about their bad accents and what else they’re bringing to the table. (We also dig into the casting process to look at how they each got their roles.) We look at Ennio Morricone’s score and argue about whether it works or not. And we talk about the shifting tones within the film and debate if it works the way it’s constructed.
It’s a frustrating yet enjoyable film and certainly is one that gives us a lot of fodder for conversation. Check out the movie then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
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"You don’t sell the dream of a lifetime." Sergio Leone didn’t want to return to westerns after his Man With No Name trilogy – he already felt like made his western epic and wanted to move on to something else. When Paramount offered him a three picture deal with a big budget AND Henry Fonda though, he couldn’t pass it up and he found himself returning to the well once again. But would it work as well as his previous films did? Join us – Pete Wright and Andy Nelson – as we continue our celebration of films and series from 1968 by digging into Leone’s Once Upon a Time trilogy, starting it off in 1968 with his western masterpiece Once Upon a Time in the West.
We talk about why Leone decided to get back into westerns and how he and collaborators Bernardo Bertolucci and Dario Argento infused the project with elements from countless of their favorite westerns. We look at the patience of Leone’s storytelling and why it works so well here. We discuss the key actors – Henry Fonda, Charles Bronson, Claudia Cardinale and Jason Robards – and look at what they each bring to the table. We chat about Ennio Morricone and his themes for each of the principal characters and the luxury of having pre-recorded score to play on set. And we look at some of the marvelous locations they film in and why they work so well to create this western world.
It’s a strong entry into the western genre and into Leone’s oeuvre, and is a film we have a great time watching and discussing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Original theatrical trailer
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- Art of the Title
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"Choke on ‘em! Choke on ‘em!" When George Romero set out to make his final film in his original zombie trilogy, he had to cut his script back quite a bit to fit the budget he was given. While he said he still told the story he set out to tell, it leaves you wondering what elements of his story might have fallen by the wayside. Join us – Pete Wright and Andy Nelson – as we wrap up our the 50th anniversary celebration series on Romero’s Dead trilogy with his 1985 film Day of the Dead.
We talk about some of the elements that date this film, notably John Harrison’s score, and how they affect the film. We discuss some of the big acting in several of the key roles and if they work for us or not. We look at the various performers and what they bring to the table. We chat about the locations used and why they work for us. And we dig into Tom Savini’s horribly awesome effects and what we think of them (not to mention telling the infamous story of the pig intestines).
It’s definitely a gory film that isn’t for everybody, but it’s great to revisit with the others in the trilogy. We have a great time talking about it, so check it out then tune in to this week’s show!
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- Wampum Underground Commerce Center
"They’re after the place. They don’t know why, they just remember – remember that they want to be in here." It took George A. Romero 10 years to get back to the world of zombies that he’d created in 1968, and largely that was because he wasn’t that interested to return initially. It took a tour of a new local shopping mall and a call from Dario Argento to push him in the right direction. With his interest renewed, Romero and team went on to make one of the seminal zombie films – one that dealt with themes of the time and was riddled with fantastic makeup effects created by Tom Savini. Join us – Pete Wright and Andy Nelson – as we continue our Dead trilogy series with Romero’s 1978 film Dawn of the Dead.
We look at the themes Romero is tackling in this film and how those, paired with the story, allow for a wonderfully unique, funny and campy horror film. We talk about Savini and some of the amazing effects he achieved here. We discuss how the film came to be and why the word ‘living’ was not in the title. And we touch on the library tracks that fill the film and how Argento’s international cuts replaced much of it with score provided by Goblin.
It’s a wild ride of a film and we have a great time talking about it. Definitely give it a watch – but be forewarned that the gore factor is high with this one. After that, check out this week’s show! The Next Reel – when the movie ends, our conversation begins.
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"Kill the brain and you kill the ghoul." Zombies are commonplace nowadays, but in the mid 60s, they were more connected to voodoo stories. It wasn’t until George A. Romero’s Night of the Living Dead in 1968 when zombies as we know them today became firmly established. But how well does the film hold up when watching through today’s zombie-filled goggles? Join us – Pete Wright and Andy Nelson – as we continue celebrating 50th anniversaries of films and franchises by kicking off a series looking at Romero’s original Dead trilogy, starting with this film.
We talk about why zombies are such interesting creatures to use when looking at various elements of society for thematic statements. We look at the low budget nature with which Romero and his team used to craft this story and what that means to the overall film. We talk about some of the performers, notably Duane Jones, and what they brought to the table. We look at the various interpretations people make with this film and how the film was not made with those intentions, but how art is for the people and people take away from it anything they feel is valuable. And we walk through the struggles this film has had with copyright and what that has meant to this film and its releases.
It’s a fun film and one that essentially birthed the modern zombie film. We have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Art of the Title
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- CDC Zombie Preparedness Website
"Don’t come near, honey. Molten gold wouldn’t suit your skin." Creating a movie from a comic book has obviously become a huge way to make money at the box office these days, but back in the late 60s, it seemed a bit riskier. Dino de Laurentiis wanted to make a film out of the incredibly popular Italian comic “Diabolik”, but the first try was bad and not worth finishing. It took a bit for people to really connect with the vision. So he dumped it and started again. Luckily, his second go-around – this time with director Mario Bava – worked. Join us – Pete Wright and Andy Nelson – as we wrap up our series celebrating 50th anniversaries of 1968 crime films with Bava’s Danger: Diabolik.
We talk about the crazy tone the film gives off and how it feels so much a part of its period while incredibly unique. We look at the over-the-top nature of the performances and how they work in the film, starting with John Phillip Law as the title character. We chat about the phenomenal production design and lively camera work, and how well the film works visually. We debate the quality of Ennio Morricone’s music and wonder if we’ll ever get the theme song out of our heads. And we wonder what other Bava films we need to see to really feel like we get what he’s going for in his body of work.
It’s a fun film that at least one of us liked, and is a film that feels like it’ll be an enjoyable one for repeat viewings. We have a great time chatting about it so check it out then tune in! And join our conversation with movie lovers from around the world on The Next Reel’s Discord channel! The Next Reel – when the movie ends, our conversation begins!
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- Original theatrical trailer
- Original poster artwork
- Diabolik: Volume 1
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"I believe in live and let live." Frank Sinatra and his rat pack are found in specific types of films, so seeing him in this dark, realistic detective story seems like a bit of surprise. When you think back to his performances in films like From Here to Eternity and The Manchurian Candidate, however, it’s easier to see how Sinatra might fit in a film like Gordon Douglas’ 1968 The Detective. But how well does it hold up today? Join us – Pete Wright and Andy Nelson - as we continue celebrating 50th anniversaries and 1968 crime films with Douglas’ The Detective.
We talk about what an exciting surprise of a film this is and how it’s completely not what either of us were expecting. We look at some of the issues this film deals with – homosexuality, police brutality, corruption – and discuss what works and what doesn’t about some of them. We chat about the use of flashbacks and how they work in this film. We celebrate the fantastic cast, notably Sinatra, Lee Remick, Jacqueline Bisset, and Robert Duvall. We touch on how this film plays into the end of Sinatra’s marriage with Mia Farrow. We praise the fantastically bluesy score by Jerry Goldsmith. And we touch on the wonderful camerawork all throughout the film.
It’s a surprising film that’s well worth looking at. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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Film Sundries * Watch this film: iTunes • Amazon • YouTube * Original theatrical trailer * Original poster artwork * The Detective by Roderick Thorp * Flickchart * Letterboxd
"Well, well, well, what have we got here? Buffalo Bill with the fancy hat!" Don Siegel and Clint Eastwood worked with each other on five films, but before they first started, neither of them had heard of the other. Luckily, with a little homework, they both realized they enjoyed each other’s work and agreed to sign on to do Coogan’s Bluff together. Unfortunately for us, the film doesn’t hold up very well since it was first released 50 years ago. But are there still elements worth looking at? Join us – Pete Wright and Andy Nelson – as we continue our Crime Films from 1968 series with Siegel’s Coogan’s Bluff.
We talk about why this film doesn’t hold up nearly as well as Targets, Peter Bogdanovich’s film we discussed last week, and acknowledge it as a film of its time but not much more than that. We look at what Eastwood is bringing to the table as this country mouse coming to the big city and if it has any merit. We discuss several points of the script and look at why the screenplay falls flat and doesn’t bring anything new to the table in the world of cop action films. We chat about the camerawork and editing and look at several moments that stand out in largely mediocre work. And we look at how well the film did and ponder its controversial violence when compared to the violence in Targets.
It’s a rough film for us but one that certainly has its fans (largely because of Eastwood and/or Siegel). We still have a great time talking about it on this week’s show. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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"My kind of horror isn’t horror anymore." One of Roger Corman’s claims to fame is that he’s never lost money on a movie, and one of the reasons that holds true is because he never spends much money on any of them. For beginning filmmakers looking to learn their craft and hopefully make it big, this is something they work with. Like many great filmmakers who got their start with Corman (another of his claims to fame), Peter Bogdanovich worked as a writer before being given a chance to write and direct his own feature for Corman, and right out of the gate, he proved himself a director worth discussing. Join us – Pete Wright and Andy Nelson – as we kick off our 1968 crime film series with Bogdanovich’s film Targets.
We talk about how effective and affecting this film still is 50 years after its release, and how shocking it is that it actually (and sadly) feels more relevant today. We look at the crazy way the film came to be – including Boris Karloff’s role in it. We chat about the powerful performance by Tim O’Kelly and look at why it’s so off-putting. We discuss the way the two stories are intercut and why it worked for us. And we look at some of the key crew members, including cinematographer László Kovács and the woman wearing many hats, Polly Platt.
It’s a powerful film that does a good job of disguising its low budget, and certainly provides for a great conversation on the show this week. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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"Ape never kills ape." Twentieth Century Fox had found great success with their Planet of the Apes franchise, but they also were learning that a continuous run of sequels would bring less and less money back in. So by the time they got to the fifth entry in the series, the budget was a pittance compared to that of the first film. This time, however, it really feels like the cheap end of a franchise. Join us – Pete Wright and Andy Nelson – as we wrap up our Apes series with J. Lee Thompson’s 1973 film, Battle for the Planet of the Apes.
We talk about the problems we have with this film and look at the likely source of our issues to be the screenwriters – John William Corrigan and Joyce Hooper Corrigan. We talk about Roddy McDowall returning to his role as Caesar and struggle with some of the ways his character is depicted. We discuss the concept of a battle for a planet, and compare that with what we get here – largely something that doesn’t feel that epic. We look at the budget cutbacks Thompson and his team continued to deal with in these films. We discuss the differences between the theatrical and extended cuts. And we look at logic problems found in the script all through the project and wonder what would’ve made it stronger.
It’s a disappointing ending for the franchise… until it kicks in again decades later. Still, for what we have here, it’s pretty rough. Still, we have a good time talking about it, so check it out (or not) and tune in! The Next Reel – when the movie ends, our conversation begins.
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- The Film Board Presents: Dawn of the Planet of the Apes
"The savage must be shackled in chains. You are that beast, Caesar." J. Lee Thompson was meant to direct the original Planet of the Apes film but wasn’t able to due to project conflicts. By the time the franchise got to the fourth film, Thompson was invited back to finally make his mark. The budget was lower than it had been previously, but he still did his best with what he had, and he made the darkest of the franchise. Join us – Pete Wright and Andy Nelson – as we continue our series on the original Planet of the Apes films with Thompson’s 1972 film Conquest for the Planet of the Apes.
We talk about the social commentary existing within this film and how well it works compared to the previous films. We look at the return of Ricardo Montalban and Roddy McDowall and the heart the two of them bring to this story, not to mention the frightening transition from innocent ape to revolutionary leader. We touch on the nature of the story here with the ape training montages and the big battle sequence near the end and debate how effective they are. We hit on the darkness of the film and discuss the two different cuts and how that darkness changes so much between versions. And we look at why the film ended up being made so cheaply but how well it did in the box office.
It’s a dark film but a fantastic entry to this franchise, and we have a great time talking about it. Tune in to this week’s show to find out more! The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon!
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"I did it because I like chimpanzees best of all apes, and you the best of all chimpanzees." Twentieth Century Fox had found that cheap sequels could turn healthy profits so immediately booked Paul Dehn, the writer of Beneath the Planet of the Apes, to write a third in the series. Unfortunately, the second film ended with the planet being blown up. For Dehn, that was just a thrilling challenge to overcome, and overcome it he did. Join us – Pete Wright and Andy Nelson – as we continue our Planet of the Apes series with Don Taylor’s 1971 film Escape From the Planet of the Apes.
We talk about the tonal shifts all through the film as well as many of the story problems, yet how it still provides an incredibly fun experience. We look at the wonderful performances by Roddy McDowall and Kim Hunter as our two lead chimpanzees and give them credit for how affecting the film (and particularly the ending) is. We ponder some of the screenplay choices they used to retcon the series but find ourselves forgiving them because they end up working out pretty well. We touch on Jerry Goldsmith and his funky 70s score. And we marvel at the strength of the film’s ending and how well it works.
It’s a film that feels like it’s all over the place but is still an absolute joy to watch. We have a great time talking about it on this week’s show, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Original pre-title reconstruction from shooting script
"May the blessing of the Bomb Almighty and the fellowship of the Holy Fallout descend on us all this day and forevermore." With the success of the first Planet of the Apes film, 20th Century Fox rushed a sequel into production, something that was usually reserved for b-run serials. That first film, however, was a good crossover property – it had the genre elements but was made on an A-list level. That gave Fox the confidence that a sequel could work. Join us – Pete Wright and Andy Nelson – as we continue our Planet of the Apes series with Ted Post’s 1970 film, Beneath the Planet of the Apes.
We talk about how well this film works – or doesn’t – as a followup to the first film and why it still stands out as a fun film to watch, at least for Andy. We look at how the story became what it was and why it ended up getting made at the budget level it was. We chat about our many problems with the story and debate if they’re intrinsic to the script or were partially caused by the lack of a budget. We chat about the cast – notably the new faces of James Franciscus, James Gregory, David Watson and the actors playing the underground mutants – and look at what they’re bringing to the table. We discuss the film’s messages and wonder if any of them are as strongly portrayed as the ones in the first film. And we deliberate on the crew, particularly the camerawork of Milton R. Krasner and the music of Leonard Rosenman, not to mention the mutant faces created by John Chambers.
It’s an interesting entry into the franchise and certainly leaves us wondering how they can make a sequel. Regardless, it’s a fun one to talk about, so tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
Film Sundries * Watch this film: iTunes • Amazon • Netflix • YouTube * Script Transcript * Original theatrical trailer * Original poster artwork * Flickchart * Letterboxd * Paul Dehn’s Poetry
"Get your stinking paws off me, you damn dirty ape!" Rod Serling discovered the strength of writing science fiction as a way to disguise commentary on society of the day which led to The Twilight Zone. His contributions to Franklin J. Schaffner’s science fiction film Planet of the Apes allowed him to do the same on a cinematic scale. With political, religious and social commentary, as well as commentary on nuclear war, Serling gave the series a definite point of view and contributed to the film becoming an incredible success. Join us – Pete Wright and Andy Nelson – as we kick off our 50th anniversary celebration of the Planet of the Apes series, starting with Schaffner’s 1968 film Planet of the Apes.
We talk about the messages in the film and how well they integrate with the story, as well as how some people very likely may find more problems with some of those messages. We discuss some of the basic premise of the story and how logical it is, and how much that really matters. We talk about Charlton Heston and his over-the-top performance, and why it works for some and not others. We touch on the others in the cast and revel in the work they do here. And we discuss the amazing makeup work done by John Chambers as well as the wild score by Jerry Goldsmith.
It’s a great film and we have a great conversation about it. Check it out! The Next Reel – when the movie ends, our conversation begins.
Film Sundries * Watch this film: iTunes • Amazon • YouTube * Script Transcript * Original theatrical trailer * Original poster artwork * Art of the Title * Planet of the Apes by Pierre Boulle * Flickchart * Letterboxd
"My God, it’s full of stars!" After reading Arthur C. Clarke’s sequel to Stanley Kubrick’s film, director Peter Hyams was very interested in transforming it into a film. After getting the blessing from Clarke and Kubrick, he set to work. But inevitably, he was fighting an uphill battle – making a sequel to a film that many people consider to be one of the greats. In the end, the film was received well enough and turned a profit at the box office. But how well does it hold up today? Join us – Pete Wright and Andy Nelson – as we wrap up our Odyssey series with Hyams’ 1984 film 2010.
We talk about the struggle with this film and why it is problematic right out of the gate, and why the problems are exacerbated when sitting next to Kubrick’s film (even if it does feel closer to Clarke’s original vision). We chat about the nature of HAL in this film and debate whether it’s okay to have turned ‘him’ into a good guy here. We look at Roy Scheider’s performance here and struggle with it because of our great love for the man and the films he starred in before this one. And we discuss the special effects throughout this film – largely quite good.
It’s a frustrating film that hasn’t held up well over time, but it still makes for a fascinating discussion. Tune in to this week’s show to join the chat. The Next Reel – when the movie ends, our conversation begins!
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- 2010: Odyssey Two by Arthur C. Clarke
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"Dave, this conversation can serve no purpose anymore. Goodbye." Before 1968, science fiction films were largely genre films that didn’t take themselves too seriously. The general consensus is that the change that allowed filmmakers to take science fiction seriously was Stanley Kubrick’s film 2001: A Space Odyssey. Upon its initial release, critics and audiences were very split on the film but it eventually found its audience (thanks to a lot of hippies smoking weed during screenings). The film has since been touted as one of the greatest films ever made. It’s influenced generations of filmmakers and storytellers. It’s allowed for hours upon hours of discussion and theorizing about things happening within the story. But it still has its detractors. It’s not a film for everyone – it can feel long and boring. There’s hardly any dialogue. And the film doesn’t engage the way the book did. Join us – Pete Wright and Andy Nelson – as we kick off a 50th anniversary celebration of films and series from 1968. And what a better way to start than with the films made from Clarke’s Odyssey series, beginning with Kubrick’s 1968 film 2001: A Space Odyssey.
We realize right away that we’re on opposite sides of the fence as to our opinions of this film and try to rationalize that. We look at what works in the film and what Kubrick and Clarke were trying to say. We talk about the effects and what Kubrick, paired with Douglas Trumbull and their team, were able to create. We look at the performances of the actors, starting with Daniel Richter – the Andy Serkis of Kubrick’s time. We ponder several of the various theories about the film and deliberate the nature of theories like these. And we duke it out in one of our most serious Flickchart battles as we try valiantly to get the film closer on our ranking to where we each personally rank the film. It’s a battle of the ages!
It’s a very divisive movie between us but that allows for a wonderful conversation about the movie. Check it out if you haven’t. Don’t be embarrassed if you’re one of the people who don’t click with it – you’re not alone. And if you do click with it, don’t make fun of those other people. Much. But what you should do is tune in to the show and enjoy the spirited chat! The Next Reel – when the movie ends, the conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
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- Rob Ager’s Meaning of the Monolith Part 1 (Start Here)
- Original poster artwork
- Art of the Title
- 2001: A Space Odyssey by Arthur C. Clarke
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"A Him gets noticed. A Her gets ignored. And for once, we’d like to be ignored." Steven Soderbergh never wanted to return to the helm for the Ocean’s franchise, but he was more than happy to get behind any future films, so when Warner Bros. said they wanted to return to the franchise with an all-woman cast in a spin-off, he signed on board as producer. Gary Ross and Olivia Milch were hired to write the script and Ross to direct, and with that, Ocean’s Eight was born. But will Ross and Milch be able to capture the fun and unbelievable heists that Soderbergh did in his original trilogy? Join us – Pete Wright and Andy Nelson – as we aim to find out as we wrap up the Ocean’s series with Ross’ 2018 film Ocean’s Eight.
We talk about how this film fits in the franchise and how well it works as part of that universe. We look at the struggles we have with the story and particular elements of the heist, which is particularly frustrating because we largely love the characters so much. We discuss the actresses playing the team, from Sandra Bullock and Cate Blanchett through to Awkwafina and Rihanna, and look at what they’re each bringing to the table. We debate if Helena Bonham Carter is playing too many crazy roles but revel in what she’s doing here. We try to figure out if this was an original script or based on a different property. And we go through what Ross is doing here as director and wonder if he’s just not bringing enough fun to the film, which is already struggling with a weaker script and diminishing what Soderbergh had created.
It’s still a fun film and feels a part of the franchise, even if it’s a blander entry. That being said, we have a great conversation about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
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- Original theatrical trailer
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"There’s a code amongst guys that shook Sinatra’s hand!" Even though Ocean’s Twelve was financially successful, it was largely disliked by audiences who saw it as a misfire. When the studio decided to make a follow-up, they returned the story to Vegas where the first film took place and made a film that largely feels like a return to form. But that doesn’t mean the film isn’t without its problems. Join us – Pete Wright and Andy Nelson – as we continue our Ocean’s series with Steven Soderbergh’s 2007 film Ocean’s Thirteen.
We talk about where the film falls on our own ranking of Soderbergh’s trilogy and ponder how anyone could see it any other way. We look at the direction they took the script with this one and look at all the various elements they amped up with ridiculous comedy, and how two of those moments feel very much like weak writing just to make the heist work. We look at the brilliant cast and discuss them, but notably point out Al Pacino added as the new villian and how wonderfully he works here. We also talk about the lack of women and why, also commenting on how wonderful it is to see Ellen Barkin again even if it’s a disappointingly written role. We look at what Soderbergh is doing here as cinematographer Peter Andrews on his last film shot on film. And we dig into the back story behind Linus’ fake nose and connections to Evel Knievel.
It’s a fun film with its own share of problems, but certainly a fitting entry into the Ocean’s franchise. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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"I mean Danny, it was one job that we did together so I don’t know where this whole, like, proprietary stance comes from. It seems a little possessive." The script for Ocean’s Twelve had a bit of a circuitous route to get to where it ended up. George Nolfi had sold his script entitled “Honor Among Thieves” to Warner Bros., but instead of making his film, the studio executives decided that his script would make for a great foundation to Soderbergh’s successful remake of the classic Rat Pack film Ocean’s 11. Nolfi rewrote it many times to shape the script, and ended up having to modify it many times afterward due to cast schedules and the like. What finally got made created quite a lot of complaints as it didn’t feel like it stood at the same level as Ocean’s Eleven. But is it that bad? Or just different and not what people were expecting? Join us – Pete Wright and Andy Nelson – as we continue our coverage of the Ocean’s series with Steven Soderbergh’s 2004 film Ocean’s Twelve.
We talk about why the film works and why it doesn’t, notably in comparison with the first film. And we have quite differing opinions on this. We look at how the story is structured and ponder if it would be stronger if there was more of Catherine Zeta-Jones’ character earlier on in the story outside of the opening. We look at the complexities and convolutions of the plot and the heists, wondering if it was all really necessary to make a cohesive story or if it benefits from being so complex. And we marvel at the prowess with which Soderbergh films his stories as DP.
He’s a fantastic filmmaker who make a largely contentious film that still has a lot of good going for it (and is still a fun-to-watch Soderbergh film at the end of the day). So check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
Film Sundries * Watch this film: iTunes • Amazon • Netflix • YouTube * Script Transcript * Original theatrical trailer * Original poster artwork * Flickchart * Letterboxd
"It’ll be nice working with proper villains again." The decision to remake Ocean’s 11 with an ensemble cast of stars led to an incredible amount of turnover as stars became attached then had to bail out because of other film commitments. But with the final eleven actors locked in as Danny Ocean’s team of thieves, not to mention Andy Garcia and Julia Roberts in supporting roles, it’s hard to imagine the film working with any other cast except George Clooney, Brad Pitt, Matt Damon and the rest of the gang. Join us – Pete Wright and Andy Nelson – as we continue our Ocean’s series with Steven Soderbergh’s 2001 remake, Ocean’s Eleven.
We talk about Pete’s love for the film and Andy’s initial feelings that contrast a bit with his recent watch. We look at what this film does better than the original, starting with team building. We chat about Julia Roberts’ element of the story and if it’s just a romance that is shoehorned in here or if it carries more weight. We look at the team and what we think of the main players. We discuss Soderbergh’s style and what he’s bringing to the table as director and shooter. And we ponder the lightness of this film and how well that works to keep people from worrying too much about the crimes taking place in the story.
It’s a fun, breezy film that is miles above its predecessor and shows Soderbergh continuing his work to always be doing something new and unique with his career. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries * Watch this film: iTunes • Amazon • YouTube * Script Transcript * Original theatrical trailer * Original poster artwork * Flickchart * Letterboxd
"You’re just in time for the jokes." Frank Sinatra, Dean Martin and Sammy Davis, Jr. were a part of what people called ‘The Rat Pack,’ a group of friends who all started hanging out regularly back at Humphrey Bogart’s and Lauren Bacall’s place. The members changed over time, but Sinatra, Martin and Davis always seemed to be the core trio. The three only appeared in a handful of films together, and the one they’re most known for is the heist film Ocean’s 11. Join us – Pete Wright and Andy Nelson – as we kick off our Ocean’s series with Lewis Milestone’s original 1960 Rat Pack film, Ocean’s 11.
We talk about why the film doesn’t hold up very well for today’s audience and how it really takes someone who was much more connected to the Rat Pack group to really connect with this film today. We look at the script and its shift from drama to comedy, and why perhaps that shift during development left the script largely feeling disjointed and disconnected. We discuss the cast and try to answer why they’re largely uninteresting and unlikeable. We chat about the ending of the film and debate whether it’s effective or not. And we touch on the songs in the film – notably “Ain’t That a Kick in the Head” – and stew on why it wasn’t recognized by the Academy.
It’s a film that unfortunately feels very dated, which means it may only appeal to audiences who really were fans of the Rat Pack. That doesn’t stop us from having a great conversation about it! So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- 1960 Academy Award Best Song winner Never on Sunday
- 1960 Academy Award Best Song nominee The Second Time Around
- 1960 Academy Award Best Song nominee Faraway Part of Town
- 1960 Academy Award Best Song nominee The Green Leaves of Summer
- 1960 Academy Award Best Song nominee The Facts of Life
- Ain’t That a Kick in the Head, as performed in the film
"We were born into this job." Time travel stories come in all shapes and sizes – some are more focused on the fun and entertainment. Others use the conceit to allow for explorations of themes and ideas. Robert A. Heinlein’s short story “—All You Zombies—” is more the latter, and the Spierig brothers – Michael and Peter – do a great job adapting it for the silver screen with their film Predestination. And while it’s easy to get lost in time loops and find fault in rules and story construction, this film is an easy one to enjoy with the paradoxes presented because of the themes and concepts it develops. Join us – Pete Wright and Andy Nelson – as we conclude our time travel series with the Spierig brothers’ 2014 film Predestination.
We talk about the nature of the film and why it works, even if the film does spend the first half of its running time setting things up. We look at the meaning of the word ‘predestination’ and what it means in context with this film and the ideas put forth. We chat about Ethan Hawke (busiest man in Hollywood) and how great he is here, and also about Sarah Snook, who really puts forth an incredibly challenging performance and nails every bit of it. We debate the strength of Noah Taylor’s character and if he’s really necessary for the story. And we discuss what the Spierig brothers bring to the table here and how well they work as writers, producers and directors, but also visual effects artists and composers.
There’s a lot to discuss in a film like this, and we have a fantastic time unpacking it. Check out the movie then tune in! The Next Reel – when the movie ends, our conversation begins!
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- Watch this film: iTunes • Amazon • YouTube
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- All You Zombies by Robert A Heinlein
- Flickchart
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"We used to look up in the sky and wonder at our place in the stars. Now, we just look down and worry about our place in the dirt." Christopher Nolan certainly is a filmmaker with ambition. People may argue one way or the other about his story construction, or his editing style, or his attachment to film even, but it’s hard to argue that he’s not a filmmaker who is working hard to push big ideas out into the world of film. His 2014 film Interstellar, which he wrote with his brother Jonathan, pushes ideas about interstellar space travel, about space-time, about a dying Earth, about wormholes, about black holes – about leaving our planet – and creates a film that feels as much a scientific thesis as it does a story. Is it perfect? No. But the ambition and passion shine through in every frame. Join us – Pete Wright and Andy Nelson – as we continue our time travel series with Nolan’s film Interstellar.
We talk about how our feelings for this film have shifted over time – particularly Andy’s – and what our problems are with the film still. We look at the science behind this film and examine how it can be seen as a time travel movie in the first place. We talk about the performances, notably Matthew McConaughey’s, and what they do for the film. We dig into some of the theories and try to figure out exactly what they mean, because we swear we completely understood it while watching the film. We discuss the incredible imagery created by the camera team, the miniatures team, the visual effects team, the locations team and the production design team. We chat about Hans Zimmer and his music and how well it largely works in the film, and how it pairs interestingly with some edit choices. And we debate the choices the filmmakers use in the climax of the film.
It’s a challenging Hollywood film with big ideas and exciting themes, all laid out in a somewhat sloppy package. But there’s a lot going for it so it’s certainly worth a watch. Check it out for yourselves then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.
Film Sundries * Watch this film: iTunes • Amazon • YouTube * Script * Original theatrical trailer * Original poster artwork * Flickchart * Letterboxd
"All the time travel in the world can’t make someone love you." If anyone has a handle on clever stories and quirky characters in romantic comedy dramas, it’s writer-director Richard Curtis. Whether it’s Four Weddings and a Funeral or Love, Actually or Notting Hill, he’s proven himself adept at writing (and sometimes directing) believable characters in charming situations falling in love with each other. Which is perhaps why his 2013 time travel film About Time is slightly frustrating. Yes, the rules absolutely work for a Curtis film, but when it comes to the time travel rules he sets up, he’s a lot more loose. But does it intrinsically ruin the film? Join us – Pete Wright and Andy Nelson – as we work to figure this out in our continuing time travel series with Curtis’ About Time.
We talk about the nature of the rules Curtis establishes and complain at length about them, but make sure to also look at the film from the point of view of those who are likely more Curtis’ audience – perhaps they wouldn’t care as much. We go on and on about Domnhall Gleeson, Rachel McAdams and Bill Nighy, three people all born to inhabit roles like these brilliantly. We debate the nature of the film and look at if Curtis’ story shift from meet-cute rom-com to a much headier family drama works for the film or against it. We ponder Curtis and his insistence to use cliche movie montage tropes. And we talk about the unique restaurant concept of dining in the dark and wonder how effective it was for the film.
It’s a cute film that’s got all the feels, even if it’s much sloppier than it needed to be. We have a great time talking about it and you’ll have a great time listening to it. The Next Reel – when the movie ends, our conversation begins.
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"Right now, there are three of me. You’re going to help me get rid of the other two." After receiving an Oscar nomination for his short film 7:35 de la mañana, Spanish director Nacho Vigalondo went to work using his moment of glory to get his first feature written and financed. As is so often the case, he finally got it released years later, but Timecrimes was critically acclaimed and became quite the sci-fi festival darling. Unfortunately, it wouldn’t get the push it needed for its theatrical release and it died a quiet death at the box office. Luckily, its quality has kept people talking about it and watching it. Join us – Pete Wright and Andy Nelson – as we kick off our Time Travel series with Vigalondo’s 2007 film Timecrimes.
We talk about the twisty, turny nature of this story and work to piece it all together so that we can really figure out which version of Héctor is which and what he’s up to – and we think we figured it out! We revel in the glory of the time travel paradoxes created by the film as it relates to fate versus free will. We ponder the allegorical reading of the film as a take on adultery. And we look at the performers and how their acting works in context of the story being presented.
It’s a glorious time travel movie that’s a thrill to watch and puzzle through, and a great way to kick off our series, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.
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- Original poster artwork
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"Who gets a hold of this much land unless they took it off someone else?" Looking at the characters James Dean played in his three leading roles, it’s clear that he was excited to play complex characters that weren’t easy to define as simply ‘protagonist’ or ‘antagonist.’ In his final film, Giant, Dean plays a cowhand that could have easily become a love interest in the first half of the film before he takes a darker turn later on. After looking at his previous films, it seems absolutely like a role Dean would take. Join us – Pete Wright and Andy Nelson – as we wrap up our series on Dean’s three films with George Stevens’ 1956 epic Giant.
We talk about the length of the film and the need for this to be an epic that also suffered from epic length – does it help or hinder? We chat about Dean’s brilliant performance paired with the other performers in the project, notably Elizabeth Taylor and Rock Hudson. We also ponder the name ‘Bick’ quite a bit, pondering its evolution. We dig into the scene where Dean serves Taylor some tea and pull out some interesting tidbits. We debate whether Around the World in 80 Days should have beaten this out of a Best Picture Oscar. And we revel in some of the elements in this film – racism, women’s rights – that feel fresh to see in a film from the 50s (and a sad reminder that we still have a ways to go).
It’s not one of our favorites (certainly not Pete’s) but there is a lot of interesting stuff going on here and it makes for a great conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
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- Original poster artwork
- Giant by Edna Ferber
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"You’re tearing me apart!" Possibly James Dean’s most iconic role, Rebel Without a Cause hit theaters in the fall of 1955 – less than a month after Dean’s tragic car crash that took his life – and immediately found its audience. The movie was a success, thanks in a large part to all of the teens that connected with the characters and the story, seeing more of themselves on-screen than they had before. Dean’s death made the film something to talk about, but the fact that the film had something to say too has made it a classic. Join us – Pete Wright and Andy Nelson – as we continue our James Dean series with Nicholas Ray’s 1955 film Rebel Without a Cause.
We talk about how the film struck us and why, looking at how Ray sets his characters up in the opening sequence and allows them to develop their problems over the course of the film. We chat about the tragic trio of young actors helming this film – Dean, Natalie Wood and Sal Mineo – reflecting not just on the tragedy their characters work through in this film but also the horrible deaths they all suffered at young ages. We look at Ray as a director and how his passion for CinemaScope led to some brilliant images here, not to mention a huge following with European cinéastes who tagged him as one of the great auteurs. We continue our discussion about the CinemaScope images as we look at what cinematographer Ernest Haller brings to the table. And we look at how iconic this film has become and how it’s influenced the arts since its creation.
It’s a fascinating film that we thoroughly enjoy and have a great time talking about. Yes, some of the story and performances may be a bit laughable by today’s standards, but when taken in context of the time and what Ray was trying to say, it’s all in context and works to make Ray’s point. So give it a try, then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Rebel Without a Cause: Main Title/A Cappella by Petra Haden
- Petra Goes to the Movies — Spotify
"Someday, he’s gonna know who his real son is!" James Dean was the lead in only three films released in 1955 and 1956. He died tragically in a car crash on September 30th, 1955, only ever getting to see one of his three films finished. What he never got to see is how the performances he gave in those three films left an indelible impression on cinema, creating a voice for teenagers of the day and a cult icon for decades since. Join us – Pete Wright and Andy Nelson – as we look back at James Dean’s career, kicking it off with Elia Kazan’s 1955 film East of Eden.
We talk about the adaptation from John Steinbeck’s novel, our thoughts on Steinbeck and this rather loose adaptation, and Kazan’s interpretation of it. We look at what Dean does here in the role of the bad son Cal opposite both Richard Davalos as his good brother Aron and his moralistic father Adam, played by Raymond Massey. We look at what the other performers bring to the table, notably Burl Ives, Julie Harris, Jo Van Fleet and Lois Smith, who is not only the last cast member still alive but also still working regularly. We marvel at the fantastic use of Cinemascope presented here as shot by Ted D. McCord. And we touch on why Kazan and Dean, both men who had problems with their own fathers, found such a connection to this story.
It’s a film that has its problems but largely is one that we enjoy – and certainly enjoy talking about. So read Steinbeck’s novel, check this out and tune in! The Next Reel – when the movie ends, our conversation begins.
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- Watch this film: iTunes • Amazon • YouTube
- Script Transcript
- Original theatrical trailer
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- East of Eden by John Steinbeck
- Flickchart
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"There’s no such thing as a perfect person." After the box office failure of Sympathy for Mr. Vengeance and the box office success of Oldboy, Park Chan-Wook wanted to continue with the themes he’d been exploring of revenge but he wasn’t sure what angle to use. That’s when he struck on the idea of having a female protagonist. That, paired with the concept of justified vengeance, gave Park the idea he needed and Lady Vengeance was born. Join us – Pete Wright and Andy Nelson – as we wrap up our series on Park Chan-Wook’s unofficial vengeance trilogy with his 2005 film Lady Vengeance.
We talk about our feelings for the film and dig into why one of us really enjoyed the film and the other didn’t. (Hint: it largely centers around videos shown near the climax of the film.) We talk about Park and his cinematic style, looking at the successful elements that give so much life to his films, and the ones that are less successful, like his somewhat chaotic storytelling. We chat about the brilliant performance by Lee Yeong-Ae in the lead role and how she brings so much power to her performance. We touch on the cinematography by Chung Chung-hoon and why there is something really special with how Park works with his camera team. And we debate the concept of the ‘fade to black and white’ version that exists and ponder if we’ll ever get a chance to see it.
It’s a very divisive film that won’t be for everyone, but it made for a stimulating conversation. Check it out… if you think you’re up for it, then tune in! The Next Reel. When the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: Amazon
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- Original theatrical trailer
- Original poster artwork
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"I’m a sort of scholar, and my field of study is you." After the box office failure of his previous film, Park Chan-Wook worked hard with his next script to make something that would really draw people in. He cast two of South Korea’s biggest stars to play the leads and based it on a successful manga comic, weaving a dark mystery together that was very operatic. And it worked! His 2003 film Oldboy was a huge box office success and garnered incredible praise for everyone involved. It also helped establish Park as a filmmaker of note. Join us — Pete Wright and Andy Nelson — as we continue our series on Park Chan-Wook’s Vengeance Trilogy with his film Oldboy.
We look at the nature of revenge taken in this film and how the truths of the characters contrast each other. We talk about the brilliant camerawork all through, notably the single-take hallway fight. We look at what Choi Min-Sik and Yu Ji-tae bring to the table as our protagonist and antagonist, and how there are definite comparisons to Oedipus and the Greek gods. We discuss the end of the film and how Park left it deliberately ambiguous. And we touch on the eating of live octopuses and why it can be deadly.
As crazy as this world is, it’s a film that is fully invested in making it real. We had a great time watching it and have an even better time talking about it. Check it out then tune in! The Next Reel — when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: Amazon • Netflix • Vudu
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Flickchart
- Letterboxd
- Old Boy manga
"I’m not just any ordinary person." Park Chan-Wook never set out to make a trilogy. His ‘vengeance trilogy,’ in fact, only was later dubbed that by international critics who felt the three films were connected through themes of revenge, violence, and salvation. Luckily, he was able to make the second and third films in this ‘trilogy’ because this first one didn’t connect with audiences and it lost money. Join us — Pete Wright and Andy Nelson — as we kick off a new series looking at Park Chan-Wook’s Vengeance Trilogy with his 2002 film Sympathy for Mr. Vengeance.
We talk about the unique tone of the film, balancing absurdist humor with the dark themes of sacrifice, loss and revenge, and why that is possibly why audiences couldn’t connect with the film. We also look at the way that Park constructs films, and how his challenging storytelling style may also have kept audiences away. We chat about the editing, cinematography and script, looking at how they all come together to push the story forward in unexpected ways while allowing Park incredibly creative ways to show off his understanding of the language of cinema. We look at the interesting — and challenging — way the sound was designed and why it works in context of the film. And we look at some of the performances and why they work so well here.
It’s a challenging film for sure, but one that we liked quite a bit. We have a great time talking about it here so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: Amazon • Vudu
- Script Transcript
- Original theatrical trailer
- Original poster artwork
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"Everybody isn’t thieves and murderers." It seems that after finding such success making films about real world situations in _The Hurt Locker_and Zero Dark Thirty, director Kathryn Bigelow and screenwriter Mark Boal wanted to keep going in that direction with their next project. They learned about the riots in Detroit in 1967 and, after doing many interviews, settled on a particular incident that took place at the Algiers Hotel. This ended up becoming the film Detroit, which was released almost to the day of the 50th anniversary of the incident. Join us – Pete Wright and Andy Nelson – as we close up this round of our Kathryn Bigelow series with her film from last year, Detroit.
We talk about how the film worked for us – Pete loved it, Andy really struggled with it – and debated about why that is. We look at the fantastic actors who carry this film – Algee Smith, Jacob Latimore, Jason Mitchell, John Boyega, Will Poulter, Hannah Murray and more – and discuss what they all bring to the table. We contemplate how the story was structured and debate if there might have been a different way to approach the story that could have made it more effective. And we touch on the cinematography by Barry Ackroyd and how the documentary handheld approach works really well with this story they’re telling.
There is plenty of debate as to whether this is a great film or a well-intentioned mess, but either way, it allows for a fantastic conversation. Check out the movie – it’s an important moment in American history even if you don’t end up liking the film – then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: iTunes • Amazon • Hulu • YouTube
- Script Transcript
- Original theatrical trailer
- Original poster artwork
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"It’s a state of mind." Kathryn Bigelow already showed everyone that she could handle action in her films with projects like Near Dark and Blue Steel when she and her husband-at-the-time James Cameron took on the task of doing rewrites to her new project Johnny Utah. With Patrick Swayze and Keanu Reeves coming on board to play the two leads, she was ready to prove herself yet again. And while she didn’t walk away with a film as successful as Cameron’s T2, she did end up with one of her highest grossing films and a cult classic that defined action films and surfing for years to come. Join us – Pete Wright and Andy Nelson – as we continue our Kathryn Bigelow series with her 1991 film Point Break.
We talk about how well this film holds up despite the years of mocking we gave it. We chat about Bigelow and how well she handles bank robbery action while balancing it brilliantly with the zen attitudes of the surfers. We look at what Reeves and Swayze bring to the table, as well as Lori Petty and national treasure Gary Busey. We compare the film with the 2015 remake, which largely doesn’t work as well as Bigelow’s film (even if it still is fun to watch). We discuss the foot chase sequence that involves a dog being thrown as well as the iconic moment of Reeves shooting his gun into the air and screaming “Arrrrhhh!”, and why the scene holds so much weight in this film and in action films to come. We touch on Swayze and his real skydiving moment that gives an authenticity to the film. And we revel in the delight of knowing about the cult play in which the Utah role is cast from the audience and asked to read their role from cue cards.
Point Break is a really fun film that is of its time without feeling dated. We have a great time talking about it and revel in the joy that it’s much better than we remembered. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
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- Watch this film: iTunes • Amazon • YouTube
- Script Transcript
- Original theatrical trailer
- Original poster artwork
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"Normal folks, they don’t spit out bullets when you shoot ‘em, no sir!" When trying to figure out a way to stand out for her first solo directorial project, Kathryn Bigelow and her co-writer Eric Red decided to add elements of the vampire genre to the western they were developing. And thus, Near Dark was born. Unfortunately, her film came out a few months after the big vampire film of the year, The Lost Boys, and hers was lost in the shuffle. Despite that, her film still left enough of a mark that enabled her to get her career off the ground. Join us – Pete Wright and Andy Nelson – as we kick off the second part of our Kathryn Bigelow series with her 1987 film Near Dark.
We talk about our expectations of a film marketed as a vampire western, and how well the movie actually meets them. We look at the trio of actors ported over from James Cameron’s Aliens — Bill Paxton, Lance Henriksen, and Jenette Goldstein — and discuss how well they do here paired with the other actors. We debate the strengths of the film and the weaknesses, finding plenty of both, and argue about which outweigh the other. We chat about the vampire tropes introduced here and ponder if this film does anything new with the genre that we hadn’t seen before. We discuss how Bigelow handles the camera, the lighting, the action and more throughout the film, seeing a clear line to some of her later films. And we ponder the penchant Hollywood writers seem to have with the way romance works so quickly in movies (it’s shorthand, we get it, but seriously? Sometimes, it’s too much.)
It’s a film that has problems that certainly weigh Pete’s opinion of it down while Andy still finds it enjoyable despite its issues. Coming at the film from these two positions allows for a fantastic conversation, so check the movie out then tune in! The Next Reel — when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
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"Hello, gorgeous." Watching Funny Girl now, you would never guess that it was Barbra Streisand’s film debut. Sure, she originated the role on Broadway four years earlier, but performing on stage can be quite different than on film. Luckily, with William Wyler helming the project, she was in the right hands and delivered an iconic performance in a film that was a box office smash at the time. Join us – Pete Wright and Andy Nelson – as we conclude our Musicals From the 60s series with Wyler’s 1968 film Funny Girl.
We talk about Streisand and why she works so well in this film paired with Omar Sharif. We discuss the story and why it’s not nearly as memorable as the songs throughout, and we debate if a story more in line with the real relationship between Fanny Brice and Nick Arnstein would have worked better. We look at Wyler and what he’s bringing to the table, particularly with his cinematographer Harry Stradling Sr. We look at the production design and how it feels a bit uneven, fluctuating between very stagey sets and obvious location work. And we marvel at an amazing helicopter shot that stands out in a film with several cinematographic moments that are true highlights.
It’s a film that may be better remembered today for its music and for Streisand’s performance than for the story itself, but it’s still a very enjoyable watch. Check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: iTunes • Amazon • YouTube
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Original Material
- Flickchart
- Letterboxd
"Men say it’s criminal what women’ll do. What they’re forgetting is this is 1922." By 1967, Julie Andrews was at the top of her game. Since Mary Poppins came out, she’d been in hit after hit, from The Sound of Music to Torn Curtain, so it was surely a thrill for her to jump into another musical – Thoroughly Modern Millie – with George Roy Hill, who had just directed her in Hawaii. Join us – Pete Wright and Andy Nelson – as we continue our Musicals From the 60s series with Hill’s 1967 film Thoroughly Modern Millie.
We talk about why the film works well for us, even though there are elements within that we struggle with. We compare it to the last film we discussed – The Young Girls of Rochefort – which had some similar elements, but which didn’t work nearly as well for us. We look at how well the cast works here, from Andrews to James Fox, from Mary Tyler Moore to Carol Channing, from John Gavin to Pat Morita. We look at what Hill brings to the table with the direction, and how well he works with cinematographer Russell Metty and editor Stuart Gilmore. We chat about the music – both songs from the past and original songs – as well as the original and adapted scores (and try to figure out who actually did what). And we ponder if the racial stereotypes here are better or worse than those in Gone With the Wind.
It’s a riotously fun film that certainly has issues but is worth checking out. We have a great time talking about it on the show this week. Give it a watch then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: Amazon
- Original theatrical trailer
- Original poster artwork
- Thoroughly Modern Millie — Original Broadway Cast Recording
- Flickchart
- Letterboxd
- Chrysanthemum the play
"Paris is small for a great passion like yours." Jacques Demy already had great success with his 1964 musical The Umbrellas of Cherbourg when he stepped up to direct The Young Girls of Rochefort. Continuing his same colorful style, Rochefort explodes with pastels and a supersaturated palette, not exactly lining up with the styles preferred by Demy’s French New Wave pals. That being said, he still found ways to subvert the genre so well established by Hollywood. Join us – Pete Wright and Andy Nelson – as we continue our Musicals From the 60s series with Demy’s 1967 film The Young Girls of Rochefort.
We talk about the story and why it doesn’t work that well for us, even though the elements of subversion give us a bit more appreciation for what Demy was trying to do here. We chat about the great cast helmed by Catherine Deneuve and Françoise Dorléac and how well they do. We specifically discuss the three Americans who somehow found their way into this film – Gene Kelly, George Chakiris and Grover Dale. We look at Demy’s use of color and revel in the way he paints on screen with it. We ponder over the mysterious murder and debate as to why it’s in the film. And we revel in the glorious use of long takes all throughout the film and how the camerawork seems to be as choreographed as the dancing itself.
It’s a film with plenty of charm and dancing and singing and dancing and more and more and more. We struggled a bit with the film but it provided us with an interesting conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: iTunes • Amazon
- Original theatrical trailer
- Original poster artwork
- Flickchart
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"I feel what’s to happen all happened before." Anyone who watched 2013’s Saving Mr. Banks knows what a difficult time Walt Disney had getting the rights to P.L. Travers’ “Mary Poppins” novels so he could make the cinematic adaptation. It’s quite a story, but what you don’t get from watching that film is the incredible experience of watching Mary Poppins itself. Sure, at a cursory glance, it’s a very episodic film with seemingly disconnected sequences of the titular character as she nannies the Banks children, Jane and Michael. But digging deeper, there’s quite a bit more there. What it seemed ol’ Uncle Walt did was make a film that had something to say to just about everybody. Join us – Pete Wright and Andy Nelson – as we kick off our Musicals From the 60s series with Robert Stevenson’s 1964 hit Mary Poppins.
We talk about the magic of this film and how our interpretations have evolved as we’ve grown up with it. We look at the casting which is practically perfect in every way, starting right at the top with Julie Andrews and Dick Van Dyke and going all the way down to Elsa Lanchester as Katie Nana (and beyond). We touch on the fabulous effects scattered all through the film, how Disney was always pushing the envelope with cinematic tricks and how his goal was to fool people constantly where just when they think they figure out how they did it, he does something else to mislead. We chat about the many incredible songs and why they work so well, as well as touching on some of our favorites. Specifically, we look at “Supercalifragilisticexpialodocious” in our Deep Scene Dive and why this silly song about a nonsense word has lasting impact through to the climax. And we ponder the possibilities of an Aliens/_Mary Poppins_ mashup as we struggle to add the movie to our Flickchart.
We have an absolutely delightful time with this film. It’s one for all ages (except for some grumpy Amazon reviewers). Definitely check it out, then tune in! The Next Reel – when the movie ends, our conversation begins!
Film Sundries
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- Watch this film: iTunes • Amazon • Google Play • YouTube
- Script Transcript
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- Original Material
- Flickchart
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- Take a tour of the Mary Poppins Disneyland Ride that Never Was
"Do you know what I hate about the Americans? Everything. Especially cowboys." With the surprise success of the fourth entry into the “Die Hard” franchise, it was inevitable that the studio would push for yet another film. It took six years, but eventually, they got it made. The script that was developed for the fifth film was the first one developed from an original idea in the franchise and was written by the scribe behind the theatrical adaptation of The A-Team. The director was brought on after making the adaptation of the video game Max Payne. It seems an odd pairing, but clearly, the producers felt they saw something on this team that they felt would bring something new to this franchise. Join us – Pete Wright and Andy Nelson – as we conclude our Die Hard series with John Moore’s 2013 film A Good Day to Die Hard.
We talk about Moore’s history, as well as that of writer Skip Woods, and try to figure out why they were the team brought on to make this film. We look at all of the elements that don’t work for us in this film but largely struggle most with the fact that they make McClane really unlikeable. We chat about Jai Courtney and why we really like him as McClane’s son, even if he wasn’t given a good script to really make his mark with. We also talk about Sebastian Koch, Mary Elizabeth Winstead, Yuliya Snigir, Rasha Bukvic and more as we look at what they bring to the table. We rank our favorite Yippee Ki-Yays and our franchise villains. And we dig into what works and what doesn’t in big action sequences like the car chase.
It’s a mess of a film that ruins so much of what’s great in the franchise, even while the filmmakers clearly still throw in references and callbacks as often as they can. We may not have liked it, but we have a great time talking about it. Check it out if you must, but tune in regardless! The Next Reel – when the movie ends, our conversation begins.
Film Sundries
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- Watch this film: iTunes • Amazon • YouTube • Netflix
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- Original teaser trailer
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"You’re a Timex watch in a digital age." Making a sequel is always a challenge, but making the fourth film in a franchise after a twelve-year hiatus seems like a recipe for disaster. Luckily, the team behind Live Free or Die Hard found a director who was a huge fan of the franchise and worked hard with his team to not just make a great film but to really make a sequel to the original film that was better than the others. Some people disagree but the box office shows that Len Wiseman’s take on the franchise was quite the success. Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with Wiseman’s 2007 film Live Free or Die Hard.
We talk about why we enjoy this film so much and why we think some people had real issues with Wiseman’s direction (even if we didn’t). We chat about how well Bruce Willis works as John McClane in this installment and why his turn as the older, non-tech savvy cop struggling with how his life has shaped up works so well for the film. We touch on the other actors in the film – Justin Long, Timothy Olyphant, Cliff Curtis, Mary Elizabeth Olmstead and more – and talk about what they bring to the table. We revel in the amount of practical effects and stuntwork this team puts forth, really wowing us with the lengths they would go to so they could make the film that much cooler. We look at the semi-vs-F35 sequence and ponder the absurdities of the action in context of the franchise. We look at the brilliant parkour stunts done by Cyril Raffaelli and dig a bit into the history of it. And we look at the variety of “Yippie-ki-yays” in the series and rank ‘em.
It’s a fun film with a lot going for it, and certainly stands out as the best film since the first one. We have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries
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- Watch this film: iTunes • Amazon • Netflix • YouTube
- Script Transcript
- Original theatrical trailer
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- “A Farewell to Arms” by John Carlin (WIRED Magazine, May 1, 1997
- Flickchart
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"Simon says." When Jonathan Hensleigh’s spec script ‘Simon Says’ was bought by Twentieth Century Fox to be turned into a Die Hard sequel, he was thrilled. After all, his deal with Warner Bros. to turn it into a Lethal Weapon sequel had collapsed. What it meant, though, is finding a way to rework half of the script to make it fit something that would happen in John McClane’s world. For the most part, things work well, and with John McTiernan returning to the franchise, it’s a solid entry. But could it have been better? Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with McTiernan’s 1995 film Die Hard With a Vengeance.
We talk about the incredible strengths the script and film have right out of the gate but how things slip quite a bit in the second half, even if it’s still a lot of fun. We discuss the buddy relationship brought forth this time with Bruce Willis and Samuel L. Jackson and why it works. We debate some dated elements of the script regarding arguments about race and quips about homosexuality. We look at the incredible stunt work paired with patient camera and editing to bring the maniacal drive through Central Park to the screen. We ponder how well the alternate ending could’ve worked because at least it brings back the riddle elements to the close. And we chat about some of the frustrating music Michael Kamen wrote for the film, sounding like bad 90s Eric Serra score.
It’s a fun film that has its faults but also has an incredibly strong first half. We have a great time talking about it on the show this week, so tune in then check it out! The Next Reel – when the movie ends, our conversation begins.
Film Sundries
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- Watch this film: iTunes • Amazon • YouTube
- Script Transcript
- Original theatrical trailer
- Fan trailer recut
- Die Hard With a Vengeance Alternate Ending
- Original poster artwork
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"We are just up to our neck in terrorists again, John!" Joel Silver was never a producer to shy away from giving the audience more of what they wanted. For the sequel to his 1988 action hit Die Hard, he tapped into director Renny Harlin and together, they pushed for more action, more humor, more stunts and… more of everything else the audiences got in the first film. But does that make a good sequel? Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with Harlin’s 1990 film Die Hard 2.
We talk about the overall tone of the movie, what works with it and what doesn’t, and what may be forgivable in context of this being an over-the-top action film. We chat about how McClane is largely more unlikeable in this film and blame the writers with taking him down this road. We discuss the nature of terrorist films as summer entertainment – something John McTiernan had issue with when making the first film – and ponder if this film really kicked off a trend that made this kind of violence more okay for summer popcorn fare. We laugh at some of the more nonsensical plot elements scattered throughout this film and debate where the line is for one’s suspension of disbelief in a movie like this. And we praise Michael Kamen’s use of music throughout, even when he has to bring John Sibelius’ ‘Finlandia’ in for the parade of planes.
It’s a film that is full of problems that may or may not bother you – we certainly don’t come to any consensus here – but it’s still a fun entry into the Die Hard franchise. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: iTunes • Amazon • Netflix
- Script Transcript
- Original theatrical trailer
- Original theatrical teaser
- Original poster artwork
- 58 Minutes by Walter Wager
- Flickchart
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- Sponsored — Audible Recommendation
- Finlandia by Jean Sibelius
- The Wait (Andy’s short film)
- Still Waiting: The Making of ‘The Wait’
"Now I have a machine gun. Ho-ho-ho." ‘Tis the holiday season, and what better way to kick it off than with everybody’s favorite Christmas action classic, Die Hard. John McTiernan had done Predator beforehand and proved he was the perfect person to helm this action thriller. But would an adaptation from a book about terrorism make for entertaining summer fare? Join us – Pete Wright and Andy Nelson – as we kick off our Die Hard series with McTiernan’s 1988 blockbuster Die Hard.
We talk about the adaptation from the original novel and why the terrorism elements were dropped in favor of the robbery elements. We also talk about why Frank Sinatra was the first person the studio went to when offering actors the chance to play John McClane. We look at what the film did for Bruce Willis’ career and why he was such a gamble to helm an action thriller that now seems like such a no-brainer. We discuss Jan de Bont’s cinematography and Michael Kamen’s score, not to mention the wonderful effects work that Thaine Morris put together. And we chat about the legacy the film has had and how it made pitching similar action films so easy (it’s Die Hard on a (fill in the blank)).
We love this movie which we definitely think is a Christmas movie. It’s one of our favorites and we’re thrilled to get a chance to talk about it. Put the movie on with the age-appropriate family for the holiday (definitely not the three-year-olds) then tune in to the show! The Next Reel – when the movie ends, our conversation begins.
Film Sundries * Watch this film: iTunes • Amazon • Netflix * Script * Original theatrical trailer * Original poster artwork * Art of the Title * Nothing Lasts Forever by Roderick Thorp * Flickchart * Letterboxd * Die Hard — Music Video — GuyzNite
"I’m a survivor, as you should know by now." Stieg Larsson had plans to write an entire series of Millennium novels, but unfortunately died having only written three of them. Because of this, they’re often referred to as the Millennium trilogy. Sure, they have the same characters largely and are centered around the Millennium magazine, but it’s not really a trilogy per se. That being said, when making the three films, it didn’t stop the team from shooting them all back to back to keep the story as cohesive as possible. While it’s great having the three Swedish films feel so much of a whole, it is a challenge seeing this as a trilogy. It doesn’t help that the third film, Daniel Alfredson’s 2009 The Girl Who Kicked the Hornets’ Nest, starts to feel a bit like the storytellers are stretching credulity a bit. Join us – Pete Wright and Andy Nelson – as we wrap up our series on the Millennium ‘trilogy’ with Alfredson’s film.
We talk about the basic struggles we have with the film, even if we still largely enjoy it. We look at the struggles all trilogies seem to face and how that often is expounded when they shoot them back to back. We talk about the cast and how well they do, most notably the women throughout. We look at the courtroom scene and Dr. Teleborian’s takedown, discussing the camerawork and performances and how that scene stands out as quite effective. And we come back around to talking about Noomi Rapace and Michael Nyqvist and how great they are in their roles.
While we have issues with this film, it’s still one we enjoy and would return to. It’s a series of films that’s dark but definitely worth checking out. So check it out! Then tune in. The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: iTunes • Amazon • Netflix
- Swedish trailer
- US trailer
- Original poster artwork
- The Girl Who Kicked the Hornet’s Nest — Comixology
- The Girl Who Kicked the Hornet’s Nest by Stieg Larsson
- Flickchart
- Letterboxd
"Hello, Papa." Stieg Larsson’s second novel in the Millennium trilogy, “The Girl Who Played With Fire,” saw the continuation of the story of Lisbeth Salander and Mikael Blomqvist while they try to stop a sex trafficking ring in Sweden. The whole trilogy of books was a massive success, but the film version was given half the budget of the first film for some reason, while also being paired with a different director. Perhaps the producers knew the book wasn’t quite as good as the first one? Perhaps they figured they could spend less because people would be seeing it anyway? Whatever the reasons, it seems a bit like the ugly red-headed stepchild. But director Daniel Alfredson still put together an effective film, even if it feels a bit average at times. Join us – Pete Wright and Andy Nelson – as we continue our series on the Millennium trilogy with Alfredson’s 2009 take on The Girl Who Played With Fire.
We talk about the overall feel of the film and try to gauge why it doesn’t feel as fresh or original as the first film. We discuss the inevitable effects that a much lower budget has on those making the film and ponder if that affected Alfredson. We debate about Alfredson as a director and wonder what he’s bringing to the table. We are still thrilled with Noomi Rapace and Michael Nyqvist as Lisbeth and Mikael, even if there are elements about them that can be more frustrating here. We look at Peter Mokrosinski’s cinematography and look at where it works and where it doesn’t. And we look at the script and how the adaptation works, questioning whether some of the poorer elements were thrust on the filmmakers by Larsson’s source material.
On the whole, we enjoy the film but not on the level of the first entry. Still, it allows for a great conversation, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: iTunes • Amazon • Netflix
- Original theatrical trailer
- US Red Band trailer
- The Girl Who Played with Fire by Stieg Larsson
- Flickchart
- Letterboxd
As part of our ongoing series on the people behind the sites and services that serve the film-loving community, today we’re talking to Paul Dergarabedian, the senior media analyst for comScore. You may not be familiar with comScore but you’re likely familiar with reports on how well any particular movie did on any given weekend. comScore is the company that gathers all of that information from the movie theatres, organizes the statistics into useful information, and gets it back to the studios so they know how well their movies did. Paul works as the frontman for the company and is often seen as the face of the numbers in interviews far and wide. Paul joins us to talk about the exciting world of film statistics, how he got started in the business and his love for film.
Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
"Whatever it is that you’ve been through, you don’t have to tell me. I’m just glad you’re here." With the international success of Stieg Larsson’s novel “Men Who Hate Women” and its sequels, it was inevitable that a cinematic version would be made. The three films that make up Larsson’s ‘Millennium Trilogy’ were made back to back and were all released in Sweden in 2009 before making their way around the world to financial and critical success. The first film, Niels Arden Oplev’s The Girl With the Dragon Tattoo, introduced the world cinematically to both Lisbeth Salander and the actress who portrayed her – Noomie Rapace. Her work to bring Salander to life is largely what makes this trilogy stand out as one worth talking about. Join us – Pete Wright and Andy Nelson – as we kick off a series about the three films in the Millennium Trilogy with Oplev’s 2009 film The Girl With the Dragon Tattoo.
We talk about the story and why it largely works so well – Lisbeth Salander. We look at Rapace as Salander and how well she does with Michael Nyqvist playing the man who brings her in to help him solve this case. We look at what Oplev does here cinematically and make some comparisons with the 2011 David Fincher remake. We chat about some of the violence with the story and debate what it does for the story itself. And we touch on some of the differences between the original cut and the extended TV cuts.
It’s a dark film but certainly one worth watching. We love the mystery presented here, but more importantly, we love that this film gave us Noomi Rapace. We have a great time talking about this movie, so check it out then tune in!
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: iTunes • Amazon • Netflix
- Original theatrical trailer
- Original poster artwork
- The Girl With The Dragon Tattoo by Stieg Larsson
- Flickchart
- Letterboxd
"Turn back, Sarah. Turn back before it’s too late!" After working on The Dark Crystal together, Jim Henson and Brian Froud wanted to do another project together, but they had a few stipulations. One, they didn’t want to tell a story that was so dark. Two, they didn’t want it to be all puppets – they wanted to include people as well. After locking those in, they came up with a concept that included goblins stealing a baby, and away they went. Steal away with us – Pete Wright and Andy Nelson – as we add another Listener’s Choice episode with Henson’s 1986 film Labyrinth, selected by Melanie from Melbourne!
We talk to Melanie about why she picked this film for us to discuss. We dig into our own histories with the movie and Andy acknowledges that some of his 13-year-old self may be coloring his view on the film today. We look at the film overall, both at what works and what doesn’t. We chat about Jennifer Connelly and David Bowie and look at what they’re each bringing to the table. We also talk about the slew of puppeteers working hard to make this world come to life through many types of puppetry. We debate the quality of Bowie’s music in the film, regardless of how catchy it may be. We look at some bigger issues going on in the film regarding adolescence and leaving childish ways behind (not to mention the timely lenses of seeing the film as a story about an older man lusting after a much younger girl). We look at Henson as a director and wonder if he might be more of a technician who brings amazing puppets to life than a director. We debate if the film feels cohesive or feels too disjointed. And we try to not comment on Bowie’s pants but find we can’t help ourselves.
It’s a film that one of us loves and the other finds fairly middle-ground, but one that warrants a fantastic discussion. So check it out (or don’t – it’s up to you) then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Flickchart
- Letterboxd
- The Hidden Faces of the Goblin King
What’s this? More Trek? We can’t get enough of it! This week, Ethan Siegel joins Pete to talk about the science of Star Trek, talking through those questions that stumped us during our film series. From space propulsion to transporters, energy fields to sliding doors, Ethan builds a bridge connecting the fantastic technology that provides the foundation for the Trek future, back to the practical science of today.
Who is Ethan Siegel? He’s a Ph.D. astrophysicist, author, and science communicator, who professes physics and astronomy at various colleges. He has won numerous awards for science writing since 2008 for his blog, “Starts With A Bang,” including the award for best science blog by the Institute of Physics. His two books, Treknology: The Science of Star Trek from Tricorders to Warp Drive, and Beyond the Galaxy: How humanity looked beyond our Milky Way and discovered the entire Universe, are available wherever books are sold.
Links & Notes Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Treknology: The Science of Star Trek from Tricorders to Warp Drive
- Starts with a Bang — Ethan’s Blog
"I’m submitting a complaint, exercising my rights as a citizen. That makes me a criminal?" Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
There are many anthology films out in the universe, some better than others. It’s the better ones that have strong connective tissues tying the various short stories together. Sometimes, those ones are directed by many people, sometimes by the same person. When Damián Szifron realized he’d written a bunch of short stories that were all thematically similar, he thought back to TV anthology shows he loved like “Amazing Stories” or “Alfred Hitchcock Presents” and decided to make an anthology film. With the thematic connections between these films, he’s turned out an incredibly strong movie that’s not only become the most seen film in Argentina but also an incredible financial success. Join us – Pete Wright and Andy Nelson – as we wrap up our series on Argentinean actor Ricardo Darín with Szifron’s 2014 film Wild Tales.
We talk about what makes a good anthology film and why so many don’t succeed as well as this one does. We look at each of the six stories and debate which are the best and why. We look at Darín and his character Simón and how “Bombita” became such an iconic Robin Hood type of figure for the people of Argentina. We discuss why Szifron’s film succeeds even though there isn’t an overarching story connecting everything together. And we talk about how this film really seemed to take Argentina by storm and look at why people reacted to this film the way they did.
It’s a fantastic anthology movie, it’s a fantastic film, and Darín is fantastic in it. We have a great time discussing it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries * Watch this film: iTunes • Amazon * Script Transcript * Original theatrical trailer * Original poster artwork * Flickchart * Letterboxd
"Memories are all we end up with." Anyone who has seen a Ricardo Darín film knows he has very expressive eyes. The actors in the 2009 film El Secreto de Sus Ojos, or The Secret in Their Eyes, had to have more than just expressive eyes, though. They had to be able to carry heavy amounts of subtext in their eyes. And while director Juan José Campanella’s film is largely a detective story as Darín and his team work to solve a cold case, it’s also a story about unrequited love. Luckily, Campanella had worked with Darín before so he knew Darín could do it. And Darín pulls it off effortlessly, along with his costars Soledad Villamil and Guillermo Francella. Join us — Pete Wright and Andy Nelson — as we continue our series on actor Ricardo Darín with Campanella’s 2009 film The Secret in Their Eyes.
We talk about how well this film works for us and what Campanella achieves with this magnificent film. We look at the work Darín, Villamil and Francella bring to the table, not to mention their costars Pablo Rago, Mario Alarcón, Javier Godino and Carla Quevedo. We revel in the spectacular cinematography throughout the film from director of photography Félix Monti, discussing how they frame shots, the narrow depth of field, handheld shots and more. We look at the complexities involved in creating the spectacular stadium scene, and we contrast that with discussions about some smaller scenes. We discuss some of the themes of the film and how well they are balanced across the story, and we briefly discuss the American remake and why it doesn’t work for Andy.
It’s a fascinating film that sticks with you long after it ends. We love it and by now have fallen completely for the wonderful onscreen presence of Darín. He’s a brilliant actor and we had a great time talking about this film of his. So what are you waiting for? Watch this movie then tune in! The Next Reel – when the movie ends, our conversation begins!
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: iTunes • Amazon
- Original theatrical trailer
- Original poster artwork
- La pregunta de sus ojos (Spanish Edition) by Eduardo Sacheri
- Flickchart
- Letterboxd
- Rodrigo Tomasso’s Stadium Full VFX Breakdown
- More behind the scenes of the Stadium Oner
- Olabola VFX Portfolio
- Rodrigo Tomasso’s Invisibles Breakdown
"When nothing can be worse than what happened, you feel powerful." Juan José Campanella had developed a career bouncing back and forth between the US, where he would direct episodes of TV shows, and Argentina, where he was starting his feature film directing career. After his Argentinean feature film debut in 1999, he tapped his leading man – Ricardo Darín – to star in his next feature, El Hijo de la Novia, or The Son of the Bride, before he headed back to the States for more TV work. With a touching story about a man in a midlife crisis (if you look at it in the most basic sense), Campanella created a story that speaks to the honesty of love, of growing older, of the effects of diseases like Alzheimer’s, of friendship – of life – and gave us a beautiful film. Join us – Pete Wright and Andy Nelson – as we continue our series on Argentinean actor Ricardo Darín with his 2001 film Son of the Bride.
We talk about Darín and why he works so well in this role, despite the fact that he starts off as largely unlikeable. We talk about the others in the cast too – Héctor Alterio, Norma Aleandro, Natalia Verbeke and Eduardo Blanco – and what they all bring to the table here. We look at how Campanella structures his scenes and why they often work so well, despite being surrounded by a story that otherwise could become maudlin very quickly. We chat about Daniel Shulman’s cinematography, with a camera that often feels like it’s dancing, and about Camilo Antoloni’s editing, with a balance of edits that complements the shots. And we debate about the character of Juan Carlos and if his comedic elements worked or ended up being too much for us.
It’s a delightful film that touches the heart full of wonderful performances. We have a great time talking about this one. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: Amazon
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
"Of course I can buy it, but I can also not buy it as everybody else would do if they could." Ricardo Darín was pretty much born into acting. Coming from a pair of actor parents, he started on Argentine television when he was just a boy and grew up in the industry, finding lots of success in TV, film, and theatre. But it was his role as con artist Marcos in Fabián Bielinsky’s film Nueve Reinas – or Nine Queens – that really cemented his role as one of Argentina’s key leading men. Join us – Pete Wright and Andy Nelson – as we kick off a new series celebrating the work of the fantastic Ricardo Darín starting with Bielinsky’s 2000 film Nine Queens.
We talk about Darín and how wonderful he is in this film, while we also ponder why it is perhaps that such a brilliant actor hasn’t tried to make the crossover into English language films. We discuss how Bielinsky got this film made after years of having no luck selling the script. We look at what cinematographer Marcelo Camorino is doing throughout the film with wonderful steadicam shots paired with long lens shots that really give the film a sense of voyeurism. We touch on the score by César Lerner and how it has a wide variety of styles throughout that pairs very effectively with the twists and turns of the con story. And we revel in said story, thrilled to see a con story work so effectively while also allowing for moments of small character beats that builds a stronger foundation for the script.
It’s a wonderful film that gets everything right, giving us a lot to look forward to in this series. So check out this movie then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: Amazon • YouTube
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
"This is where the frontier pushes back." With JJ Abrams busy working on that other space franchise, the new Trek film needed a new director. And who better to bring on board than Justin Lin, the man who rejuvenated the Fast & Furious franchise. Yes, it meant he was going to bring his big action directing to this franchise. But was that a bad thing? It also meant there would be fewer lens flares. Was that a good thing? More importantly, it was Paramount’s opportunity to celebrate 50 years since Gene Roddenberry’s “Star Trek” started airing on TV, creating this future world that drew so many people to it. Join us – Pete Wright and Andy Nelson – as we close out our massive series with Lin’s 2016 film Star Trek Beyond.
We look at why we love this film so much, particularly since there are so many problems scattered throughout that we have with it. We contemplate Simon Pegg’s and Doug Jung’s script, wondering if perhaps Scotty might be stretching his legs more than he normally would because he’s writing it. We debate whether Idris Elba’s character Krall needed to have as much makeup as he has and if his motivations really make enough sense in the film for us not to worry about it. We discuss the spaceport Yorktown and revel in the beauty of it, notably because so much of it was filmed in Dubai. We ponder the future of the franchise, wondering how they’re going to bring Chris Hemsworth back in the next one. And we praise Michael Giacchino and his beautiful score for this film, notably his somber use of his Star Trek theme as well as the new Yorktown theme he develops.
All in all, it’s been a fun franchise to dig into for the last 13 weeks, and this film was exactly the finish we needed – a film that may have issues but has its heart in the right place. We have a great time talking about it on this week’s show. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
"My name is Khan." When Paramount asked JJ Abrams and his team behind the 2009 Star Trek reboot to get started on a sequel, they took a while trying to break the story. From interviews, it sounded like they had well over 50 iterations of the story before they finally came up with the idea they went with. With all that time and those iterations, though, it struck many people as odd that they ended up deciding to tell a story that brought back Khan Noonien Singh, the antagonist from Star Trek II: The Wrath of Khan, as the villain. While the film is entertaining, it also feels unfresh because it’s retreading familiar territory. But that didn’t stop it from making its money back at the box office as it quickly earned the highest gross of any Trek film. But does that mean it’s good or just successful? Join us – Pete Wright and Andy Nelson – as we get near the end of our Star Trek series with JJ Abrams’ 2013 film Star Trek Into Darkness.
We talk about our problems with this film and try to evaluate why they may not be problems for those not as familiar with the earlier Trek lore. We look at how, at least for long-time Trek fans, this script makes it feel less like an homage to great elements in the past and more like a ripoff of a better story. We discuss our frustration with elements in the film, such as the treatment of female characters, the lack of understanding of the Prime Directive, the reliance on screenplay tropes like the departure of a betrayed friend, and more. We also look at elements of the film that we really like, such as the incredible world that starts us off, and the trip from ship to ship. And we dig deep into the opening sequence, introducing us to a primitive culture on a really cool planet.
While this film frustrates us on a number of levels, it still makes for a great conversation. So check it out, then tune in! The Next Reel: when the movie ends, our conversation begins.
Film Sundries
Want to join us for an episode? Support The Next Reel on Patreon to automatically be entered into our regular Listener’s Choice drawings! — http://patreon.com/thenextreel
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
"Your father was the captain of a starship for twelve minutes. He saved 800 lives, including your mother’s and yours. I dare you to do better." With the financial disappointment of Star Trek: Nemesis, Paramount wasn’t so sure they would return to the well again. But in 2005, when Viacom/Paramount split from CBS, they had to get a movie in the works or risk losing rights to the property. Hence, Star Trek was born. But screenwriters Robert Orci, Alex Kurtzman and director JJ Abrams didn’t want to continue the story from where it left off – they felt it had been played out. They went back to one of the early ideas to have Kirk and Spock in their Academy years. Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with Abrams’ 2009 film Star Trek.
We talk about the nature of this reboot, which is a bit more a rebirth or a timeline shift, and how well that works for us. We discuss the cast and how they all feel in the roles they inhabit. We look at the redesigned ship and how logical its interiors are in context of its exteriors. We chat about the kinetic energy Abrams brings to the film, and how well that works with Dan Mindel’s cinematography. We touch on Michael Giacchino’s score and what we think of it in context of the film as well as how well it stacks up to the rest of the music in the franchise thus far. And we look at the script and how wonderfully it develops the characters from their origins, notably Kirk and Spock.
We have a great time with this film – certainly one that stands out in the franchise. If you have been avoiding this series because you’re not a Trek fan, this might be the one worth trying to see what you think. Regardless, tune in to this week’s show!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original Teaser Trailer
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
"I’m afraid you won’t survive to witness the victory of the echo over the voice." Star Trek: Insurrection was a success at the box office, but not so much that the studio felt the need to get another Star Trek film into production right away. In fact, there didn’t seem to be much motivation to make one. That is until John Logan met Brent Spiner and the two not only hit it off but also became intent on writing the next film for the franchise. Once they found the right story, everyone got on board and _Star Trek: Nemesis _was born. But was there an audience for another Star Trek film or were people worn out with franchise fatigue? And could the team deliver a film that warranted its existence? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with the final of the Next Generation films, Stuart Baird’s 2002 film Star Trek: Nemesis.
We talk about our memories of the film and how those memories may have shifted on this latest viewing, and why we think that is. We look at Tom Hardy as a young Jean-Luc Picard and talk about his effectiveness with this portrayal. We get a bit nerdy as we discuss Romulan history, the Remans and where they fit in, and how all of this works together in context for the story presented here. We chat about the look of the film, relishing in the darkness presented here by cinematographer Jeffrey L. Kimball, and how it works well with Herman Zimmerman’s sets and Jerry Goldsmith’s score. We look at elements within the film that relate to the story of duality going on here, notably with Picard/Shinzon, Data/B-4 and the Romulans/Remans; and we ponder how well some of those choices work for us. And we take a look at how we feel about the TNG films and how they work for us as a body of work as compared with the films from the original crew.
On the whole, we both had a much better time with this film than we’d remembered. We know it’s a much-maligned film, but we feel there’s more merit than we’d remembered. Check it out and see how it holds up for you, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins!
Film Sundries
Do you like getting the good stuff before everyone else? Support The Next Reel on Patreon and get access to the show Drafts Podcast Feed! — http://patreon.com/thenextreel
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Flickchart
- Letterboxd
”How many people does it take, Admiral, before it becomes wrong?" With the success of Star Trek: First Contact, a more action-oriented Star Trek film, the team behind it wanted their next film to be lighter in tone and more character-driven. To a certain extent, that’s exactly what audiences got, and a lot of people were disappointed because they were expecting so much more. Join us — Pete Wright and Andy Nelson — as we continue our Star Trek series with Jonathan Frakes’s 1998 film: Star Trek: Insurrection.
We talk about why this film seems a bit divisive with fans, and look at what works for us as well as what doesn’t. We chat about the nature of the script and if there was a fresh and exciting story buried in there. We look at what Frakes and co. bring to the table here and ponder why it feels more like a two-part TV episode than a movie. And we revel in the brilliance of F. Murray Abraham as Rua’fo, not just performance-wise but also with Michael Westmore’s brilliant makeup effects.
It’s a fairly middling film that has its moments of greatness that are often burdened by its moments of nonsense. Regardless, we have a great time talking about this one, so check it out!
Film Sundries
- Watch this film: iTunes • Amazon • Hulu
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
"The line must be drawn here!" The introduction of the Borg as an antagonist on “Star Trek: The Next Generation” gave the crew of the Enterprise – and the teams on subsequent shows – one of their greatest villains. Not only are they a terrifying collective, assimilating everyone they come into contact with, but they thematically are the antithesis of everything the franchise has come to represent about technology and the future. Because of all of this, they seemed a natural element to include in the TNG cinematic stories. But the studio wanted them to include a way to personify the villain more than they ever did in the show. The filmmakers also wanted to make a time travel film. With all of these elements, were they able to pull it together to make a cohesive film? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with Jonathan Frakes’ 1996 film Star Trek: First Contact.
We talk about the Borg as a whole, both in the TV shows and this film, and debate how well they’re served with some of their rules and with the addition of the Borg queen. We praise the brilliant performances of the additional actors brought into the fold in this film – Alfre Woodard, James Cromwell and Alice Krige (even Neal McDonough) – and how we relish some of their scenes with our Enterprise crew. (Woodard’s scenes with Patrick Stewart all stand out as 5-star Star Trek.) We go through problems we have with the script, notably the introduction of the Borg queen and the lack of and conflict in the storyline on Earth, and debate what could have improved the movie. We look at what some of the crew, primarily cinematographer Matthew F. Leonetti, composer Jerry Goldsmith and production designer Herman F. Zimmerman, bring to the table. And we run through a list of items in the film – items like Geordi’s ocular implants, the escape pods and Cromwell’s dancing – to find out if we loved it or hated it.
It’s a fun film that makes for an exciting watch, though with more visible problems that we’re seeing now. Still, we have a great time talking about it on this week’s show. So watch the film then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries
- Watch this film: iTunes • Amazon • Hulu
- Screenplay — First Draft
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
"Who am I to argue with the captain of the Enterprise?" After seven successful seasons of “Star Trek: The Next Generation,” it was time for their voyage to the big screen. For the first foray into the cinemas, the TNG team pulled several key crew from the show – notably the writers and director. Unfortunately, it made for a film that felt a bit like an expanded episode of the TV series, albeit made with a bigger budget. It also is mired by one of the more convoluted elements in any of the franchise films – the Nexus. Does that make it the worst of the franchise? Or does it have merits? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with David Carson’s 1994 film Star Trek: Generations.
We talk about the frustrations we have with this film and why the Nexus is such a problematic element within the story. We look at Ronald D. Moore and Brannon Braga – the two screenwriters – and ponder why they struggled so much with the concept and what they could’ve done differently to make an arguably better film. We debate the decision to bring Carson, Braga, Moore and even composer Dennis McCarthy, over from the TV show and why this decision may have lent to the small scope feel of the film. We relish in the relationship between Captain Picard and Data, notably in their conversation in Stellar Cartography, and what it brings forth in their relationship. And we complain about many other story issues we have with this film, looking at whether the issues here make it a better or worse film that Star Trek V.
It’s an interesting film to discuss that’s full of frustrations and missed opportunities. Regardless, we have a great time talking about it so check out the movie (or don’t) then tune in to this week’s show! The Next Reel: when the movie ends, our conversation begins.
Film Sundries
Do you like getting the good stuff before everyone else? Support The Next Reel on Patreon and get access to the show Drafts Podcast Feed! — http://patreon.com/thenextreel
- Watch this film: iTunes • Amazon • Hulu
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
- Warp Factor Table
"We will not be the instigators of full scale war on the eve of universal peace!" Even though “Star Trek: The Next Generation” was entering its fifth season and Star Trek V: The Final Frontier had underperformed, Paramount wanted to bring back the original crew of the Enterprise for one last hurrah to celebrate the 25th anniversary of the franchise. To write and helm the film, they turned to the man who arguably made the best film thus far, Star Trek II: The Wrath of Khan. Nicholas Meyer co-wrote it and ended up directing it as well, making a film that stands out as one of the high points of the franchise. Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with Meyer’s 1991 film Star Trek VI: The Undiscovered Country.
We talk about what this film means for the original crew and how it works as their final send-off. We look at the Shakespeare elements, along with other nods to world history, and discuss them in context of this universe – does it make sense for other races to be quoting ancient Earthlings – versus in context of us as viewers of the film. We dig deep into the scene when Spock double mind melds Kim Cattrall’s Valeris, how well that scene works for us and why. We discuss the context of the world at the time Meyer and team wrote and made this film and how well that connection benefits the story. We discuss Cliff Eidelman’s music and why it works so well, even if he largely stays away from the themes already built into the series. And we talk about the fantastic Klingon makeup done throughout the film and why we think it works so well.
It’s a film that stands out as Pete’s favorite of the franchise and one well worth talking about. Definitely check this one out. It’s well worth it. Then tune into the show! The Next Reel – when the movie ends, our conversation begins.
Film Sundries
- Watch this film: iTunes • Amazon • Hulu
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
"I don’t want my pain taken away! I need my pain!" Leonard Nimoy had directed two Star Trek films so naturally, William Shatner wanted to give it a go. He even had a great concept for a story – the crew of the Enterprise goes on a quest to find God. Unfortunately, with a writers strike hitting Hollywood at the time, with an effects company that couldn’t deliver, and with a studio demanding as much humor as they could cram into the script, Shatner’s vision was muddled and became what many consider to be the worst of the original cast films in the franchise. But is it really that bad? Is it possible to get past the terrible humor and find a compelling story? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series and look for these answers and more in Shatner’s 1989 film Star Trek V: The Final Frontier.”
We talk about the overall problems we have with this film but how the story itself is actually quite compelling. We look at how the relationship between Kirk, Spock, and McCoy is developed in this film and what elements of that development work for us. We chat about the character of Sybok and the problem he created for many ardent fans – a laughing Vulcan! We shake our heads at much of the bad comedy and screenwriting that nearly buries the fascinating story in nonsense (and some would say DID bury it (buried alive…)). We look at the style and verve that Shatner infused in the film with the lighting and camera work, not to mention the incredible score he gets out of Jerry Goldsmith, returning to the franchise. And we ponder the merits of the Kraft Marshmallow (marshmelon?) Dispenser in all of its glory.
It’s an incredibly problematic film that represents some of the franchise’s worst… but also some of its best. We have a great time chatting about it so check it out then tune in! When the movie ends, our conversation begins.
Film Sundries
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- Watch this film: iTunes • Amazon • Hulu
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
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- Kraft Marshmallow Dispenser
"Who would send a probe hundreds of light years to talk to a whale?" With the success of their pair of Star Trek films under their belt, director Leonard Nimoy and producer Harve Bennett were asked once again to return to the well and bring forth yet another Star Trek story. This time, Nimoy had more free reign to make the film he wanted to make, and he and Bennett thought it would be nice to make something a bit lighter. Also? They wanted to feature time travel. So they put their heads together and came up with what we now know and love to be Star Trek IV: The Voyage Home. The film ended up wrapping things up nicely from the previous two films and became the closing entry of an unintentional trilogy that works well in the context of the three films and as a stand alone entry. But how well do the comedy stylings hold up with a modern eye? Join us — Pete Wright and Andy Nelson — as we continue our Star Trek series with Nimoy’s 1986 film Star Trek IV: The Voyage Home.
We talk about what works in this film – the characters, the whales, the probe, the future – and what doesn’t – all of the slapstick in the present paired with a problematic screenplay – and why it still works for us. We look at the incredible effects from the team at ILM all through the film and how they were really continuing to do things here they hadn’t before. We chat about the core team and look briefly at Nichelle Nichols and her background. We debate the quality of the cinematography by Don Peterman and the score by Leonard Rosenman and ponder if either of a quality that warranted an Oscar nomination. And we look at the trailer, debating if it was any good or told us too much.
It’s a fun, light film as promised, but one that may not feel as appropriate in the franchise. Still, we have a fantastic time chatting about it. So check out the film – again or for the first time – and tune in! When the movie ends, our conversation begins.
Film Sundries
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- Watch this film: iTunes • Amazon • Hulu
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
- Memory Alpha — Star Trek Wikia
"My God, Bones, what have I done?" Because of the critical and financial success of Star Trek II: The Wrath of Khan, Paramount quickly put plans into action for part three, telling Harve Bennett to get them a script as quickly as he could. And he did. Soon, they had brought Leonard Nimoy on to direct, feeling okay that he could handle it since his part of Spock had such a diminished role in the film. And two years later, they had a film in theatres. But does it work? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with Leonard Nimoy’s 1984 film Star Trek III: The Search for Spock.
We talk about the elements of the film that work for us – the incredible ship modelwork, the destruction of the Enterprise, the parts of canon introduced here – and we talk about what didn’t work, which generally focuses on the script. We chat about Nimoy as a director and what he and Bennett brought to the table here – notably their senses of humor – and why that largely doesn’t work for us. We discuss the sequence where Kirk makes the fateful decision to blow up the Enterprise in order to escape the clutches of the Klingons and look at what the team is bringing to the table in that sequence. We touch on James Horner’s score, continuing from the previous film, and love how much it helps build the destruction of the Enterprise. And we ponder the theme so beautifully illustrated in the previous film about the needs of the many outweighing the needs of the few, and how this film bungles up that entire message.
It’s a frustrating film to watch but one we still enjoy, probably in part because it helps connect the dots within this mini franchise trilogy. We have a great time talking about it on the show this week so check it out then tune in! The Next Reel. When the movie ends, our conversation begins.
Film Sundries
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- Watch this film: iTunes • Amazon • Hulu
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"You are my superior officer. You are also my friend. I have been, and always shall be, yours." The ‘failure’ of the first Star Trek film put Paramount in the frame of mind where they needed to do a few things if they were to keep the franchise moving forward. 1) Drop the budget to something much more meager. 2) Add some action to the story. 3) Get rid of the needy creator and producer Gene Roddenberry. They did all three and luckily, the pieces fell into place in a way where they truly ended up with one of the great sci-fi films of all time and arguably the best in the franchise. It’s possible it could’ve been a disaster, but director Nicholas Meyer paired with new producer Harve Bennett – both new to the world of Trek – seemed to approach it the right way. Join us – Pete Wright and Andy Nelson – as we continue our Star Trek marathon with Nicholas Meyer’s 1982 film Star Trek II: The Wrath of Khan.
We talk about the risk of telling a story that is essentially a sequel to a TV episode that ran 15 years earlier, yet how well it works (and the fact that it still can work for you if you never saw that episode). We chat about the ousting of Roddenberry and how Bennett’s and Meyer’s approach seemed to work well for the franchise, especially certain nautical and militaristic elements Meyer wanted to add. We look at what Industrial Light & Magic brought to the table, notably the Genesis effect video but also all the incredible model work (all done at the same time as Poltergeist and E.T.: The Extra-Terrestrial). We look at the story of Khan and discuss why it works so well here, paired with themes of friendship and aging, etc. And we dig deep into a scene where Khan steals the Genesis device and he and Kirk have an incredible com-to-com monologue-off.
It’s a brilliant film and has stood the test of time with its action-packed, tense, funny, dramatic, operatic, heartbreaking story and one we have a great time discussing. So check out the movie – watch it again if you’ve seen it already because it’s really that good – then tune in! The Next Reel – when the movie ends, our conversation begins.
Film Sundries
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- Watch this film: iTunes • Amazon • Hulu
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- “Space Seed” — Original Series Episode #22
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"The creator has not answered." It wasn’t until syndication that Paramount realized that it had a property they could continue milking in Gene Roddenberry’s Star Trek TV series. Even then, however, they struggled to get a film adaptation made. After dropping the idea and settling for a new TV series called Star Trek: Phase II which they began developing, the theatrical releases of Star Wars and Close Encounters made them realize that science fiction movies could work. So back to the drawing board they went and after a few years, Paramount was ready to release Robert Wise’s Star Trek: The Motion Picture in theatres. It proved successful and spawned a massive franchise that has found legions of fans worldwide. Yet Wise’s film still has its detractors – whether it’s the pacing, the acting, or the plot, there are those who dislike the film. So is it a worthy start to the film franchise? Join us – Pete Wright and Andy Nelson – as we kick off our biggest series to date – The Star Trek series – with 1979’s Star Trek: The Motion Picture.
We look at the film’s trailer and talk about who it was marketed to and why it worked. We discuss the pacing of the film and why it’s caused such dislike for the film, even if it doesn’t sound like it was entirely intentional. We look intently at one scene and discuss the actors, the camerawork, direction, themes and everything else to see how that one scene fits in context of the overall film. We chat about split diopters and how frequent they are in the film. And we look at how well the film did (hint: well enough to birth a franchise!).
We have a great time starting up this new series with one of the more divisive films of the franchise. Definitely check it out (but bring your coffee!) then tune in! The Next Reel. When the movie ends, our conversation begins.
Film Sundries
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- Watch this film: iTunes • Amazon • Hulu
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- Star Trek: The Original Series — Wikipedia
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"Prepare to feel the wrath of the League of Evil Exes!" After making Shaun of the Dead, Edgar Wright signed on to direct the adaptation of Bryan Lee O’Malley’s graphic novel “Scott Pilgrim’s Precious Little Life” but due to project delays, it would be another six years before his film would hit the screen. In the interim, Wright would continue his Cornetto trilogy with Hot Fuzz and O’Malley would nearly finish writing the other five volumes of his “Scott Pilgrim” series. That time also allowed Wright, O’Malley and screenwriter Michael Bacall to get the screenplay just right. Unfortunately, when the film was released in theaters, it never found its audience. But like any good cult film does, it has since found its legions of fans and supporters, proving that Wright and co. know how to put together a top-notch film even if it loses money at the box office. Join us – Pete Wright and Andy Nelson – as we do our second Listener’s Choice episode of the year with listener Nick Langdon’s pick, Wright’s 2010 film Scott Pilgrim vs. the World.
We talk about Wright’s style and all the visual, aural, animated and graphic tricks all through the film that work incredibly well for us, and marvel at how well Wright really taps into the world of these characters. We discuss the actors – from Michael Cera and Mary Elizabeth Winstead to Brandon Routh, Chris Evans and Jason Schwartzman – and look at what they bring to the table. We touch on the production and how all the different departments really came together to deliver something wholly unique. And we chat with Langdon about why he picked this movie and why it’s something special to him.
We have a great time discussing this film and everything Wright and team create for us. It’s a marvelous film and one well worth discussing. So check it out then tune in!
Film Sundries
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- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
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- Art of the Title
- Scott Pilgrim’s Precious Little Box Set — Bryan Lee O’Malley
- Scott Pilgrim on Comixology
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- Scott Pilgrim Alternate Ending
Trailers of the Week * Andy's Trailer: Woodshock — "Having taken classes in college with the great avant garde filmmaker Stan Brakhage, I have to say I’ve grown a real appreciation for artful films like this one looks like. The story sounds quite depressing but the artfulness of it looks gorgeous. I’m incredibly curious to see this one." * Pete's Trailer: To the Bone — "Marti Noxon is behind some of my very favorite episodes of Buffy, Angel, Glee, Private Practice… she’s been all over TV for 25 years. To the Bone is her first feature, written and directed, and based on her history on the small screen that’s all I need to get into this movie. Tough subject, but Keanu’s playing it straight, and Lily Collins looks absolutely terrific."
"He dared to be born right on the border with China."
Regardless of whether you are a Buddhist or not, the story of Tenzin Gyatso is an interesting one that certainly provides drama that can draw you in. Born as the 14th reincarnation of the Dalai Lama, Gyatso grew up as the leader of Tibet. China, however, had other plans and eventually took Tibet, leaving the Dalai Lama no choice but to flee China in 1959. Still hoping to return one day, the Dalai Lama’s life story was one of interest to screenwriter Melissa Mathison who asked him if she could write about him. This eventually led to the biopic Kundun. Join us – Pete Wright and Andy Nelson – as we wrap up our Melissa Mathison series with Martin Scorsese’s 1997 film Kundun.
We talk about why it works for Andy but why it doesn’t work for Pete, and what could perhaps lead to that discrepancy. We chat about Mathison and how this fits in the films she wrote and what we’ve discussed in this series thus far, and how well it works in telling the story of a child in large, otherworldly situations. We talk about Scorsese and all the brilliant cinematic techniques he brings to the film, paired with his cinematographer Roger Deakins, production & costume designer Dante Ferretti, editor Thelma Schoonmaker and composer Philip Glass. We discuss the quality of performances from the Tibetan non-actors Scorsese cast in the film, yet how the story balancing across four youthful performances as the Dalai Lama hampers the film from becoming connectible for Pete. And we look at the incredibly difficult time this film has had with its release, primarily because China banned people involved from entering the country and nearly cut off all ties with Disney for distribution within its borders.
It’s a fascinating film that left us divided but which still is well worth watching and discussing, whether you’re a Buddhist, a Scorsese fan, a Mathison fan, a fan of biopics or a fan of interesting films in general. It’s tricky to find because of the issues Disney had with China, but it’s worth seeking out (likely at your local public library). So check it out then tune in! The Next Reel: when the movie ends, our conversation begins.
Film Sundries
- Watch this film: Check your local library
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Pete's Trailer: Goodbye Christopher Robin — "Can you believe I almost picked Flatliners over this? What am I, nutz? Huge fan of the Pooh and a proper biopic is well deserved. Love that this comes from Simon Curtis and writer Frank Cottrell Boyce (Code 46, yes?) and should make a spot-on double with Saving Mr. Banks." * Andy's Trailer: Happy Death Day — "Pete takes the high road while I take the low. Instead of Brigsby Bear, I’m going with Happy Death Day. That’s right, a funny, twisted and hopefully scary blend of Groundhog Day and Edge of Tomorrow”. As much as it looks like so many horror movies I’ve seen before, I couldn’t help but smile as I watched this trailer. Dumb? Probably. Will I see it? Definitely.
"I’m keeping him."
Steven Spielberg didn’t have a sense that his little, personal alien film was going to blow up like it did when he was making it. Universal Studios saw it as another kids film that likely would only be seen by moms taking their kids to the theatre. But E.T.: The Extra-Terrestrial managed to touch pretty much the hearts of everyone who saw it, turning it into the #1 film in the world in short order. So how does this film hold up? Join us – Pete Wright and Andy Nelson – to find out as we continue our screenwriter Melissa Mathison series with Spielberg’s 1982 film E.T.: The Extra-Terrestrial.
We talk about emotional films versus intellectual films, if there really is a delineation, and how well Spielberg manages both spectrums but how brilliantly this film is able to connect with the world’s emotions. We chat about how Mathison’s first draft was near perfect when she delivered it to Spielberg, and perhaps why it worked out that way. We look at Spielberg and what he brings to the table as the director who seems to consistently bring brilliant films to the world, as is evidenced by the incredible number of them on the list of top-grossing films of all time. We discuss the actors – Dee Wallace, Henry Thomas, Drew Barrymore, Peter Coyote and more – and look at the honesty they’re all presenting on screen for us. We touch on the special effects and why perhaps it’s easy to grow attached to Carlo Rimbaldi’s ugly little alien. We debate whether John Williams’ score sounds a bit too much like his work in Raiders of the Lost Ark or if it’s wholly unique for this film. And we look at how well this movie did and marvel at how long it played in theaters.
It’s a beautiful film that still works incredibly well for us. We have a great time discussing it so check it out again and let us know what you think, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.
Film Sundries
- Watch this film: iTunes • Amazon • Netflix
- Script
- Original theatrical trailer
- Original poster artwork
- Night Skies — Wikipedia
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Patti Cake$ — "I hadn’t heard much about this except that it got great buzz at Sundance. Watching the trailer, I could see why. The lead character’s sense of struggle and place in the world comes through brilliantly and I couldn’t help but smile. It could be that I really enjoy rap battle redemption stories – I loved 8 Mile too – but from the trailer I get a sense that it’s just because this is a strong film." * Pete's Trailer: Landline — "As much a story of sisters awkwardly navigating their relationship as it appears to be a detective story, set in 1995 and clearly having an amazing time with the period. The trailer is heartwarming, intriguing, well-timed… a pleasant surprise among a spate of shooters on deck."
"We’re gonna show everybody that he’s the fastest horse in the world."
Francis Ford Coppola’s successes in the 70s put him in a place where he was able to help a good number of people get projects off the ground. One of those people was his friend from college, Carroll Ballard. Nearly broke, Coppola’s call came just in time and Ballard found himself on board to direct The Black Stallion. Another person was Melissa Mathison, a friend who started working as an assistant on The Godfather, Part II. Coppola suggested to her that she start writing and asked her to help with the script for The Black Stallion. Next thing you know, she and Ballard are working on it together. Join us – Pete Wright and Andy Nelson – as we kick off our Melissa Mathison series with 1979’s The Black Stallion.
We talk about why this film is called an art film for kids and why all of these elements work so well for us. We chat about Mathison, how she got her start here and how she really became a go-to writer for stories with child protagonists who connected to something unique or magical in the world. We discuss the cast, headlined by Kelly Reno as Alec the boy, and Cass-Olé the beautiful Arabian horse. We touch on the cinematography, the sound, the editing and the music, enjoying what everyone’s bringing to the table. And we touch on the locations around the world where the film was shot.
It’s a gorgeous film that isn’t just something made for kids – it’s really for everyone. We have a great conversation about it. Tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- The Black Stallion by Walter Farley
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: What Happened to Monday — "I love scifi films that paint a unique future. This film certainly does, with septuplets trying to find their lost sister in a world where people can have only one child. I’m a little skeptical from the director’s credits but at least from those, I’d like to think this will be fun. I’m just hoping it’ll have some serious meat to it as well, which I always love in scifi. We shall see..." * Pete's Trailer: American Made — "Another film in the catalog of Tom Cruise, who clearly made a deal with a power that allows him to Benjamin Button. I’m in for Doug Liman because of Bourne, Edge of Tomorrow, and in spite of Jumper. Lots of earned equity in my book and drug-running for the CIA seems par for the course in today’s news."
"Nothing but witches and wizards ahead."
Hayao Miyazaki did not attend the Oscars to pick up his Academy Award for Best Animated Film for Spirited Away because he was protesting the Iraq War. When it came time to make his next film, he took his frustration with the war and added a strong anti-war element to Howl’s Moving Castle. Diane Wynne Jones’ original novel, upon which the movie was based, didn’t focus nearly as much on the war but Miyazaki wanted to get his point across. In the end, his film still proved vastly successful, even if it’s not his strongest film. Join us – Pete Wright and Andy Nelson – as we wrap up our latest Hayao Miyazaki series with his 2004 film Howl’s Moving Castle.
We talk about the themes Miyazaki is pushing with this film and why, perhaps, his insistence in adding so much war to the film kept him from focusing on other elements of the story that could’ve provided more cohesion. We chat about how we still enjoy this world created here for us, despite some of this lack of cohesion. We discuss the English and Japanese voice actors, pointing out the ones that worked well for us and the ones that didn’t. We touch on some of the French locations Miyazaki used as inspiration to create this world. We revel in the beautiful music that Joe Hisaishi composed for this film, and we marvel at how successful this film was in Japan, even if it wasn’t at the top of our Miyazaki chart.
It’s a beautiful film told in an incredibly creative world with a plot that’s a bit messy, but still worth watching. Check it out then tune in! When the movie ends, our conversation begins.
Film Sundries
- Watch this film: Amazon
- Script Transcript — English
- Original theatrical trailer
- Original poster artwork
- Howl’s Moving Castle (Howl’s Castle Book 1) — by Diana Wynne Jones
- Flickchart
- Letterboxd
- Sophie’s city was based on Colmar, France & Riquewihr, France
Trailers of the Week * Andy's Trailer: Wonder — "Yes, I’m a sucker for these sorts of movies that totally pull at my heartstrings. All it took was this trailer for me to be practically in tears. Honestly, I picked this because I’m so excited by Jacob Tremblay and want to see how his career evolves. Incredible child actor who’s making some interesting choices." * Pete's Trailer: Logan Lucky — "Guess what? Soderbergh is back! Again! And this time he’s got a NASCAR caper that would appear to lampoon-ebrate the deep culture of the south. I’m a big fan of Soderbergh’s caper flicks so you can count me in for any fast-drivin’, Daniel Craigin’, one-armin’ good times on the speedway."
"If I hear one little complaint out of you, you’ll be joining your parents in the pigpen!"
Hayao Miyazaki’s 2001 film Spirited Away shot to the top of the Japanese box office and still holds the spot as the highest grossing film in Japanese history, sinking box office juggernaut Titanic. Perhaps it says a lot that it’s a Japanese story that is so universally appealing and that it’s for all ages. Or that it’s timeless. Regardless of why it’s so popular, it’s great to see Miyazaki as the person whose creation holds that spot. Join us – Pete Wright and Andy Nelson – as we continue our Hayao Miyazaki series with this beautiful film Spirited Away.
We talk about why this film works so well for us and the various elements of the story that put it at the top of the heap of his films, or at least near to it. We chat about the voice talent and how well they all work in both the original Japanese version as well as the English dub. We discuss the characters and how well they work here, notably Chihiro and the journey she takes in this crazy spirit world to grow into a stronger 10-year-old girl. We touch on the integration Miyazaki and his team uses in this film and how it works fluidly throughout. We chat about how well the film was received, both via awards as well as box office. And we can’t let a score of Joe Hisaishi go by without chatting about how well it works for us.
It’s a beautiful film that stands as a timeless masterpiece. We love it and have a great time talking about it. Tune in! At The Next Reel, when the movie ends, the conversation begins.
Film Sundries
- Watch this film: • Amazon
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
- Tokyo Ghibli Land by artist Takumi
Trailers of the Week * Andy's Trailer: Good Time — "A24 looks to be distributing another really interesting film, this time from the Safdie brothers and starring Robert Pattinson, an actor I gain more and more respect for as he gets away from the Twilight pigeonhole. I’m really intrigued by these characters and will definitely seek this one out." * Pete's Trailer: Okja — "When I first saw the promotional art I passed over Okja. That was a mistake. Had I known it was Bong Joon Ho’s latest, or that it involved pretty much the cast of Snowpiercer, or that it was all about genetically engineering an adorable pig creature and then solving the world’s food crisis with it, well, I would have paid more attention."
"When you’re going to kill a god, let someone else do the dirty work."
Hayao Miyazaki has always had a strong relationship with nature that he’s portrayed in a number of his films, but nowhere has it grown as dark as it did in his 1997 film Princess Mononoke. While an animated film, the level of violence is very high and the themes are much more adult than his previous films, particularly fare like My Neighbor Totoro. And while he hasn’t returned to such dark films since, it’s clear that this was an important step in his storytelling and how his films look at the relationship between man and nature. Join us – Pete Wright and Andy Nelson – as we kick off our second Hayao Miyazaki series with his 1997 film Princess Mononoke.
We talk about the violence in this film, what our thoughts are with showing these films to children (in particular our own) and why we think there is a strength in kids seeing films like this. We discuss Miyazaki and the themes presented here, notably how mankind is left in a position that allows for growth in responsibility, and why it works for us, even if the storytelling doesn’t work for both of us. We chat about the cast, both Japanese and English, and which performances work better for us than others. We look at the sound editing by Michihiro Itô and gorgeous score by Joe Hisaishi and how well they both work to enhance the world Miyazaki creates. And we look at the yin yang nature of everything within the film and why it works in context of the Tokien-esque story.
It’s a strong film with a powerful message that worked better for Andy than it did for Pete, but it allows for a lot of interesting elements to discuss. So check out the movie then tune in! The Next Reel – when the movie ends, the conversation begins.
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
- “On Your Mark” — Miyazaki music video by Chage and Aska
Trailers of the Week * Andy's Trailer: The Hero — "Sam Elliott deserves to be the lead more often and this trailer made me so happy to see him doing it! It doesn’t hurt that this looks like a great character film. Count me in!" * Pete's Trailer: Unlocked — "It’s Bourne, but with a lady!"
"Happiness is in your hands."
The role of advertising in politics is constantly evolving. From radio to TV to the internet and now to specifically pinpointed Facebook ads and beyond, it’s amazing how complex the system has grown. But watching how advertising affected the Chilean dictatorship of Pinochet and brought about his downfall in the late 80s in Pablo Larraín’s film No, it’s clear that those behind the ads just might understand our decision making process better than we do. And it’s downright frightening. Join us – Pete Wright and Andy Nelson – as we wrap up our discussion of the films in Pablo Larraín’s unintentional trilogy with a conversation about 2012’s No.
We talk about how well the film works for us and how frightening and sad it really is, looking at what it says about people and the advertising machine’s grasp of them. We chat about Larraín and his direction of this script adapted from an unpublished play, and why both the script and Larraín’s choice to film with U-matic tapes enhance the story as it allows archive footage, TV commercials and the film to be integrated seamlessly. We discuss Gael García Bernal and why he works so well in this film, along with Alfredo Castro, Antonia Zegers and everyone else. And we look at the Pinochet dictatorship and what it was all about, and why it’s something that Larraín has been delving into with these films.
It’s a film that works really well for us, even if we differ in opinion on the look of the film. We have a great conversation about it and feel it’s definitely worth checking out. So watch it then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: The Big Sick — "Any film in a genre that feels unique generally grabs me, and there’s something unique about the tone, feel and story of this film that grabbed me right away. It feels authentic. The romance feels genuine. The laughs feel earned. The story feels solid. I’m sold." * Pete's Trailer: Blade Runner 2049 — "OK. New Blade Runner is looking for old Blade Runner gone missing to help him solve some otherwise insolvable mystery. I have to tell you, I’m stymied. Why are people going gonzo over this trailer? I am, alas, unmoved ... and that is more than just a little bit heartbreaking."
"I’ll talk to them. I have a position now."
Pablo Larraín was born when Pinochet was already in power but the military coup that brought Pinochet to power always fascinated him, largely because it wasn’t something that was discussed until after the dictatorship ended in 1990. On top of that, Larraín became fascinated by the little people who got wrapped up in big moments in history. One that piqued his curiosity was a man named Mario who happened to be a coroner’s assistant helping in the room during the autopsy of President Salvador Allende, the former Chilean leader before Pinochet’s rise. Larraín became fascinated by this moment of history told through this character’s eyes. And thus, Post Mortem was born.
Join us – Pete Wright and Andy Nelson – as we continue our ‘Pablo Larraín’s Unintentional Trilogy’ series with his 2010 film Post Mortem. We talk about why this film, while not as unenjoyable to watch as Tony Manero, still is difficult to watch, and it’s largely about the dislikeable protagonist Mario played well by Alfredo Castro. We debate what Larraín is doing here and if perhaps he’s aiming for too much symbolism in these stories with such despicable characters. We chat about the political environment in Chile at the time and how fascinated we were by those elements. We talk about the crazy Russian lenses they used to film this movie and how much we ended up liking the hypnotic look, even if it took us a while to get there. We chat about Antonia Zegers and Amparo Noguera and some of the powerful moments the two of them provide in the film. And we look at the last shot of the film and the potential power in it.
It’s a really interesting film that unfortunately still struggles with an unlikeable protagonist but gets away with it because the political nature of the film and the natural intrigue it brings. Check out the movie then tune in!
Film Sundries
- Watch this film: Amazon
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: It Comes at Night — "A24 is a distributor I’m watching now and every time I see their logo before a trailer, I instantly put it on my watch list. This would’ve been an easy one anyway with the horror element that naturally draws me in. Creepy story. Great look. Interesting scares. The logo sold me but the trailer had me begging for more." * Pete's Trailer: Score: A Film Music Documentary — “Clearly a passion project from filmmaker Matt Schrader, Score takes us behind the scenes of the greatest film composers of our time. It’s been floating around festivals for some time, but looks like we’ll finally get our ears on it in June. Bonus: At no point do these composers spit up black goo on one another, as in Andy’s trailer this week.“
"Once the film is out of fashion, you think they’ll still follow you? No way."
Pablo Larraín didn’t intend to direct three films that took place during the Pinochet dictatorship – it just happening that way. Looking at Tony Manero, the first film in what is dubbed as his ‘unintentional trilogy,’ it’s clear that Larraín is not one to shy away from challenging his audience. But in doing so, is he pushing us away too? Join us – Pete Wright and Andy Nelson – as we kick off our series on Pablo Larraín’s Unintentional Trilogy with his 2008 film, Tony Manero.
We talk about why we don’t like this film, but look at what perhaps Larraín was working toward by creating such an unlikeable protagonist for the film. We discuss how well his parallels worked between Raúl’s world – an obsession with John Travolta’s character from Saturday Night Fever, general awful behavior and murder – and the world of Chile under the Pinochet dictatorship – general awful behavior and murder. We chat about actor Alfredo Castro and what he brings to the table as this despicable character. We look at the cinematography and editing in the film and, as refreshing as it is here, question how well it’s connected thematically to the story. And we look at some connections, both obvious and less so, this film has with Saturday Night Fever.
It’s an interesting film that makes for a very challenging watch. We both had a difficult time with this one but still felt that Larraín was working toward some interesting things, even if we’re not sure he ever quite got there. But there’s a lot to talk about so check it out then tune in!
Film Sundries
- Watch this film: Amazon
- Original theatrical trailer
- Original poster artwork
- Saturday Night Fever. Seriously.
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: American Assassin — "I’m not convinced I want to watch this movie, but Michael Keaton nearly does it for me. He’s hit a new point in his career where I’m excited by about everything he does. He’s not carrying the film, but I have a feeling his presence will be the draw for me if I decide to see this one." * Pete's Trailer: Beatriz at Diner — "Yeah, this may be a little on the nose for today’s political climate in the US… France… UK… but holy smokes is it fun to watch Hayak go head to head with Lithgow. Pitched as a comedy, but I’m not convinced any of this is altogether funny."
"I just knew if I didn’t start driving, I wasn’t gonna see you again."
Kelly Reichardt’s most recent film, last year’s Certain Women, is a bit of a departure for her in that it’s a film consisting of three separate stories that are only loosely connected (other than thematically). But in this structure, it’s interesting to see Reichardt at her best as perhaps the stories each end up getting as much time as they really need to be told, at least in our perspective. Unfortunately, it didn’t find its audience and lost money at the box office. Luckily, Reichardt’s proven herself as a filmmaker who knows how to tell intimate character stories and will continue making movies. Join us – Pete Wright and Andy Nelson – as we conclude our Kelly Reichardt series with her 2016 film Certain Women.
We talk about the certain women in these stories and how the stories work for us now that they’re all about 30 minutes each (although we both still struggle with one of them). We chat about the nature of these ensemble, multi-story films and how well it works under the guidance of Reichardt, especially now that she’s writing the screenplay herself. We look at each of the actors, including Laura Dern, Kristen Stewart, Michelle Williams and our personal favorite Lily Gladstone, and talk about what they bring to the table. We look at Reichardt’s minimalist nature and contemplate why it doesn’t always work well for us (notably the dark cinematography). And we touch on the box office and what it perhaps says about her investors that they keep investing large amounts of money in her films.
It’s an interesting film that, while not one of our favorites, certainly was the favorite of the series. There are a lot of really interesting moments throughout the film and it’s worth watching and talking about, so check it out then tune in!
Film Sundries
- Watch this film: iTunes
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Half in Love, Both Ways Is the Only Way I Want It by Maile Malloy
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Detroit — "Kathryn Bigelow’s a favorite on this show and her latest film looks to be as intense as her last several. Add in a dose of political intensity with a release that feels very timely, this could be one of the films everyone’s talking about this summer. Plus, John Boyega!" * Pete's Trailer: City of Tiny Lights — "Pretty straight forward private dick tribute: prostitute goes to a detective on a missing persons hunt. Twist? Stars Riz Ahmed who I really like in spite of that horrific Bourne tripe. The look of the London in the trailer is wonderful. I can only hope the look lives up to the film’s hard boiled promise."
"Is he ignorant or is he just plain evil?"
The story of the real Meek’s Cutoff is an interesting and tragic tale in the early days of the Oregon Trail. Many pioneers lost their lives as they followed their guide, Stephen Meek, and proceeded to get lost. For her follow-up to Wendy and Lucy, Kelly Reichardt chose to make a film about this historical journey and the people who suffered while on it. But is her minimal filmmaking style effective for a historical drama? Join us – Pete Wright and Andy Nelson – as we continue our Kelly Reichardt series with her 2010 film Meek’s Cutoff.
We talk about the nature of stories told in media res and discuss if it works for a historical film like this one. We discuss Michelle Williams, Bruce Greenwood, Will Patton and the other actors performing here and look at what they bring to the table (and if any can top Bruce’s crazy character). And we chat about the look of the film and what Kelly, paired with her new cinematographer Christopher Blauvelt, were saying with their static shots, long takes, yellow tint, dark night scenes and 1.33:1 aspect ratio.
It’s an interesting film. Not one we liked but an interesting one to look at and discuss, to be sure. Tune in!
Film Sundries
- Watch this film: iTunes • Amazon • Netflix
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Stephen Meek — Wikipedia
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Thor: Ragnarok — "I’ve been excited about this Marvel movie ever since they announced Taika Waititi as its director. They’ve managed to keep Thor’s sense of humor in here, a healthy dose of Guardians of the Galaxy vibe running all through it, plus an arena battle with gladiator Hulk! Goth Cate Blanchett! Disco Jeff Goldblum! It’s insane in all the right ways – count me in!" * Pete's Trailer: The Journey — "A road movie telling the story of Ian Paisley and Martin McGuinness compressing what I believe was a 20 year drive toward peace in Northern Ireland. Much controversy about this film as a reenactment, but just maybe in spite of inaccuracies, it’s the kind of movie we need just now? Timothy Spall looks damned amazing as Paisley."
"Don’t be a nuisance. We don’t need that."
Kelly Reichardt has been called a minimalist film director, and if you’re comparing her to someone like Michael Bay or Steven Spielberg or the Hughes brothers, that certainly seems to be the case, at least based on her 2008 film Wendy and Lucy. This film doesn’t have a lot of pizazz or a large cinematic sense. What it does have, though, is a character study in which we dig deeply into our protagonist during a difficult few days in her life. In that aspect, it isn’t minimal at all. Perhaps calling it incredibly focused would be a better way to describe it. Join us – Pete Wright and Andy Nelson – as we kick off a new series on director Kelly Reichardt with her 2008 lost dog film Wendy and Lucy.
We talk about this ‘minimalist’ type of filmmaking and how it fits into the larger context of filmed stories that we know and love. We talk about how the story came about and was developed by Reichardt and writer Jon Raymond. We discuss Michelle Williams and her incredible (and incredibly internal) performance as Wendy, and how inadvertently she’s in all three of Reichardt’s films that we’re discussing in this series. We also chat about other actors in the film like Will Patton, Will Oldham, Wally Dalton and John Robinson and what they bring to the table. We look at the cinematography by Sam Levy and chat about what it brings to this story, notably the ‘naturalistic’ grainy and dark scenes. And we touch on the sound design and how Reichardt chose to use train sounds instead of score throughout the film.
It’s a touching film yet one we oddly aren’t sure we’d return to anytime soon, but certainly is one well worth talking about. Check out this movie then tune in to the show!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Ingrid Goes West — "Aubrey Plaza seems to carry the balance between comedy and insanity quite well as demonstrated here. This looks darkly hilarious, if one can laugh at mental instability. Add in Elizabeth Olsen and O’Shea Jackson Jr., you’ve got what looks to be an awesome movie." * Pete's Trailer: Black Butterfly — "A remake of Papillon Noir starring Jonathan Rhys Meyers and Antonio Banderas. It’s a Misery trailer that ducks subtlety and goes completely haywire too soon for my tastes, but I’m a sucker for ‘I’m a writer…’ stories so I’ll give this one a shot."
"Stay on the path."
Right from the start, it was clear that Albert and Allen Hughes knew how to put films together. Whether paying homage to filmmakers they admire or playing with their own showy techniques, they know how to play with the visual tools they have available. In their post-apocalyptic film The Book of Eli, they make a very compelling film that’s exciting and entertaining while still maintaining the visceral edge they love to employ. But sadly, it’s the last film they worked on together, having since parted ways as filmmakers. Will they reunite down the road? Who knows. Will they increase their output now that they’re working solo? Not so far. Time will tell, but for now, this stands as the final Hughes Brothers film. Join us – Pete Wright and Andy Nelson – as we close the chapter on our Hughes Brothers series with their 2010 film The Book of Eli.
We talk about the incredible world the brothers create with this film and how fascinating it is, and how unfortunately it’s weighed down by a huge issue that neither of us can buy into. We talk about Gary Whitta’s script, how it was found and what some of our other problems are with it – though still celebrating the great elements in it too. We discuss Denzel in his fabulous performance here, even if one element of it still is our biggest problem. We also talk about the rest of the cast and how well they work in the film here. We celebrate the look of the film and all of the team who helped bring it to fruition. And we tip our hat to the fantastic camerawork, stunt work and sound work that came together to bring some incredible fight sequences to life.
We have some issues with this film to be sure, but it’s still a completely engrossing film to watch that we have a great time with. It’s probably not for everyone but for anyone who is a fan of dystopian stories, it’s worth the watch. We have a great time chatting about it as we wrap up this series. Check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Three Billboards Outside Ebbing, Missouri — "Frances McDormand has proven herself to be a powerhouse actress before, but in this trailer, she’s kicking ass and taking names. Martin McDonagh makes films with incredible characters and it looks like he’s at it again here. Plus, Woody Harrelson, Sam Rockwell and Peter Dinklage! I’m totally in!" * Pete's Trailer: The Book of Henry — "Man, did this trailer ever take off in a direction I wasn’t expecting. Excited to see Jacob Tremblay in just about anything again, but that he ends up in another strong mother/son thriller? I guess that should be expected."
"No man amongst you is fit to judge the mighty art that I have wrought."
The Hughes brothers hadn’t really had a big hit by the time they were offered to direct the adaptation of Alan Moore’s and Eddie Campbell’s graphic novel “From Hell,” detailing the characters involved in the ‘Jack the Ripper’ slayings in 1888 London. It offered an opportunity to tell a gritty story that still dealt with the people struggling at the bottom of society, something they’d already proved successful at. But the graphic novel’s incredibly dense and despite the many rewrites the script went through, it still ended up a film that is hard to call a great success for the brothers. Join us – Pete Wright and Andy Nelson – as we continue our series on the Hughes brothers with their 2001 film From Hell.
We look at the film and our thoughts on both the good and bad elements of it, and discuss the graphic novel and how by its very nature was not an easy thing to adapt. We discuss Albert and Allen and some of the decisions they made going into this film. We talk about the cast and why some of them work better than others (Heather Graham is definitely the one who stands out as a sore thumb unfortunately). We chat about the cinematography and the film technique they used to achieve the fascinating dream sequences. And we discuss Trevor Jones score and how well it works, as well as how it felt like there were sequences that needed score that didn’t get any.
It’s a fascinating film, if not as successful as we’d have liked it to be. Perhaps a longer tale told would work better? Who knows. Until that happens, though, check this one out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- From Hell by Alan Moore and Eddie Campbell
- Flickchart
- Letterboxd
- Original From Hell Letter
Trailers of the Week * Andy's Trailer: Carrie Pilby — "I don’t know if this will be any good, but I like the quirky characters and the overall vibe of the trailer. Plus Nathan Lane and Gabriel Byrne? I want to see it just for them. Here’s hoping it’s worth it." * Pete's Trailer: War Machine — "So, I guess we know where Netflix is spending all it’s money. Brad Pitt this time in a satire of America in Afghanistan from the top down. What’s the deal with his hand? Crazy cast: Brad as Gen. Stanley McChrystal, Tilda, Anthony Michael, Lakeith, Ben, Topher, and ‘he’ll keep calling me, and calling me, and calling me…’ Alan. Got ‘em all? Before it comes out, go read The Operators."
"Being a black man in America isn’t easy. The hunt is on and you’re the prey."
When 20-year-old twin brothers Albert and Allen Hughes directed their first feature film in 1993, Menace II Society, they immediately showed audiences everywhere that they were storytellers who weren’t afraid to tell risky stories and filmmakers who understood the language of the medium. The film seemed dangerous. It was vicious. Gritty. Brutal. And it was authentic, which perhaps is the greatest testament to what these young filmmakers set out to do. Join us – Pete Wright and Andy Nelson – as we kick off our Hughes Brothers series with their 1993 debut, Menace II Society.
We talk about the energy they bring to the film (with a lot of homages to Scorsese) and how that energy drives home the message of the film. We look at how the Hughes brothers got their start and got to this place where they were making this film. We discuss the actors – from Tyrin Turner to Larenz Tate, from Jada Pinkett (and her baggy clothes) to MC Eiht, and from Samuel L. Jackson and Bill Duke to Charles S. Dutton – and look at what they bring to the table. We touch on the cinematography that Lisa Rinzler lenses for the film here, working with the Hughes brothers to bring their vibrant world to life. And we talk about how well this film did for itself in ’93.
It’s a fantastic film that definitely has held up some 24 years after its release. It has the same vitality and energy that it did back then and warrants a watch. Check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon • Netflix
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Here Alone — "Are they zombies? Or just sick people? I don’t care. It’s got a great look and feel and I want to see it." * Pete's Trailer: Song to Song — "That’s right, Andy and I were just talking about how we aren’t all that crazy about Terrence Malick films when this comes along. Maybe the setting in and around the music scene will make it easier to swallow? The cast certainly doesn't hurt."
"The situation in Sweden must be real bad as even lice have begun to emigrate to America." It’s time for our first 2017 Listener’s Choice episode! Pony Prize winner Finn Frode, who’s from Norway but living in Sweden, won and selected a Swedish film with one of his favorite Norwegian actresses – Liv Ullmann. The film he selected is the first half of Jan Troell’s epic tale of immigration – 1971’s The Emigrants. Join us – Pete Wright and Andy Nelson – as we dig into our latest listener’s choice film.
We talk about the importance of the film in Sweden and how the books upon which it’s based are perceived there. We discuss the nature of this film and how it’s quite powerful, but at the same time a difficult film to watch due to its filming style, the story it’s telling and its duration. We chat about the actors – notably Max Von Sydow and Ullmann – and what they’re bringing to the table. And we hit on the strange and discordant music and how it works in a film like this.
It’s a great film and certainly put us both in a place where we were ready to watch the follow-up. So check out this movie then tune in!
Film Sundries * Watch this film: iTunes • Amazon * Original theatrical trailer * Original poster artwork * The Emigrants Novels: Book 1 by Vilhelm Moberg * Flickchart * Letterboxd * The New Land Theme by John Denver
Trailers of the Week * Andy's Trailer: The Bride — "I don’t know what to make of this crazy Russian film. The trailer seems to tell two stories, but perhaps one of those is just the actual film’s prologue? Who knows but it looks nuts, and don’t expect any help from the terrible synopses written on IMDb or Wikipedia. I think I want to see this just to see if it’s as much a mess as this trailer makes it look." * Pete's Trailer: Bright — "Yeah, I didn’t need to see the trailer after I’d read that Taron Edgerton would be playing the first Orc cop, but then I watched it. Did you catch Noomi in blue (skin)? Another hot Netflix get for December."
"There are many things you have not seen."
Zhang Yimou has done serious dramas. He’s done big wuxia action films, but he hasn’t had a success in a while and perhaps it should come as no surprise that his newest film is designed to be a big fantasy action blockbuster – a legend about the Great Wall of China and the dragons they people were trying to thwart. While it’s been a success in China and the rest of the world, though, it opened third at the US box office, likely due to its terrible trailers that sold it poorly. But is the film any good? Join us – Pete Wright and Andy Nelson – as we wrap up our Zhang Yimou series with his 2016 film The Great Wall.
We talk about why this film surprised us quite a bit and how, even with some big problems, we both ended up having fun times with the film. We look at what Zhang brings to the table and what political messages he may be trying to get across with this film. We chat about the cast – notably Matt Damon, Jing Tian, Pedro Pascal, William Defoe and Andy Lau – and how the claims of whitewashing seem absurd; if anything, the film ends up having a nice multicultural feel to it. We look at the cinematography and production design, noting that everything is right up Zhang’s alley. We touch on Ramin Djawadi’s score and how it works perfectly for the story here. And we debate the numbers, wondering if it’s fair to out-and-out consider this a financial success since it’s made its money back, or if we need to consider it a failure in the bigger picture for not doing what they set out to do with it which was create captive audiences in China as well as the US.
Did Zhang make the right choice in making this film? Is it going to be considered a success or will it flop in the US? We’re curious to see how history holds this film up. So check out the movie – you’ll probably have more fun with it than you were expecting – then tune in to this week’s show.
Film Sundries
- Watch this film: iTunes • Amazon • [Netflix][netflix] • [Hulu][hulu]
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: The Discovery — "I love the sci-fi concept of this and love the cast. I’ve heard some mixed things from its premiere at Sundance, but I want to see it anyway. Proof of the afterlife? Sounds like it could make for an interesting story. We shall see..." * Pete's Trailer: The House — "I don’t know how else to characterize my feeling about the potential of this movie: in my mind, it’s going to be another Old School. Now, no one speaks until release."
"How swift your sword must be."
Zhang Yimou had always wanted to direct an action film, and after years of working on the script, he finally had his chance with his ambitious visual feast, 2002’s Hero. Shot all over China starring some of the hottest Chinese stars telling a story about the assassination attempt on the King of Qin several thousand years ago, the film was the most expensive project in China’s history. Luckily, it also became the highest-grossing up to that point. Considering the last two films we talked about on the show were banned for years, it’s great to see Zhang and China finding a common ground with this film. Join us – Pete Wright and Andy Nelson – as we continue our Zhang Yimou series with 2002’s Hero.
We talk about what this film does as far as depicting a true story, but done in a way that allows Zhang to try his hand at action (with help from action director Tony Ching). We look at all of Zhang’s filmmaking techniques that he throws at this film – the colors, the shot compositions, the shot lengths, the operatic quality – and how well they work. We discuss Jet Li, Tony Leung, Maggie Cheung, Zhang Ziyi and Donnie Yen and what they all bring to the table here. And we discuss how Miramax not only delayed the film’s release numerous times but also made the egregious decision to replace Jet Li’s character’s sword in the poster with something else incorrect for the period, only to try to connect it to Quentin Tarantino and his Kill Bill films.
It’s a gorgeous film that tells a beautiful and tragic story, but one that would still be incredibly easy to return to. So check out the movie then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Jin Ke’s Assassination Attempt of Qin general Fan Wuji
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: The Blackcoat’s Daughter — "While this may not have the best IMDb rating, it has a creepy enough vibe for me to be drawn to it. Plus it has a creepy reading of an old timey poem, which makes the trailer creepy and makes the movie seem even creepier. So yeah, I’ll probably watch this one." * Pete's Trailer: The Bad Batch — "I’m trying to gin up my horror mojo. No idea what to make of this latest bid from writer/director Ana Lily Amirpour. Dark, cannibals, saws, Keanu Reeves, Jason Momoa, and Giovanni Ribisi. Not the latest thing I would have expected from any of them, thus, the thing I’m most interested to see from all of them."
"Light the lanterns at the fourth house!"
Despite the bans on some of his earlier films like Ju Dou and Raise the Red Lantern in his home country of China, Zhang Yimou had exploded onto the world stage with these visually sumptuous films and had become a filmmaker worth talking about. Perhaps it was exactly this international presence that kept the Chinese government from suppressing his storytelling further – it gave him the popularity Zhang needed to keep making films. Whether that’s true or not, these early films of his certainly do feel like he has a few things to say about modern China, and it’s perhaps understandable that they’d take offense. Join us – Pete Wright and Andy Nelson – as we continue our Zhang Yimou series with his fourth film, 1991’s Raise the Red Lantern.
We talk about the story and how it could be read as a criticism of modern China, and why we don’t completely buy Zhang when he denies this. We discuss the look of the film – the compositions of the shots, the colors, the camera movement, the set design, the costumes – and how all of it reflects what Zhang is saying with the film. We chat about Gong Li and the rest of the cast, but particularly about Gong and the incredible performance she delivers here. We touch on the customs and traditions depicted in the film and ruminate on the worldbuilding going on here. And we debate the strength of the music – Andy loves it and Pete hates it.
It’s a great film that Andy connects with while Pete felt it dragged on too much, but still allows for a great conversation. Regardless, we agree that it’s a film that must be seen, so check it out then tune in to this week’s show!
Film Sundries
- Watch this film: YouTube
- Original theatrical trailer
- Original poster artwork
- Wives & Concubines by Su Tong (Contained in the collection Raise the Red Lantern: Three Novellas)
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: The Beguiled — "I remembering finding Don Siegel’s 1971 version of this story very unsettling. Having it retold from not just a woman’s perspective, but from a strong female storyteller like Sofia Coppola, gets me quite excited. I’m thrilled she’s doing this and can’t wait to see it." * Pete's Trailer: Aftermath — "Arnold’s back! He’s got the brooding beard again, and frankly I thought this was going to be a weird sequel to Maggie. No, this is the true story of a plane crash in 2002 and the hunt for air traffic controller that allowed it to happen. Writer Javier Gullón is behind Enemy and Out of the Dark, both past trailer picks."
"If they knew, they’d kill us."
The eighties were a period of turmoil and transition for the Chinese film industry. Other forms of entertainment were more popular and the authorities were concerned that films that had been popular, like martial arts films, were on the out. But a group of Chinese filmmakers, collectively known loosely as the Fifth Generation – with a push from the new Ministry of Radio, Cinema and Television – were about to change all that, helping Chinese cinema break onto the world stage. And Zhang Yimou was one of the ones leading the charge. But did the Chinese government expect the types of films they would be getting? Join us – Pete Wright and Andy Nelson – as we dig into Chinese cinema and kick off our Zhang Yimou series with his third film, Ju Dou.
We talk about the nature of the film and its story, and how it can be seen as not just a look at Chinese politics in the 20s but also as an allegory of the oppressive political system in China at the time. We look at what Zhang brought to the table with the film and where it fits in his life and career. We chat about Gong Li, Zhang’s muse, and what she and her fellow actors bring to the table. We discuss the incredible look of the film, both from cinematography and production design, and what all the various colors could possibly symbolize. And we gripe about the quality of the image and how much better it would look if Criterion would just take our advice and give this the full treatment – the film is gorgeous but you’d never know by looking at this terrible transfer.
It’s a touching, powerful film from a visual artist who uses both the script and his images to tell a provocative story, not to mention that it helped open the door for Chinese cinema to the world. We have a great time looking at it and discussing Ju Dou on this week’s show. Check it out!
Film Sundries
- Watch this film: YouTube
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Fu xi fu xi by Heng Liu (Mandarin)
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: My Life as a Zucchini — "There’s something magical about the animation quality of this film that really makes me connect to my youth. And while the world of life in a foster home isn’t something I ever knew, I certainly connect to the coming of age story of a young boy finding a kindred spirit in a new girl at the home. It has all the touching qualities that I loved so much in Wes Anderson’s Moonlight Kingdom and plenty of quirk to spare. I’m excited about this one." * Pete's Trailer: Punching Henry — "Man. I know creators go through swings. Jerks on the internet spew hate. Self-confidence wavers. I certainly try not to look at that stuff. But director Gregori Viens and writer Henry Phillips have given me a trailer that I feel pretty deeply connected to with Punching Henry. I can only hope the thing lives up to the heart of the trailer when it finally hits theaters and digital on February 21."
"You helped bring Lili to life, but she was always there."
The Danish Girl certainly took a long time getting to the big screen. The script went through dozens of iterations after David Ebershoff’s book was first was optioned. The cast changed numerous times. Directors passed it back and forth. Finally, after fifteen years of floating around, Tom Hooper’s film was released. And while the lead performances were brilliant, the film itself felt a bit flat. And weirdly, this seems to be something we say far too often about films that take a long time to get to the silver screen. Join us – Pete Wright and Andy Nelson – as we wrap up our Transgender series with Hooper’s 2015 film The Danish Girl.
We talk about what works in the film, but we really try to dig and figure out what might be causing it to have its issues. We look at the journey the book took to get to the screen, and look at the age-old question of what responsibility do filmmakers/storytellers have to the original story and the original people when making biopics. We discuss Eddie Redmayne and Alicia Vikander and what they bring to the table here, along with their fellow thespians. We chat about the incredible look this film has and how it fits in with the story. And we touch on how this series has opened our eyes to other great films that we would love to share down the line.
This was a fun series, even if it ended on a bit of a downer note. It did give us perspective for the world of transgenders and what they go through to feel ‘right’ in their own bodies. We have a great time talking about this movie, so check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script
- Original theatrical trailer
- Original poster artwork
- The Danish Girl by David Ebershoff
- Flickchart
- Letterboxd
- Lili: A Portrait of the First Sex Change (Man Into Woman) by Niels Hoyer
Trailers of the Week * Andy's Trailer: Lowriders — "This story is about several cultures I know nothing about – graffiti artists and fans of lowriders. On the premise alone, this doesn’t look like my cup of tea but what I love about films is they’re my chance to step into other people’s shoes and experience things from their point of view. That’s what I hope I get here. Plus, after being blown away by Demián Bichir’s performance in A Better Life, I’m game to see anything he does. Count me in." * Pete's Trailer: I Don’t Feel At Home in this World Anymore — "It’s the strange little film I can’t stop thinking about. The driving motivator is simple, the comedy off-color, and the main character a charmer. Can’t wait til this hits Netflick 2/24."
"I never even heard of a tranny church lady."
Felicity Huffman received many accolades for her incredible performance in TransAmerica, but an Oscar was not one of them. Looking back at the various nominees, it’s clear that Huffman should have won. But that’s how these things go, right? Reese Witherspoon was great in _Walk the Line_and was the popular favorite, and that’s probably because Johnny Cash had made quite a resurgence and the movie really struck a chord with people. But it doesn’t make it hurt any less. Huffman still should’ve won. Join us – Pete Wright and Andy Nelson – as we continue our Transgender series with Duncan Tucker’s 2005 film TransAmerica.
We talk about Huffman and the brilliance of her performance, as well as what she had to do to ‘find her voice.’ We also talk about Kevin Zegers, Fionnula Flanagan, Graham Greene and more, looking at what they bring to the table. We discuss Tucker and how sadly he seems to be a one-hit wonder, even though he clearly demonstrated talent with his script and direction here. We look at the script and how some parts work better for us than others. And we touch on the soundtrack and how the country vibe throughout the film really grounded it for us.
It’s a film that has a lot to say about the life of being a transgender, about family, about loneliness and about finding your voice. We have a great time talking about it and consider this a must watch if for no other reason than to see Huffman’s incredible transformation. So check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: American Fable — "This looks like a sibling story to Pan’s Labyrinth which I didn’t love but found endlessly fascinating. This may end up falling into the same camp. That’s not a bad thing." * Pete's Trailer: Colossal — "Yeah, mixed reviews when it screened at Sundance just a few days ago. But you know what? This is a clever story of Kaiju monsters we’ve never heard and it explains everything: they’re all attached to Anne Hathaway."
"I can spot the fluttering of a beaded lash from three hundred paces."
Terence Stamp had played some pretty tough characters in his career – Billy Budd, General Zod – so it was a big surprise to many to see him play a transgender character in The Adventures of Priscilla, Queen of the Desert. Stamp had his own misgivings about playing the role as it was so different from anything he’d done before. Luckily, he signed on to take it anyway and the result is a beautifully portrayed character. And that’s not even mentioning Hugo Weaving or Guy Pearce. Join us – Pete Wright and Andy Nelson – as we kick off our Transgender series with Stephan Elliott’s 1994 cult comedy classic The Adventures of Priscilla, Queen of the Desert.
We talk about how well the film holds up and why – strong script, strong characters, lots of laughs. We look at what Stamp, Weaving and Pearce all bring to their roles and why they all work so well in the parts. We chat about Elliott and what he brings to the table as the writer and director of the film. We look at one element of the script – Bob’s Filipino wife – any why this is the most contentious element of the film. We discuss the music and how well it all works, regardless of whether you’re planning on pulling the CD out later to listen in. And we chat about the nature of Stamp as a transgender character and how that pairs with the gay drag queens.
It’s a fun film to watch and is very easy to enjoy. That being said, it also has some pretty big messages that it handles quite well. We have a great time talking about it on this week’s show so check it out then tune in! Thanks!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Raw — "I heard great things about this from my buddy who saw it at Fantastic Fest. It sounds crazy but in all the right (and horrifying) ways. It’s rated R for ‘aberrant behavior, bloody and grisly images, strong sexuality, nudity, language and drug use/partying’ so it seems to be ticking off most of the things that every good cannibalism horror needs. I can’t wait." * Pete's Trailer: The Lure — "So, this Polish mermaid horror musical comedy film certainly tops the list of crazy things I’ve seen today. It’s been floating around (heh) since it’s Warsaw release in 2015, but we get to see what happens when two stripper mermaids begin to devour their patrons (finally, natch) this very February."
"When you think of garbage, think of Akeem!"
Eddie Murphy was riding high through the 80s. John Landis, on the other hand, had had a string of flops, not to mention a very difficult Twilight Zone trial. Considering their success together with Trading Places, Murphy thought Landis could use a boost and brought him on to direct his fairy tale film Coming to America. It was the hit Landis needed, and yet another film cementing that Murphy was king of the box office. Join us – Pete Wright and Andy Nelson – as we wrap up our Eddie Murphy series with Landis’ 1988 film, Coming to America.
We talk about why the film doesn’t hold up that well for us now nearly 30 years after its release, even if it did seem to hold up more at the time. We chat about the script problems and director/actor relationship problems this film had, and how things ended up. We look at the talent and what they’re bringing to the table – Murphy, Arsenio Hall, John Amos, James Earl Jones, Madge Sinclair, Shari Headley, Eriq La Salle and more. And speaking of talent, we discuss Rick Baker and his amazing effects work to transform Murphy and Hall into several other characters and how these not only hold up for us but also how they triggered an entirely new direction for Murphy’s career to head. And we talk about the music and how 80s it feels.
It’s a fun conversation about a film that neither of us connected with nearly 30 years after we first saw the film. But it’s still fun to watch and discuss, so check it out!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week
- Andy's Trailer: Walk of Fame
- Pete's Trailer: All Nighter
"You’re not gonna fall for the banana in the tail pipe?"
Eddie Murphy proved his big screen comedy prowess with Dan Aykroyd in Trading Places but the studio was still concerned about him helming a movie by himself. Luckily, Don Simpson and Jerry Bruckheimer believed in him and ended up convincing Paramount that he could do it, bringing him on board Beverly Hills Cop after Sylvester Stallone stepped out. And the rest is cinematic history – the movie broke records left and right and firmly established Murphy as a full-fledged movie star. Join us – Pete Wright and Andy Nelson – as we continue our Eddie Murphy series with Martin Brest’s 1984 film Beverly Hills Cop.
We talk about what holds up in this 80s cop comedy and what doesn’t hold up as well – and where we disagree on these. We look at how the film came together, from the early ideas and the various writers to the period when Stallone was the lead to bringing Murphy on and how the script was finally shaped. We discuss Murphy and how he fits in the film here, and how the rest of the cast works to fill the rest of the world. We chat about Brest and his directing style, and discuss his career and his disappearance from the industry. We talk about the iconic theme by Harold Faltermeier and how it fits into the film, paired with the iconic soundtrack that represents everything Bruckheimer was doing with his movies at the time. And we look at how this film did at the box office, becoming the top film in 1984 and setting the stage for cop comedies thereafter.
It’s a fun film, even if it has some issues, but definitely represents what Murphy was doing in the 80s. We have a great conversation about it so check out the movie and tune in!
Film Sundries
- Watch this film: iTunes • Amazon • Netflix
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
- Clips from Martin Brest’s Short Hot Dogs for Gauguin
- What Happened to Martin Brest?
Trailers of the Week * Andy's Trailer: Spider-Man: Homecoming — "I’ve always been a big Spider-Man fan and have enjoyed the movies for the most part. What gets me excited about this one isn’t the new Peter Parker, even though he looks great. It’s not that Sony and Disney/Marvel are playing nice and sharing characters to make these movies, which is a great thing. It’s that Michael Keaton is playing the villain. And that kicks ass. Okay, so I’m a little worried that they’re going the robo-look with The Vulture like they did with Green Goblin, but I’m willing to let that slide right now because this looks so fun!" * Pete's Trailer: A United Kingdom — "International listeners have had this movie on deck since September, but Amma Asante’s latest hits US screens in February. Looks like another opportunity to see Rosamund Pike and David Oyelowo knock it out of the park telling the story of a mixed race couple struggling to lead an African nation at a time of political turmoil. Amma Asante is such a charmer and precise director — can’t wait to see what she does with this story."
"When I was growing up, if we wanted a jacuzzi, we had to fart in the tub."
Eddie Murphy may have been a name on “Saturday Night Live” but he wasn’t a film star. Luckily, when John Landis wanted to cast him as Billy Ray Valentine in Trading Places, Murphy had just appeared in 48 Hrs., proving he had the charisma for the big screen. Without that success, Paramount Pictures was unconvinced. But it worked out and young Murphy became box office gold. Join us – Pete Wright and Andy Nelson – as we kick off 2017 with a series celebrating several of Murphy’s 80s classic starting with Landis’ 1983 film Trading Places.
We talk about how we find the film hilarious but quite astute with its portrayal of the commodities market and how the story is equally relevant today as it was upon its release. We discuss some of the elements with which we struggle. We look at the comedy stylings Landis brought to the film, pulling from Laurel & Hardy, Preston Sturges, Mark Twain, even the Three Stooges. We look at the actors – including Dan Aykroyd, Murphy, Ralph Bellamy, Don Ameche, Jamie Lee Curtis, Denholm Elliott and Paul Gleason – and what they bring to the table. And we revel in the wonderful score Elmer Bernstein adds to the film, bringing doses of Mozart’s “The Marriage of Figaro” into the folds.
It’s a really fun film and a great way to celebrate both Christmas and New Year’s. We have a great time discussing it so check the movie out then tune in to the show!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- The Prince and the Pauper by Mark Twain
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Alien: Covenant — "We’ve discussed this whole franchise on the show and likely will discuss this one at some point. There are definitely problems with some of the films, and I definitely had issues with Prometheus, but it’s still an interesting entry as a prequel. Ridley Scott’s newest entry looks like he’s really amping things up some more and while I’m excited, I’m also hesitant to get too excited. Let’s just say my curiosity is definitely piqued." * Pete's Trailer: War for the Planet of the Apes — "Andy Serkis is back to not win an acting oscar because he’s doing mo-cap I guess. The last Apes film ended up at 12 on our list, a solid showing for the Film Board’s general bucket of crap. This one looks like more stops have been officially pulled, even if they’ve avoided pulling them all. And yes, they put the words of the film’s title in Woody’s mouth in this trailer: 15 demerits."
"Agnes, it’s me – Billy!"
Bob Clark may be best known for directing his Christmas classic, 1983’s A Christmas Story, but many people don’t know that he got his start in horror like so many other filmmakers, and that one of his first horror films was another Christmas story – Black Christmas. What’s so refreshing about watching this 1974 film is that it’s a slasher film that doesn’t feel as base as so many others that followed suit, but more importantly that it adopted the first person POV shot for the killer. Join us – Pete Wright and Andy Nelson – as we discuss this year’s holiday film, Clark’s ‘74 film Black Christmas.
We talk about why this film worked for us and how it really came to be. We discuss Clark and how he directed this, but also how he took to the script to fill it with wonderful details for all of the characters and helped move the story’s setting to a college sorority house. We look at the cast – from Olivia Hussey and Keir Dullea to Margot Kidder and John Saxon – and why they all work so well here. And we talk about how well this film did at the box office and what that means for it when looking at the profits.
And we announce our Instagram #GuesstheMovie #2016 #PonyPrize challenge winner and runner up!
It’s a fun little horror romp and we have a great time celebrating Christmas with you all with this one. Check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: _Going in Style — "I’m not bitter at all that Zach Braff stole my idea of a group of senior citizens who decide to rob a bank. I’m not bitter at all. Bastard…. Oh, wait… you’re telling me this is a remake of a Martin Brest movie from ‘79 and that I’m the one stealing the idea? Damnitalltohell. Well, I’ll watch it, but I won’t like it. Now get off my lawn!" * Pete's Trailer: Blade Runner 2049 — "Yes, it’s just a teaser. But it’s a teaser for Gosling in Blade Runner trying to run down Deckard. So, yes, I’m as excited for this movie as I was for The Force Awakens. Yes, Denis Villeneuve has given me much reason to be excited on the heels of Arrival. Yes, I’ll be pre-purchasing tix the hot second they’re available."
"Now that you’re so respectable, I think you’re more dangerous than you ever were."
It was billed the most anticipated film of the decade, yet Francis Ford Coppola had spent that entire decade turning down requests to make it. It was only his failing finances that finally drove Coppola to accept the job of writing and directing The Godfather, Part III, and for a lot of people, they probably wish he never bothered. But whatever issues they may have had getting it made, it was the casting of a key role with his own daughter Sofia that created ridiculous vitriol and hatred aimed for the writer/director. This element also ended up being a huge part of the reviews when the film finally came out. But did the film deserve this? Join us – Andy Nelson and Pete Wright – as we wrap up our Godfather trilogy series with Coppola’s epilogue to the Michael Corleone story, 1990’s The Godfather, Part III.
We talk about our reactions to the film and where we feel the problems with it lay. We look at Sofia’s performance and weigh in on the issue of nepotism here and debate whether some of the criticism was warranted, regardless of whether it was right or not. We look at the rest of the cast and crew and what they all bring to the table, ending in a little quiz about which people ended up involved in all three films. We talk about the position Paramount Studios was in and why they pushed this film through so quickly and why that rush may have been the crux as to why Coppola could never get the story as good as it should have been. And we look at how this film did compared to its predecessors.
It’s a flawed film but still an entertaining one. We have a great time talking about it on this week’s show as we wrap up the series. Haven’t seen it? Give it a shot. Then check the show out!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: The Circle — "It’s Tom Hanks and it’s creepy ‘big brother is watching you’ sci-fi. I’m all in. Even if it is just a teaser." * Pete's Trailer: The Fate of the Furious — "I didn’t get the Furious movies for a long time. I did that binge a few years back and it landed on me: Stop thinking and jam your foot to the floor. I’m hit and miss with F. Gary Gray, but Chris Morgan handles the franchise well and making Dom the Judas in the story is a clever, Walter-White-esque twist. Of course, I’m in."
"Keep your friends close but your enemies closer."
While The Godfather, Part II didn’t perform nearly as well as its predecessor at the box office, Francis Ford Coppola’s sequel certainly made its money back and, more importantly, has gone on to become a film that’s often cited as one of the greatest films ever made. It even has its contingency of fans who feel it’s the stronger film of the pair. But Coppola went into it not really that excited by the prospect of making a sequel and really only jumped on board because of an idea he had that would blend the storylines of a father and of a son. Join us – Andy Nelson and Pete Wright – as we continue our Godfather trilogy series with Coppola’s 1974 film The Godfather, Part II.
We talk about our feelings with this film and whether or not we find it the stronger of the pair. We chat about Coppola and how he was really given free reign with this film, making it an incredibly easy shoot. We look at what Coppola brings to the table, including the numbered title, and why he’s such a masterful filmmaker. We talk about the various actors who return to the story and those who are new additions. And we look at how this film looks and all the people behind putting it together.
It’s a film that splits audiences, critics and even us movie lovers like us, but it gives us all that much more to talk about this week. So pull up your cannoli and tune in to find out if this film ranks as high as Part I on our Flickchart.
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- The Godfather by Mario Puzo
- Flickchart
- Letterboxd
- The Godfather PC Game (Requires Atari ST or Amiga Emulator)
Trailers of the Week * Andy's Trailer: The Belko Experiment — "When we had Abraham Benrubi on for our Speakeasy episode last January, he mentioned that he was involved in this and said he had a blast making it. Now having seen the trailer, I’m very much looking forward to watching it. It’s dark and twisted but has an interesting premise. Count me in!" * Pete's Trailer: The Autopsy of Jane Doe — "We were fans of Troll Hunter for sure. That André Øvredal is back with this creep fest of a father-son medical examiner team police procedural? I’ll check that out. As Andy has noted, perhaps I’m not as averse to horror as I think I am?"
"Blood’s a big expense."
It was never a movie that was meant to be as big as it became. Robert Evans, Paramount head at the time, thought it would be a fun mobster movie designed to make a quick buck, capitalizing on the recent novel “The Godfather” by Mario Puzo. But Francis Ford Coppola saw something in Puzo’s novel; he saw a family chronicle that was a metaphor for capitalism in America. He saw a crime epic. And he set out to make that version of the book. In the end, despite the fights with the studio that he had while making it, he stuck to his guns and The Godfather still stands as arguably one of the greatest films of all time. Join us – Pete Wright and Andy Nelson – as we kick off our Godfather trilogy with the movie that started it all, Coppola’s 1972 film The Godfather.
We talk about why the film works so well and how Coppola and Puzo crafted the story, giving the audience an interesting entry into the Mafia world. We look at Coppola as a director and writer and what he brings to the table here. We chat about the incredible cast – from Marlon Brando and Al Pacino to James Caan and Diane Keaton, even the nepotism of casting Talia Shire (and his own daughter Sophia!). We look at Gordon Willis’ mind-bogglingly dark cinematography and why it, paired with the film’s sepia tones, create this world as much as anything Coppola does. We chat about Nino Rota’s haunting score, and the big controversy surrounding it. And we look at the struggles Coppola had in getting the film made contrasted with how well it did at the box office.
It’s a film that’s spurred countless famous quotes, not the least of which is “I’m going to make him an offer he can’t refuse.” The movie is everywhere and has become as much a part of our culture as Coppola’s Italian heritage had become a part of the film when he made it. It’s a fantastic film that certainly deserves to be looked at multiple times and discussed often. We have a great (and lengthy) conversation about it on the show this week. So check out the movie then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- The Godfather by Mario Puzo
- Flickchart
- Letterboxd
- Alex Rocco Audi A8 Super Bowl Spot
- Fortunella — You have to hear it… — 1958
Trailers of the Week * Andy's Trailer: Ghost in the Shell * Pete's Trailer: Silence
"I didn’t forget your breakfast. I didn’t bring you breakfast because you didn’t eat your din-din!"
The animosity between Bette Davis and Joan Crawford almost seems the stuff of legend. Looking back from today, it’s hard to say how much there really was or if it was all conjured up by the studios and the press. But after hearing stories of the two and how things went after they collaborated on What Ever Happened to Baby Jane?, it’s clear that there really was a... competitive nature, let’s just say, between the two women. Join us – Pete Wright and Andy Nelson – as we wrap up our Bette Davis series with Robert Aldrich’s 1962 film What Ever Happened to Baby Jane?.
We talk about the two actresses and what they bring to the film, notably their iconic personas from the decades of acting previously as well as this catty relationship (not to mention their powerhouse performances). We look at the film and the darkly horrific way it’s made, fitting the bill nicely as a psychological thriller made by auteur Aldrich. We look at Ernest Haller’s gorgeously moody black-and-white cinematography and how well it pairs with Michael Luciano’s taut editing. And we tie up our Davis series by looking at what she brought to all the films we’ve discussed and the iconic status she has.
It’s a dark film that’s incredibly fun too, in a way, and is certainly worth both watching and discussing. So check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- What Ever Happened to Baby Jane? by Henry Farrell
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Jackie — "There are a lot of exciting trailers playing right now, but as we finish up our series about a strong actress, I wanted to pick a trailer featuring another strong actress leading what looks to be a very interesting film. We all know the story of JFK but I know next to nothing about his first lady, particularly her time immediately after his death. Natalie Portman looks great and the film looks incredibly compelling. Count me in." * Pete's Trailer: Kong: Skull Island — "Yup, this has to go down as one of the most comically terrible trailers I’ve ever seen. I know it’s going to be a big movie, but this thing gives away everything exciting about a monster movie: the damned monsters. All of them. The size and scale, the variety, the colors and sounds, it’s all given up in two minutes. If you know me, you know I’m not one to shy away from getting myself all spoiled. But seriously, Kong: Skull Island … if there’s a worse offender on screen right now, I’d love to see it."
"Fasten your seatbelts. It’s going to be a bumpy night."
Bette Davis was on a streak of flops and just lost her contract with Warner Bros. when Joseph L. Mankiewicz offered her the role of Margo Channing in his new film All About Eve. She immediately saw it for what it was: an incredible role for a woman of her age in an incredible script. She leapt at the chance. It’s safe to say that by doing so, she created one of her most iconic performances in a film that’s gone on to be praised as one of the greatest of all time. Join us – Pete Wright and Andy Nelson – as we continue our Bette Davis series with Mankiewicz’s 1950 film All About Eve.
We talk about why this film works so well for us and how it still feels so relevant today. We discuss Mankiewicz and his direction, as well as his adaptation of Mary Orr’s short story and touch on how she came to the idea. We chat about Davis and how great of a performance she gives, but pair that next to Ann Baxter who just might outdo Davis. We also talk about the brilliant George Sanders, the lovely Celeste Holm, the sarcastic Thelma Ritter and the always beautiful Marilyn Monroe, among others. We chat about how this film’s fictional Sarah Siddons Award ended up becoming a real thing. And we look at what happens when two actresses want to be nominated for Best Actress (hint: it doesn’t work out).
It’s an amazing film that hardly feels dated at all and is well worth not only discussing but also in giving a glimpse in what Bette Davis can do. We have a great time talking about it so tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- The Wisdom of Eve by Mary Orr
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Beauty and the Beast — "Yeah, I’m a sucker for Disney. I was doubtful of their remake slate but have been pretty impressed with the last few. This is based on arguably their best animated film. Can they pull this one off? They seem to have everything lined up the right way that makes me believe that yes, this one will be great." * Pete's Trailer: Valerian and the City of a Thousand Planets — "Is Luc Besson back to the wonder of The Fifth Element? Yes, I’m still bullish on that movie, and by the looks of it, this one is back to basics in the very best way. At worst, it should be a great tester for home 4k cinemas."
"Don’t let’s ask for the moon, we have the stars!"
Irving Rapper’s 1942 film Now, Voyager may have met with mixed reviews but it certainly found its audience, showing that people were thrilled with the on-screen pairing of Bette Davis and Paul Henreid in a story about a woman learning to come out of her shell. It helped that Davis connected so much with this role. She fought for the part and got it, creating one of her iconic and romantic screen personas. Join us – Pete Wright and Andy Nelson – as we continue our Bette Davis series with Rapper’s film Now, Voyager.
We talk about Davis and our thoughts of her in general, paired with our thoughts of this film and what works – or doesn’t work – for us. We chat about Casey Robinson’s script and Olive HIggins Prouty’s source material, contemplating issues we have like the flashback structure, and wondering if the story could have been told without them. (We also contemplate the original story, wondering if perhaps its foundation was flashbacks, giving the filmmakers a sense that they needed to include them.) We look at the cast – notably Davis, Henreid, Claude Rains, Gladys Cooper and Mary Wickes – and discuss what they bring to the table. And we revel in the sweepingly romantic themes that composer Max Steiner for which won an Oscar.
It’s a film that Andy loves and Pete finds problematic in lots of little ways, but certainly one well worth talking about. How does it stack up for you? Check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Now, Voyager by Olive Higgins Prouty
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Wilson (Red Band) — "The sequel to Cast Away that follows Wilson the volleyball and his world exploits this is not. It’s Woody Harrelson and Laura Dern reconnecting with the daughter they gave away for adoption 17 years ago. But funny. Funny in the best of red band ways. Plus it’s based on a Daniel Clowes graphic novel, so it’s got that going for it." * Pete's Trailer: Gifted — "Once again, you go Chris Evans for making interesting, feel-good, even formulaic non-Cap films that bring a man tear right to my big stupid face. And a fine welcome back to Marc Webb who may just be bringing me everything I loved about 500 Days of Summer in the kinda foul mouth of McKenna Grace."
"You must hate me very much."
Bette Davis was never one to shy away from roles, except perhaps from those that weren’t meaty enough. And she found a lot to work with in Lillian Hellman’s play “The Little Foxes” when William Wyler brought it to the big screen. And even though it meant endless fights on set with her director, Davis received her fifth Oscar nomination for her performance. It’s a dark film, but certainly one worth watching. Join us – Pete Wright and Andy Nelson – as we kick off our Bette Davis series with Wyler’s 1941 film The Little Foxes.
We talk about Davis and deliberate on why she’s someone worth discussing, or even someone worth writing songs about. We look at Wyler and his career, and how despite the fact that he doesn’t really stand out as an auteur that he’s still someone who created a large quantity of incredible films. We discuss Hellman and how her Communist beliefs might have influenced her script. We hit on Gregg Toland and his deep focus he’s still practicing after just having finished Citizen Kane, bringing a lot to the table with this film. And we look at the rest of the cast, including Teresa Wright, Herbert Marshall, David Carlson, Patricia Colinge and Dan Duryea, and what they add to the film.
Like There Will Be Blood, this is a film about wicked people trying to climb to the top. It’s a tough film to watch but everyone in it is so compelling, it’s hard to turn off. We have a great conversation about it this week so check it out then tune in!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- About The Little Foxes — A Play by Lillian Hellman
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Toni Erdmann — "I had picked a completely different trailer but saw this and thought it was off the wall enough that I wanted to go with it instead. This looks like an exciting father-daughter story as a dad tries to help break his daughter out of the successful yet unhappy life she’s made for herself. As a father who wants to see his daughter happy AND successful, this really struck a chord with me." * Pete's Trailer: Life — "Have I ever mentioned that for a time in my life, I was actually mistaken for Ryan Reynolds? That would be reason enough to pick this movie, but drop in Rebecca Ferguson and Jake Gyllenhaal, the ISS, and a creepy spore mangler and I’m all in. Of course, this movie does come with risks: Daniel Espinosa helmed Child 44, currently 43 of 51 on The Film Board’s Flickchart listing and the central reason you have to fear trains undressing your children."
"Be Afraid. Be very afraid."
There are certain people that are drawn to a movie because of reports about early screenings where audience members had to leave the theatre because the gore made them physically sick. Whether it’s an attraction to the gruesome horror films, a chance for some good jumps and frights or simply a curiosity to see what the filmmakers could have done to actually make people ill, gore can certainly boost a horror film at the box office. And that certainly was the case with David Cronenberg’s 1986 horror masterpiece The Fly, a remake of the ‘58 version which itself was based on George Langelaan’s short story. Cronenberg, however, is a filmmaker who certainly puts a lot of thought into his films, never one to simply make a gorefest, and this film certainly has more going for it. Join us – Pete Wright and Andy Nelson – as we delve into the last Listener’s Choice episode of the year, this time with Matthew Medrano to discuss Cronenberg’s film.
We talk to Matt about why he picked this film and what he loves about it so much. We talk about our enjoyment with the film and what Cronenberg is doing here, bringing multiple genres together to craft his story. We chat about how the film came to be and what Cronenberg and his co-writer Charles Edward Pogue opted to do in updating the original film (and short story). We look at the perfect blend of Jeff Goldblum and Geena Davis, a real-life couple at the time who brought amazing amounts of charisma, connection, struggle and heartbreak to the roles. We chat about the production team and the complexities they had in making all of the effects work and bringing them to life. And we look at how well this film did at the box office, surprised that only five years earlier, The Thing couldn’t draw a crowd.
It’s a great film and certainly one worth talking with. Thanks, Matt, for recommending we add it to the show! Now it’s everybody’s turn to check out the movie then tune in to the show!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- The Fly (1958) — Netflix
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: A Cure for Wellness — "Gore Verbinski doesn’t always make films I love, but he certainly has a strong directorial touch. His remake of _The Ring_proved he could handle horror, and this certainly looks to be on the same wavelength. Strong cast, incredible visuals and creepy concept all make for something I definitely want to see." * Pete's Trailer: Frank & Lola — "It’s probably a bit too easy to compare this to Last Tango in Paris, which is engaging, but overrated. I’m more interested in Michael Shannon than Brando in a role of this ilk, and the last shot of him in this trailer, in the smock splattered in blood, is just the sort of tease that nails a trailer."
"You don’t throw a whole life away just ‘cause he’s banged up a little."
When Seabiscuit raced in the 30s, he drew more news than Roosevelt or Hitler. His match race against War Admiral was heard by 40 million people, statistically about as many Americans who tune in to watch the Superbowl every year. But he wasn’t just winning races – he was a hero for the little guy who lost everything in the Great Depression and was fighting for a second chance. Join us – Pete Wright and Andy Nelson – as we wrap up our “This Is Real Life, Jack!” series with Gary Ross’ 2003 film Seabiscuit.
We talk about how the movie works overall, and the interesting addition Ross added of documentary-style narration provided by one of America’s great voices, David McCullough. We debate about how well Ross does with the opening act of his film – is it a sloppy mess that takes too long to get us to the horse or is it a brilliantly cut-together example of how well Ross does to move us through time and connect us to these characters? We look at the performances of Jeff Bridges, Chris Cooper, Tobey Maguire, Elizabeth Banks and William H. Macy, among others, and relish in the great work they all do here, even if Banks really is given nothing more than the ‘thankless wife’ role. We discuss some of the key team members – John Schwartzman’s cinematography, William Goldenberg’s editing, Randy Newman’s music – and what they all bring to the table. And we ponder the cost of the Equicizer and how effective it is in allowing the filmmakers to cut in closeups of actors talking while in the midst of their incredibly choreographed and photographed races.
It’s a beautiful, powerful film that may wear its heart on its sleeve, but one that does so proudly, not ashamed of what it is. We have a great conversation about it, even if we don’t see eye to eye on everything in it. So check out the movie then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Seabiscuit: An American Legend by Laura Hillenbrand
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Patriots Day — "As horrific the act of terrorism during the Boston Marathon was, it also showed how brilliantly our law enforcement, FBI and military came together to solve the crime and catch the perpetrators. I worked on the TV movie version of this and I’m very excited to see how Berg and Wahlberg come together in their version.” * Pete's Trailer: Army of One — "Nicholas Cage starts making so much sense now. He hears the voice of God — Russell Brand, natch — and decides to go to Pakistan to apprehend Osama bin Laden. If it didn’t lead with based on a true story, I would have passed. With that, I'm very, very curious."
"They won’t understand why we do it. They won’t understand it’s about the men next to you. That’s all it is."
There is a political side to military operations, and there is a military side. Regardless of the politics of the 1993 situation in Somalia, the battle of Mogadishu was a terrible one, leaving 19 US soldiers, a Pakistani soldier and a Malaysian soldier dead, not to mention the countless Somalis. Ridley Scott’s 2001 film Black Hawk Down, based on Mark Bowden’s book, tells the story of this battle and it’s a powerful one. Certainly, it’s a film everyone should see at least once to fully grasp this situation. Join us as we continue our “This Is Real Life, Jack” series with Scott’s powerful film.
We talk about the real situation and how the filmmakers condensed it to tell this story in just over two hours, looking at some of what was changed and how the real soldiers who had been there reacted to the film. We look at Scott and producer Jerry Bruckheimer and what they each bring to a film like this, finding ourselves immensely impressed that this didn’t take the path of Pearl Harbor, fictionalizing the story for the wrong reasons. We give kudos to the immense cast and the casting director who brought them all together. We touch on the effects work, both on set and in the digital world, marveling at the powerful war zone they’ve created here. And we chat with Bowden a bit to get his take on how well they adapted his book.
It’s a difficult film to watch but a strong one too. It’s a film that puts us in the soldiers’ shoes in a very messy incursion, helping us understand the mentality of what it takes to go into a situation like this. Read the book, check out the movie and tune in to this week’s show!
Film Sundries
- Watch this film: iTunes • Amazon • Netflix • Hulu
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Black Hawk Down: A Story of Modern War by Mark Bowden
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Invisible — "I’m really excited about the possibilities of VR and curious to see how filmmakers find ways to use it to tell their stories. From watching this trailer, I’m more curious than I am excited but seeing that Doug Liman and Melisa Wallack are attached gives me hope that things are moving in the right direction." * Pete's Trailer: John Wick: Chapter 2 — "Unlike some of us, I have no problem doing a teaser as a trailer pick, especially when that teaser is John Wick."
"The whole town is over the moon."
Every story has many facets, but often the big story hides some of the smaller facets. The Australian film The Dish is a perfect example of this. The big story? Apollo 11’s successful mission to the moon. The small story? The Australians working at Parkes Observatory – a radio telescope in the middle of a sheep paddock – that was critical to the success of the mission and was our link to the footage we’ve all seen of Neil Armstrong’s first steps on the surface of the moon.
Join us – Pete Wright and Andy Nelson – as we kick off our “It’s Real Life, Jack” series with Rob Sitch’s 2000 film The Dish. We talk about what a delightful film this is and how great it is learning about this small bit of history that neither of us knew. We talk about Working Dog, the creative production team behind the film, and have a brief interview with producer Tom Gleisner about how they came to tell this particular story, the nature of ‘telling the truth’ in a film based on a fact and more. We chat about the actors – notably Sam Neill, Patrick Warburton, Kevin Harrington, Tom Long and Roy Billing, among others – and how they all create unique and quirky characters that work perfectly in this world. And we touch on not only Edmund Choi’s beautiful, award-winning score but also the fantastic soundtrack full of great songs.
It’s a wonderful film that helps one expand upon and appreciate the Apollo 11 moon landing even more. So what are you waiting for? Check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Original theatrical trailer
- Original poster artwork
- About Parkes Observatory — Wikipedia.org
- Flickchart
- Letterboxd
- The Truth About the Dish
- On Eagle’s Wings: The Parkes Observatory’s Support of the Apollo 11 Mission
- Visiting The Dish
Trailers of the Week * Andy's Trailer: Pirates of the Caribbean: Dead Men Tell No Tales — "After having just discussed Apocalypse Now with the cinematographer of the newest entry of the über-successful Pirates franchise, it seems fitting to discuss this teaser trailer, which just debuted. Whether you’re a fan of the series or not, this certainly looks like an epic entry." * Pete's Trailer: Christine — "We learned the story of Christine Chubbuck in journalism school as a particularly on-the-nose cautionary tale, the story of a woman so disgruntled with the state of the media and her role in it that she elected to kill herself on-air. Since Network is currently #1 on our Flickchart, seems an offense not to acknowledge this film is on the horizon."
"I’ll say a prayer for you. A little prayer."
Antoine Fuqua has talked about how much a fan he is of both westerns and of Akira Kurosawa’s 1954 film Seven Samurai. Knowing that, it’s frustrating to see that his retelling of Kurosawa’s film transplanted to the old west doesn’t stand as strong as Kurosawa’s film or even as strong as John Sturges’ own 1960 version, the original The Magnificent Seven. Still, it has a great cast playing some colorful characters and while largely forgettable is still enjoyable enough. Join us – Pete Wright and Andy Nelson – as we conclude our Seven Samurai Family series with Fuqua’s 2016 remake The Magnificent Seven.
We talk about the thread of DNA starting with Seven Samurai and where it leaves this current iteration, knowing that the writers were largely pulling from Sturges’ remake while Fuqua and actor Denzel Washington were finding more inspiration from Kurosawa’s original film. We chat about Fuqua and the writers, wondering what they were each bringing to the table and why it didn’t feel as strong as it should have. We discuss the cast, how nice it is to see more diversity and how frustrating it is that those diverse elements don’t get as much to do. And we look at the locations, contemplating the movie magic they must’ve employed to create the old west in Louisiana where it was filmed primarily.
It’s a faulted re-telling of this story, though we both acknowledge that people coming to this film without knowing its DNA roots may find it completely enjoyable. As frustrating as it may be for us, we still find it enjoyable to discuss. So check out the movie then tune in!
"From way up here, you all look like little ants!"
Time heals all wounds, but the rift between Jeffrey Katzenberg and Disney may not apply. When Katzenberg, former chairman of Disney’s film division, left Disney after a bitter feud with CEO Michael Eisner, he formed DreamWorks with Steven Spielberg and David Geffen and soon began plotting his battle in animation with his former employer. So while Disney began working with Pixar on A Bug’s Life, he started working on Antz. And the great cinema battle of 1998 began. And while time may never heal the rift between Katzenberg and Disney, it certainly has shown us that Pixar knows how to make strong films and with their second film, they proved that they had staying power, regardless of what DreamWorks put out.
Join us – Andy Nelson and Pete Wright – as we continue our Seven Samurai Family series with John Lasseter’s and Andrew Stanton’s 1998 A Bug’s Life. We talk about the battle between Antz and A Bug’s Life, debating the strengths of them both and which personally is our preference. We look at the amazing storytelling that Pixar’s team does here, crafting a fantastic film that shares its DNA with all its forefathers in this family, even if they never bring it up. We discuss the brilliant cast – notably Dave Foley and Kevin Spacey – and why they work so well in their roles. We talk about the hard work of bringing a world like this to life, even if it may look a bit more rough now that computer animated films have progressed to such amazing levels. And we have to talk about Randy Newman again and how he pops up in here, scoring the film its one Academy Award nomination.
It’s a great film and a fun family addition to our series. Definitely check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Pete and Andy talk about Seven Samurai
- Flikchart
- Letterboxd
- The Pixar Theory
Trailers of the Week * Andy's Trailer: Moana — "I’m always excited for another animated Disney film and Moana looks like it has the makings of a new classic. Strong female protagonist? Check. Mythical demi-god hilariously played by Dwayne Johnson? Check. Crazy chicken? Check. Scary volcano antagonist? Check. Music by Lin-Manuel Miranda? Check. A team of directors like no other? Check. Yeah, I’m pretty much all-in on this one." * Pete's Trailer: Miss Sloane — "Having just talked about the importance of Snowden as a topic film, that Jessica Chastain is playing both a lobbyist _and_attempting to take on the gun lobby herself in this film is a two-fer in my book."
"They called us scum-sucking pigs! Us!"
It was the movie that had ‘hit’ written all over it. Three of the funniest actors starred together for the first time: Steve Martin, Chevy Chase and Martin Short. One of the top comedy directors – John Landis – was at the helm. But for whatever reason, ¡Three Amigos! did not find its audience. Critics were harsh on it and, while it may have made its money back, it was not deemed a success. But time has proven that some films need time to find their audiences. Now with a cult following, ¡Three Amigos! has found its staying power with its absurd comedy stylings. Join us – Pete Wright and Andy Nelson – as we continue our Seven Samurai family series with Landis’ 1986 film ¡Three Amigos!.
We talk about why this film works so well for us, but also how smartly adapted it is from its forebears. We look at Landis as a director and what he brings to the table here, and also why he wasn’t around so much during the post. We chat about Martin, Chase and Short and how perfect they are for these three silent film stars that get in WAY over their heads. We look at what Elmer Bernstein did here, spoofing his own music from The Magnificent Seven. And we touch on co-writer Randy Newman (you read that right – Randy Flippin’ Newman’s one writing credit is this movie!) and the fantastic songs he wrote for the film.
It’s a riotous film that we acknowledge may work well for us but not for others. And even though it works for us, it’s certainly worth deliberating how many stars to give it. So check it out and hopefully you’ll laugh like we did, then tune in to this week’s show!
Film Sundries
- Watch this film: iTunes • Amazon
- Script
- Original theatrical trailer
- Original poster artwork
- Pete & Andy talk Seven Samurai
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Free Fire Red Band Trailer — "A story in a tight setting is always fun to see when pulled off well and the cast looks great. Plus red band trailers always make movies look extra fun. I missed High Rise, Ben Wheatley’s last film, but it’s been on my list of must-sees and now this is too." * Pete's Trailer: Live By Night — "Ben Affleck is back with another Dennis Lehane adaptation (remember Gone, Baby, Gone?), this time a story of prohibition era rum-running, mobsters, and race. I’m a fan of the book, as with other Lehane adaptations (and there are plenty) like Shutter Island and Mystic River. I’m liking Affleck more and more the older he gets. My money says this will be one to catch in theaters."
"We deal in lead, friend."
The Magnificent Seven is a breeze to watch. It’s fun. It has that clean vibe of early Hollywood westerns. Plus it’s based on Akira Kurosawa’s Seven Samurai, giving it some serious street cred. Despite all of that, however, it was quite a legal imbroglio to get made. Yet once released, it eventually became successful enough to spur three sequels, a TV series and more. Join us – Pete Wright and Andy Nelson – as we continue our Seven Samurai family series with John Sturges’ 1960 film The Magnificent Seven.
We talk about the differences between Kurosawa’s film and Sturges’, what works for us in those changes and why we suspect they were made. We touch on the Mexican censors required during production to ensure the script kept their people in a positive light. We chat about the actors, notably Yul Brynner, Steve McQueen, Eli Wallach, Charles Bronson and James Coburn, and what they bring to the table (aside from testosterone). We hit on Elmer Bernstein’s iconic score and highlight the main theme, arguably the greatest western theme written. And we chat about the production trouble this film had, not to mention the issues with the writers.
It’s a fun film, even if it’s one that falls short of the original when directly compared. We have a magnificent time chatting about it regardless and are certainly looking forward to seeing the remake. So tune in and join us!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- The Next Reel talks Seven Samurai
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Little Sister — "I worked with Allison Timlin on the TV movie Girl in the Box and am looking forward to seeing what she does here. A great new talent, she looks to be in a funny and touching indie comedy." * Pete's Trailer: Shut In — "You know what Naomi Watts is good at? Getting scared. Throw in Charlie Heaton and Room’s Jacob Tremblay and you have a recipe for a right fright. Looks like a thrilling film from French director Farren Blackburn based on Christina Hodson’s 2012 Black List script."
"Once more, we survive."
When you think of Akira Kurosawa, it’s easy to connect him to great samurai films like Ran, Throne of Blood, The Hidden Fortress, Yojimbo and Sanjuro. What’s surprising, however, is that he didn’t make his first samurai film until midway through his filmmaking career. That film, of course, is arguably his greatest film, Seven Samurai, which was released in 1954. Join us – Pete Wright and Andy Nelson – as we start up our Seven Samurai Family series with Kurosawa’s masterpiece.
We talk about how well this film holds up and speculate as to why this film not only is so easy to watch despite it’s nearly three-and-a-half-hour running time, but also feels so modern. We discuss Kurosawa, what it took for him to get this film made and why he worked to make this stand apart from the glut of samurai films being made at the time. We chat about the cast, notably Toshirô Mifune, Takashi Shimura, Daisuke Katô, Isao Kimura, Minoru Chiaki, Seiji Miyaguchi and Yoshio Inaba as our titular seven, and why they all work so well here (even drawing a comparison to Coen brother casting). We look at the camera work and how Kurosawa, along with cinematographer Asakazu Nakai, proves himself a master of the medium as we look at his framing, lens choices, camera movement and more. We look at the rest of the production team to bring this world to life so perfectly (except perhaps the bald caps). And we discuss how well this film did in Japan contrasting that with why Toho Films felt the need to truncate it before releasing it to the rest of the world.
It’s a brilliant film and the foundation of a series we’re quite excited to talk about. So tune in!
Film Sundries
- Watch this film: iTunes • Amazon • [Netflix][netflix] • Hulu
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
- If You Like Podcast Ep 17
Trailers of the Week * Andy's Trailer: USS Indianapolis: Men of Courage — "Yeah, this could suck. It’s Nicolas Cage and Tom Sizemore. That rarely would add up to a winning combination. But realizing my knowledge of this disaster is pretty much based on Quinn’s monologue in Jaws, I figure there’s gotta be something in here to at least give me a bit more of a sense of what happened. Here’s hoping it doesn’t make me want to just go back and rewatch the monologue from Jaws again." * Pete's Trailer: Lion — "Dev Patel is on the search for his parents across India. Rooney Mara helps, Nicole Kidman hurts. And Garth Davis directs the adaptation by Luke Davies. I love Patel’s work and regret how irrationally hard I was initially on Slumdog. Wish Newsroom was still kicking."
"How are we defining ‘contained?’"
While working on The Informer! with Steven Soderbergh, screenwriter Scott Z. Burns was inspired by a scene with Matt Damon ranting about the germs Scott Bakula’s character left on a phone to explore the idea of a viral pandemic. From there, Contagion was born. Join us – Pete Wright and Andy Nelson – as we conclude our disease film series with Soderbergh’s 2011 glimpse into how the world deals with a new disease outbreak.
We talk about why this film works so well for us (and possibly not for other people), looking at the nature of a disease film that has such scope while maintaining its human touch. We discuss the idea of the terribly named ‘hyperlink cinema’ and why it works well for Soderbergh in the telling of this tale. We look at the many, many actors who lent their skills to tell each of these small stories, notably Jennifer Ehle as a CDC scientist who willingly puts herself in harm’s way to see if the cure works. We touch on Soderbergh as DP and what he’s bringing to the table with that hat on. And we hit on Cliff Martinez and his music he brings to the table for Soderbergh, even if it doesn’t stand out outside the film.
It’s a great way to finish our series and we’re glad to have discussed it here. Check it out!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Rings — "This a sequel none of us were asking for and likely a sequel that won’t be that good. But I’ll still watch it. Maybe not in a movie theatre, but it’s something I’d rent. Yeah, I’m kinda the market for these." * Pete's Trailer: Mr. Church — "I have a soft spot for Eddie Murphy. This match up gives him the opportunity for a Driving Miss Daisy experience and I’m all for it. Britt Robertson might just get a shot at a role with some meat to it, something to challenge the sweetness she wears on her sleeve."
"Either the blindness spread the panic or the panic spread the blindness."
When Fernando Meirelles showed his 2008 film Blindness to José Saramago, the author of the original book upon which it was based, Saramago loved it. Unfortunately for them, neither critics nor audiences connected with the allegorical film. It’s a tough watch with questionable character motivations and a fairly depressing world view. But some people still really love it, creating quite a variety of reactions to the film well worth talking about. Join us – Pete Wright and Andy Nelson – as we discuss the penultimate film in our Disease Films series, Meirelles’ Blindness.
We talk about why the film worked for Andy but didn’t work for Pete and how, for both, there are still gaping problems that should’ve been worked out. We discuss the cinematography and production design and how they work together to really create an interesting world on film, even if there are elements one could call on the nose. We dig into the technical side of the VistaVision camera and why the production team likely used it for filming. We look at the actors – from Julianne Moore and Mark Ruffalo to Danny Glover and Gael García Bernal – and what they’re all bringing to the table. And we look at the variety of locations they filmed at including Brazil, Canada and Uruguay.
It’s a problematic film that some people may like while others may hate, but it is an interesting allegory all the same and certainly fun to talk about. So check it out and tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Blindness by José Saramago
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Allied — "It’s just a teaser, but I’ll see anything Robert Zemeckis does. The fact that it’s a WWII story written by Steven Knight with Brad Pitt and Marion Cotillard starring is just icing on the cake.” * Pete's Trailer: The Good Neighbor — "James Caan is incredibly scary. Just, as a person. He’s a scary person. In fact, there were moments that I actually thought Kathy Bates was the victim that one time. Remember that? He’s that scary of a guy. And now he’s playing the role of the scary guy in a SUPER-Rear-Window-vibed film. I’ll see this, and probably regret it for so many reasons."
"Very odd what happens in a world without children’s voices."
It’s unfortunate that Alfonso Cuarón’s film Children of Men never found the audience it deserved, at least theatrically. Sure, it has been hailed as one of the best films of the year it was released, is often cited as one of the best science fiction films of the 21st century and was critically praised but for whatever reason, the audiences didn’t show up. The film lost money on its theatrical release. But Cuarón’s film is brilliant. It’s powerful. And it leaves you with a sense of hope for humanity.
Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Cuarón’s 2006 film Children of Men. We talk about the theme of hope and the religious overtones within the film, looking at why they work here and how they differ from the original novel written by P.D. James. We chat about Cuarón and his penchant for long shots, noting how there are over 30 minutes of shots in this movie that run 45 seconds or longer in single takes. We look at what it takes for Cuarón and his team to pull off these incredibly complicated shots. We discuss the performances, including Clive Owen, Julianne Moore, Chiwetel Ejiofor, Michael Caine and Clare-Hope Ashitey, and why Owen should’ve been nominated for an Oscar. And we deliberate on why this film was critically received so well but never quite found its footing.
It’s a marvelous film well worth watching and discussing. We enjoy talking about it here, so what are you waiting for? Tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script
- Original theatrical trailer
- Original poster artwork
- Children of Men by P.D. James
- Flickchart
- Letterboxd
- Children of Men One-ers
- Pink Floyd’s Animals cover
- DonutCake
Trailers of the Week * Andy's Trailer: The Edge of Seventeen — Official Red Band Trailer — "This is the perfect movie for me to watch before my daughter gets to this age. I have a feeling by that point, I won’t be able to handle it. But seriously, it looks hilarious. And sad. And honest. And touching. No surprise to see James L. Brooks producing it." * Pete's Trailer: Complete Unknown — "I loved Maria Full of Grace. While I never saw his other features, when this showed as writer/director Joshua Marston’s next film I jumped at it. Not only does it feel like a return to form for him, it stars one of my very favorite actors in Rachel Weisz. Starts this month if you can find it!"
"You can’t stop the signal."
Most people involved in making Joss Whedon’s 2005 film Serenity acknowledge that it was a near miracle that they got to make it. The TV show upon which it was based, “Firefly,” was canceled before its 14 episodes all aired and it seemed dead. Luckily, the rabid fanbase clamored loud enough and Universal saw that there may be an audience for a continuation of the story after all. Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Whedon’s conclusion of his “Firefly” story, 2005’s Serenity.
We talk about why the film works and what Whedon brings to the table, notably his sharp story construction and snappy dialogue. We chat about the cast, looking primarily at Serenity’s crew members and their antagonist played by Chiwetel Ejiofor. We look at the look of the film and why Jack Green’s cinematography works so well for us. We marvel at the stuntwork done by the cast, notably Summer Glau and Nathan Fillion as they handled most of their stunts to brilliant effect. We talk about the release of the film and why we think it didn’t do that well at the box office. And we take note of a fascinating milestone this film represents in the advancing world of digital film projection.
It’s an amazing science fiction western noir film and is one of our faves. Definitely check it out, then tune in to this week’s show!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Firefly on Netflix
- Flickchart
- Letterboxd
- The Great Wall of China by Franz Kafka, translation by Ian Johnston
Trailers of the Week * Andy's Trailer: The Hollars — "Family comedy drama films can sometimes work for me and sometimes not. This looks like it will fall in the ‘yes’ category and I really hope so because I’d love to see John Krasinski bring more to the table as a director." * Pete's Trailer: The Great Wall — "This looks like quite a spectacle. The problem is, on some level, I think I’m actually offended by it, but I can’t figure out why. I guarantee my opinion is based in some part on the dumpster fire that was Jason Bourne."
"You have to love its simplicity. It’s one billionth our size and it’s beating us."
After making Das Boot, Wolfgang Peterson came to Hollywood and began a new period in his life making big spectacle films, often action thrillers. Unfortunately, that meant when it came time to make his 1995 film Outbreak – stemmed from the world’s curiosity in the Ebola outbreak in Africa paired with the release of Richard Preston’s article “Crisis in the Hot Zone” and subsequent book – the powers that be felt that it too needed to be an action thriller. True, compared to something like The Andromeda Strain, a little more action could really help a story out, but they really seemed to go the wrong direction with this film, adding in an infuriating military conspiracy subplot to really kick things up a notch. Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Peterson’s ‘95 film Outbreak.
We talk about why the film fell short on this recent watch, even though it seemed to hold up relatively well when we first saw it in ‘95. We chat about how the project came to be and why the film version of Preston’s article and book never got made. We look at all the wonderful actors in this movie and debate whose characters are the weakest. We chat about the nature of Ebola and the various outbreaks the world has seen with it (including a recent record-breaking outbreak starting in ‘13). And we ponder Peterson’s Hollywood directing, wondering if he’s still got another Das Boot in him.
It’s a flawed film, albeit an entertaining one with a great cast. It’s fun to watch but also infuriating. And it’s really fun to talk about, so check it out then tune in this week!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Flickchart
- Letterboxd
- Stranger Things Props
Trailers of the Week * Andy's Trailer: Wonder Woman — "If DC came out with this before BvS:DoJ, it’s possible they’d be giving Marvel a real run for their money. Everything about this looks like they’re making the right choices. I can’t wait to see Gal Gadot bring it to the big screen!" * Pete's Trailer: Sky Sharks — "Yeah. This is Sky Sharks. We talked about it last week on the show. It’s in contention for entry into the WolfCop/Kung Fury Hall of Fame. See this trailer."
"We’re not dealing with the flu virus here."
George A. Romero made The Crazies just a few years after making his breakout film Night of the Living Dead in ‘68, but with the popularity of Romero’s zombie film and the others in his ‘Dead’ trilogy still to be determined, he was still a struggling indie filmmaker. So it was with a very meager sum that he set out to make The Crazies and delivered a very interesting piece of work, even if it often fails in its storytelling. Join us – Andy Nelson and Pete Wright as we continue our Disease Films series with Romero’s 1973 film The Crazies.
We talk about the independent feel of the film, what works about it and what doesn’t. We chat about Romero and some of his tropes that were evident early on, shining strongly in this movie. We discuss the actors, the relatively short careers for many of them and the particularly lengthy (and schlocky) career of Lynn Lowry, still busy making films like Skysharks. We look at the various elements of production on display here, from cinematography and locations to makeup and effects to the canned music and the editing. And we talk about the distribution of the film and why it largely failed to find an audience.
It’s a fun film to watch and clearly helmed by someone who knew how to put a taut film together, even if it’s a bit of a mess with some bad performances. But we like it anyway, even if it didn’t end up ranking very high on our Flickchart. So check it out and then tune in!
Film Sundries
- Watch this film: iTunes • Amazon • YouTube
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Rules Don’t Apply — "I enjoy Warren Beatty and it’s great to see him back in action, both in front of and behind the camera. It seems smart that he’s also putting Alden Ehrenreich in there as a co-star to ride some of that Han Solo buzz." * Pete's Trailer: The Magnificent 7 — "We’ve talked about this movie already, but you know what? I love this new trailer something awful so screw it… I’m talking about it again."
"It should’ve been left up to the scientists! It’s a colossal mistake! Tell the President I said so!"
Michael Crichton’s space disease thriller hit the public at the perfect time – when everyone was afraid of the astronauts accidentally bringing back space viruses upon returning to Earth. Crichton wrote the book in a very pseudo-scientific way that made it feel like more of a scientific documentation of a real happening, and it worked gangbusters for his readers. When Robert Wise decided to adapt it, he opted to treat it the same and make it feel like a documentary. For some, it works better than for others.
Join us – Pete Wright and Andy Nelson – as we continue our disease series with Wise’s 1971 thriller The Andromeda Strain. We discuss Crichton, Wise and the adaptation by Nelson Gidding, looking at what works and what doesn’t for us. We chat about the non-stars Wise cast in the film, talking about each of their careers then wondering why their careers weren’t as strong as Gregory Peck’s. We look at the production design and the special effects, enjoying everything they brought to the table, even if they weren’t used to their full potentials or, in many cases, often overused. And we chat about the non-score score by Gil Mellé, sharing opposing views as to what a score like this brings to the table to a film like this.
It’s an interesting film that is burdened by Wise’s penchant for including too much of the processes these scientists have to go through, but still one worth talking about. Check the movie out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- The Andromeda Strain by Michael Crichton
- Flickchart
- Letterboxd
- Andy Gump — Monument Valley
- First and Final Frames by Jacob T. Swinney
Trailers of the Week * Andy's Trailer: Inferno — "Okay, it’s Tom Hanks so it’s really a no-brainer for me, and I really enjoyed The Da Vinci Code. I think the character of Langdon is an interesting one and love seeing Hanks portray him." * Pete's Trailer: Edge of Winter — "I’m mostly into this for Tom Holland. I’m deeply curious about his portrayal of the upcoming Spider-man, and seeing him in something darker and less… you know… _heroey_before that hits is probably just what we need to feel his establishment on screen."
"You are discarded. You are the refuse of the past."
Richard Matheson’s 1954 vampire horror novel “I Am Legend” helped influence the zombie genre (it was the inspiration for the ‘68 George Romero film “Night of the Living Dead”) and popularized the concept of a worldwide apocalypse due to disease. Yet for some reason, filmmakers haven’t been able to crack the story. It’s been made into three different films, and it doesn’t seem like any of them have gotten it right. Join us – Pete Wright and Andy Nelson – as we kick off our disease series with the second of these adaptations, Boris Sagal’s 1971 film, “The Omega Man.”
We talk about why this movie doesn’t work for us and try to figure out what the movie has that gives it that ‘guilty pleasure’ feel. We discuss the actors, notably Charlton Heston, Anthony Zerbe and Rosalind Cash, as they all work together and deliver some terribly written lines. Speaking of lines, we discuss the script written by John William Corrington and Joyce Hooper Corrington, our problems with it and why it feels a bit like a soap opera. We also talk about Sagal’s direction and why the whole film really feels like a TV production. And we have to bring up the crazy amount of 70s zooms in the movie – definitely a sign of the times.
It’s not a film that we love, even if Andy could see some of the guilty pleasure enjoyment with it. Regardless, it’s an interesting film worth discussing and opening up our disease films series. So check it out then tune in to this week’s show!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- I Am Legend by Richard Matheson
- Flickchart
- Letterboxd
- Heston Kisses Goldberg
- What’s Happening Theme Song
Trailers of the Week * Andy's Trailer: Storks — "This sounded really dumb. But then I watched the trailer and really can’t stop laughing. I don’t know if the movie will actually hold up, but I already feel like I’m going to give it the benefit of the doubt." * Pete's Trailer: War on Everyone — "Worst cops ever. Skarsgård and James are blackmailing criminals with subversive joy. This is an id movie just waiting to satisfy me."
"Gentlemen, you can’t fight in here! This is the war room!"
Stanley Kubrick didn’t do comedy often which is a shame because “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” is arguably one of the funniest films ever made. What’s interesting is that Kubrick intended on making a serious film about one of his greatest fears at the time: the threat of nuclear war. But after several attempts at finding the right way to tell the story seriously (including one involving aliens watching us from above, discussing our penchant for destruction), he hit on the idea of making it funny. And his dark comedy classic was born.
Join us – Andy Nelson and Pete Wright – as we wrap up our brief vacation challenge with Andy’s choice of his favorite end-of-the-world comedy, Kubrick’s 1964 film “Dr. Strangelove.” We talk about how we were introduced to this film and why it may not be a film that one connects to immediately but a film that one has to find the humor over time. We discuss the actors – Peter Sellers, George C. Scott, Slim Pickens, Sterling Hayden, Keenan Wynn, even James Earl Jones in his first screen role – and the level of comedy brilliance they all achieve individually and how it ties to the overall film. We single out Sellers, of course, as we discuss the three roles he played in the film and what makes them all so unique. We touch on the look of the film, shot by Gilbert Taylor with impeccable production design by Ken Adam, pointing out just what it took to make the war room one of the most iconic sets ever made. We mention the sequel that Kubrick wanted to make with the help of Terry Gilliam. And we argue about its placement on our Flickchart, as we inevitably do every week.
It’s one of the best films out there and well worth a discussion. Haven’t seen it? Give it a try. Just be aware that you may not connect on the first viewing. This is one of those movies that may need a few shots. But it’ll be well worth it. We promise you.
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Red Alert by Peter George
- Flickchart
- Letterboxd
- Dr. Strangelove — Internet Movie Firearm Database
Trailers of the Week * Andy's Trailer: Anthropoid — "Maybe it’s because we just discussed several WWII films, or maybe it’s that I’ve never heard of this particular true story, but it looks intense and like a bit of history I’m excited to learn more about." * Pete's Trailer: Outlaws and Angels — "I may have a woefully skewed view of this film — judging by Andy’s reaction, I’m way off base. But something about Eastwood’s turn in this trailer hooked me so I’m hoping for redemption!"
"Would’ve been a quiet night, too, if it hadn’t been for those meddling kids!"
Stop-motion animation has been a part of film since nearly the beginning, starting with a toy circus coming to life in 1898’s “The Humpty Dumpty Circus.” Since then, it’s undergone many critical changes and improvements as filmmakers have experimented with what they could do with it, and in 2012, Laika released the first stop-motion animated feature film to use a 3D color printer to create the character faces. The movie, “ParaNorman,” was a comedy horror for kids and certainly seemed to find its audience while also creating quite a bit of controversy.
Join us – Pete Wright and Andy Nelson – as we start off our brief vacation challenge series with Chris Butler’s and Sam Bell’s horror comedy for the kids, “ParaNorman.” We talk about why Pete picked this movie and what he loves about not just this film but stop-motion animation in general. We chat about the directors behind this animated film and what sort of the criticism the film received upon its release (and still to this day!) due to the violence it depicted, the sexual situations and the fact that it has an openly gay character. We discuss not just the actors that voiced the characters – from Kodi Smit-McPhee and Tucker Albrizzi to Anna Kendrick and Casey Affleck – but also Heidi Smith who designed the characters and the animators who brought them to life. We look at Butler’s screenplay and chat about why it’s such a strong script. And we marvel at the cinematography, production design, rigging, effects and everything else that goes into making a stop-motion animated film, thrilled with how well this team did at focusing and working together to create a wholly realized world.
It’s an absolute blast to watch and certainly one well worth talking about. Is it safe for the kids? We think so and argue the point but some people aren’t so sure so perhaps look into it a bit before watching with your own children. Regardless, tune in after you’ve seen it to hear our thoughts!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Deepwater Horizon — "I don’t know if I’m really that excited about this one. The trailer gives me a good sense of the story without completely ruining the story for someone who missed the news coverage, but it still feels like so many other heroic real-life stories out there. Looks like a good renter though." * Pete's Trailer: Assassin’s Creed — "I’m a big fan of the game. But I’ve been a fan of games gone movies before. Seriously though, Fassbender? Cotillard? Irons? Brendan Gleeson? Michael Kenneth Williams? Is it possible that all these people have spontaneously decided to sell out at once? Or might this be a fair adaptation?"
"I’m going to cause such a terrible stink in this Third Reich of theirs that thousands of troops that could well be employed at the front will be tied up looking after us!"
It’s time for another Listener’s Choice episode, and we’re talking about one of the all-time WWII classics. That’s right, listener Michael Cook decided that it was time for us to discuss John Sturges’ 1963 film “The Great Escape,” and man, was he right on the money.
Join us – Pete Wright and Andy Nelson – as we chat about our eight listener’s choice with “The Great Escape.” We talk about how this script was shaped around the real escape in 1944 of 76 POWs from Stalag Luft III, what details were changed for the film and how we feel about those changes. We chat about Sturges and the style he brings to the film paired with the way he directs his actors, giving them the freedom they wanted/needed to create their performances. We discuss those actors – and there are a lot of them including Steve McQueen, James Garner, Richard Attenborough, James Coburn, Charles Bronson and Donald Pleasence, to name a few – and what they bring to the table. We look at the fantastic production design, cinematography and editing that really bring this movie, filmed on location in Germany, to life, and what it took to get away from filming it outside of Palm Springs. We touch on Elmer Bernstein and the incredibly memorable score he delivers and what it does for the feel of the film. And we mention artist Archibald Willard and the connection his painting The Spirit of ‘76 has with the film.
It’s a fantastic film, one we’re truly thrilled to talk about, so definitely check it out if you haven’t seen it before, then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Stalag Luft III
- The Great Escape by Paul Brickhill
- Flickchart
- Letterboxd
- The Great Escape Commodore 64
- Archibald Willard & The Spirit of ‘76
Trailers of the Week * Andy's Trailer: Kicks — "There’s something about this indie film’s story that I just dig. It’s about a kid who wants nothing more than to get his hands on a pair of Air Jordans only to have them stolen, so he, of course, tries to get them back. It’s got a dark vibe through the trailer that feels like it could go down a dark road yet is billed as a dramedy, so it intrigues me. Where are they going with the story? I don’t know but I really want to find out." * Pete's Trailer: The Space Between Us — "Yes, it’s a YA film. Yes, it’s about a teen love story between a girl, and the boy she meets born on Mars. But I love that twist, in fact, and the surrounding science is fascinating (what happens when we send people to Mars and they’re NOT destined to return home), so I’m giving this one a heart-warming family movie night shot."
"We’ve been patriotically slaving for three years to help a spy ring!"
“Ministry of Fear” was Fritz Lang’s third film of four anti-Nazi movies that he made, but it feels less anti-Nazi and more just straight up Hitchcockian thriller. And while Lang didn’t like the final result of the film and Graham Greene, who wrote the novel on which the movie’s based, also didn’t like the film, it’s a very fun film to watch and feels a bit like Lang lite.
Join us – Pete Wright and Andy Nelson – as we wrap up our Lang series with his 1944 film, “Ministry of Fear.” We talk about why this film works for us, even if it still has story problems like he’s had in all of his other films so far, and debate as to what it was that caused him and Greene to dislike it so much. We discuss Seton Miller, the screenwriter and producer of this movie, and look at the control he exerted over this film, forcing Lang to make the film Miller wanted, right down to the last shot. We chat about the performances from Ray Milland, Marjorie Reynolds, Carl Esmond, Hillary Brooke, Percy Waram and most notably Dan Duryea, and look at what they each bring to the table. We touch on the cinematography by Henry Sharp, a studio contract DP Lang had to work with but still someone who ended up making this film feel very noirish and Langian. And we discuss our feelings about Lang as a director, looking at what we got out of this series and analyzing Lang’s work compared with how he ran his sets.
It’s a fun film to watch, even if it doesn’t feel as important as some of Lang’s earlier films. We have a great time talking about it on the show this week, commenting that this certainly will be an easy movie to put on down the road to enjoy all over again. So check out the movie then tune in!
Film Sundries
- Watch this film: Amazon • YouTube
- Original theatrical trailer
- Original poster artwork
- The Ministry of Fear: An Entertainment by Graham Greene
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Phantom Boy — "I love animated films in general, but after having so much fun with “A Cat in Paris,” I can’t wait to see what these filmmakers do with this story. A boy in a wheelchair who can project himself out of his body and does so to help a detective bring down some gangsters? It sounds like the stuff I dreamt up as a child and they pulled it straight from my head. I’m very much looking forward to this one." * Pete's Trailer: The Wailing — "Regular listeners know I’m not usually one for horror, but this film has that visual vibe I find appealing, hopefully more of a thriller than a grotesque, and it’s in Korean, so I’m banking on that helpful degree of abstraction."
"Good heavens, man, I never intended to shoot. I merely wanted to find out if it were possible."
1941 was an interesting time for the US as the country started the year off as a passive, neutral observer of what Germany and Hitler were doing in Europe and ended with the attack on Pearl Harbor, leading the US to officially enter WWII. And while Fritz Lang’s 1941 anti-Nazi film “Man Hunt” was rushed by Darryl F. Zanuck and 20th Century Fox into production then subsequently theatres to be current, they still had to contend with the Production Code and how the film would be seen by people while the Neutrality Act was still in effect. It’s a film that reflects the time in which it was made really well, giving us insight now not just how the filmmakers were thinking, but how society and the government were all thinking and working together (or against each other).
Join us – Pete Wright and Andy Nelson – as we continue our Fritz Lang series with “Man Hunt.” We talk about why this film is still such an interesting glimpse into what was going on in the late 30s/early 40s and how people were thinking. We chat about Lang and what he brings to the table paired with Dudley Nichols, the screenwriter, and how he adapted the source material, often in ways that make us scratch our heads. We look at the opening sequence of the film and talk about how powerful it is, likely even moreso at the time of its release. We discuss Walter Pidgeon, Joan Bennett, George Sanders, John Carradine, Roddy McDowall and the rest of the cast, deliberating on how well they did (or didn’t) do and whether any of them are any good at accents. We discuss the opening and closing shots of the film, looking at the imagery of the hunt and how it works in both contexts. And we look at the beautiful black-and-white cinematography by Arthur Miller and how well he worked with Lang here to give us some frightening urban night scenes that would fit perfectly in many of Lang’s films.
The film may have story issues and some performances that we struggle with, but it’s still an interesting film to watch with some powerful moments that really stand out as pure Lang. Check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Original theatrical trailer
- Original poster artwork
- Rogue Male by Geoffrey Household
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: A Monster Calls — "While Spielberg’s ‘The BFG’ looks downright entertaining in all the right ways, there’s something about J.A. Bayona’s movie that looks like it touches on something a bit deeper. I’m excited for both but feel like this is the one I’m going to connect to a bit more strongly." * Pete's Trailer: Morgan — "A corporate risk management consultant is put in charge of the decision to terminate an artificial life. Oh, and looks like a bloody thriller. It’s like Ex Machina with an actual board room and Kate Mara."
"Just you wait, it won’t be long. / The man in black will soon be here / With his cleaver’s blade so true. / He’ll make mincemeat out of you!"
When “M,” Fritz Lang’s first sound film, opened in 1931, it was clear that Lang already understood how to employ sound to his advantage in telling his story. Unlike many early ‘talkies,’ “M” isn’t wall-to-wall talking; instead, Lang used it as a sparse tool to help catch a killer. He balanced quiet moments with abrupt sharp noises. He brought in off-screen noises that affected those on-screen. He had voiceover. And of course, there is the murderer’s whistling of Peer Gynt’s “In the Hall of the Mountain King.” Lang was a master of his craft, and certainly not a director who would be held back by the advent of sound.
Join us – Pete Wright and Andy Nelson – as we continue our Lang series with “M.” We talk about the story of the film, the influences from the time on Lang, and what Lang may have been trying to say about the rise of Nazism. We chat about Peter Lorre in his breakout role and why his child murderer character is so compelling and, yes, sympathetic. We look at the way that Fritz Arno Wagner moved the camera and lit the scenes to capture Lang’s story (once again written by his wife at the time Thea von Harbou). We deliberate on von Harbou’s script and how well it worked in creating a fascinating police procedural but also how Lang’s research into killers may have affected some decisions in the character of Beckert. We talk about the sound and the lack of score with this movie and how the sound actually affected the frame size. We start a new segment called First Shot/Last Shot and look at how the director decided to start and end his story. And we discuss how the rise in Nazism helped some of the actors while hindering others.
It’s a film noted as a masterpiece, the best of German cinema, Lang’s finest film. We certainly see the quality here and have a great time talking about it on this week’s show. So give this one a watch – it deserves it – then tune in!
Film Sundries
- Watch this film: iTunes • Amazon • Hulu
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
- Fritz Lang - the movie
Trailers of the Week * Andy's Trailer: Tickled — "There are certain documentaries that really thrill me to no end, and those are the ones where it leads you in a completely different direction than you’re expecting it to. This looks like one of those docs. Plus, it’s about one of the strangest subjects I’ve ever encountered – competitive endurance tickling. (Or is it about that? Hmmm…)" * Pete's Trailer: Don’t Think Twice — "Keegan-Michael Key and Gillian Jacobs star in this Mike Birbiglia film chronicling the efforts of a New York City improv troupe to get picked up by their fictitious SNL counterparts. Looks funny, with a deceptive dose of heart. Suck it, cynicism."
"You still don’t seem to know what I am capable of!"
Fritz Lang’s 1928 silent spy thriller “Spies” rarely gets brought up when people mention Lang and his filmography. Dwarfed by arguably two of his best made on either side of it – “Metropolis” and “M” – “Spies” was Lang’s first film outside the shell of Ufa, the German motion-picture company. It did well enough for itself, but not well enough to make a big mark in cinema. But if you watch it, you’ll see the birthplace for practically every spy movie trope that has been on screen since.
Join us – Pete Wright and Andy Nelson – as we continue our Fritz Lang series with “Spies.” We talk about the spy tropes found in this film and what they led to in later films. We chat about the pacing of the film and why the length of this one at its mostly restored length of 143 minutes may be a bit too slow. We discuss Lang, what he was like as a director, and how his approach worked in the production of this film. We discuss the actors, notably Rudolf Klein-Rogge, Willy Fritsch and Gerda Maurus, and what they each bring to the table. We also touch on the affair Lang had with Maurus during the production of this film. We discuss Fritz Arno Wagner, the DP, and his role here as well as in German cinema in this period. And we chat about some of the filmmaking techniques used here, which work, and which are clearly still being developed.
It’s a fun film, albeit a bit overlong, but definitely worth watching. Anyone interested in Lang’s filmography needs to see this one. So check it out then tune in!
Film Sundries
- Watch this film: Amazon
- Original Opening
- Original poster artwork
- Flickchart
- Letterboxd
- Movie Spies and their Cyanide Pills — Wired.com
Trailers of the Week * Andy's Trailer: Don’t Breathe — "I love good horror movies and it’s always refreshing when someone comes up with something that feels new. This movie certainly looks like it’s going to fit the bill for me!" * Pete's Trailer: Hell or High Water — "I don’t know what to make of it. Looks like a beautiful character opportunity for some of my favorite actors. Why am I worried it’s going to be a bore? Great rendition of Knockin’ on Heaven’s Door by Blackwall”
"Isn’t it worth the loss of a hand to have created the man of the future, the Machine-Man—?!”
Fritz Lang’s sci-fi classic has really been through the wringer since it’s premiere in 1927. After having been cut nearly in half then reshaped, people have struggled over the decades to restore the 2 ½ hour film to its full glory but to little avail. In 2008, however, a 16mm print of a horribly scratched copy of the nearly full version was found in Buenos Aires and the film was given new life. It’s since been beautifully restored and is a marvel to watch, even with the scratches.
Join us – Pete Wright and Andy Nelson – as we begin our Fritz Lang series with “Metropolis.” We talk about what the film is about, what works in it and what doesn’t, and try to deduce why. We talk about various political directions the story seems to take and how they fit in with the time and place when Lang and his wife/co-writer Thea von Harbou were writing this. We chat about the actors – notably Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge – and what they bring to the table. We debate whether Giorgio Moroder’s rock interpretation of the movie in 1984 has any merit. And we marvel at the stunning effects by Eugen Schüfftan, from the miniatures and stop motion, to the video phone, to the creation of the Machine-Man and the rings of light moving around it.
It’s a film that has inspired countless projects since and is clearly an important piece in the history of cinema, and even though the story is riddled with problems and could likely be condensed to get the same thing across, it’s still well worth a watch. So check out this movie then tune in to this week’s show!
Film Sundries
- Watch this film: Amazon • Netflix • Hulu
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Urge — "I really don’t know if I’m that excited about this movie, but I love seeing Pierce Brosnan in roles where he seems to be playing something drastically different from his Bond persona. That alone piqued my curiosity here and while I won’t be running out to the cinema to catch this one, I think I may watch this some late night just to see how it is." * Pete's Trailer: The Shallows — "So, it’s Jaws, but with Blake Lively, plus a bunch of Michael Bay low angle tracking shots. I have a feeling this is going to connect with me on a deeply disturbing level. I’m not proud, but at least I’m honest."
"This was, like, two corpses in three hours. I mean, am I crazy? That’s unusual, right?"
Shane Black was gone from the scene for a decade before his return as not just writer but also director with 2005’s “Kiss Kiss Bang Bang,” a comedy crime mystery that unjustly largely flew under everyone’s radar. It was mostly critically acclaimed, but with Warner Bros.’ modest release plans and minimal advertising, it didn’t have much of a chance. And we’re hoping to rectify that. Join us – Pete Wright and Andy Nelson – as we wrap up our Shane Black series with his directorial debut, “Kiss Kiss Bang Bang.”
We talk about why we love this film so much, from the noir and pulp elements Black incorporates to his comedic sensibilities, from the casting to the nature of the buddies. We chat about Robert Downey, Jr. and Val Kilmer and why they work so well together here. We discuss the challenge Black had to get this film made, and subsequently how he made it. We look at some of the other actors, including Michelle Monaghan and Corbin Bernsen, and what they bring to the table. We touch on the cinematography by Michael Barrett, the editing by Jim Page and the brilliant score by John Ottman, wondering if we can track down the soundtrack somehow. We look at the script and some of the Blackisms in it, but also compare it with the final scene and how having Black on set to direct allowed for one of his actors to create a stronger moment for the character. And we wrap up our look at the IMFDb to see what a much smaller budget does to the amount of firepower shown off in the film.
It’s a brilliant ride of a film that thrills us to no end. We highly recommend everyone checks it out, so do so then tune in to the show!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Bodies are Where You Find Them (The Mike Shayne Mysteries Book 5) by Brett Halliday
- Flickchart
- Letterboxd
- When the Spec Script was King — Vanity Fair
Trailers of the Week * Andy's Trailer: Jason Bourne — "We’ve talked about this series and will be talking about this one with the Film Board. I absolutely love the series and expect high things from this with Greengrass and Damon returning, joining forces with Stiles, Vikander and Jones. Can’t wait!" * Pete's Trailer: Café Society — "Apparently, between the two of us, _I’m_the Woody Allen guy. I think Eisenberg and crew look terrific in this Hollywood send-up and I can’t wait to see LA get the _Midnight in Paris_treatment, no matter what Andy says while he’s over there stomping on joy."
"Name’s Charly, by the way. You’re gonna love me."
When New Line Cinema bought Shane Black’s spec script “The Long Kiss Goodnight” in 1994 for $4 million, it created a new record for the selling price of spec scripts for more than 10 years until 2005 when Terry Rossio’s and Bill Marsilii’s script “Déjà Vu” sold for $5 million. While Black walked away with a hefty paycheck, he had no idea that this sale and the subsequent underwhelming performance of the resulting movie would have a hand in the end of the halcyon days of spec script sales. The way that studios saw screenwriters changed. The way they approached projects changed. Some say the industry has changed for the better, some say for the worse. Whichever side you fall on the issue, Black found himself struggling to get work afterward.
Join us – Pete Wright and Andy Nelson – as we continue our Shane Black series with Renny Harlin’s 1996 film “The Long Kiss Goodnight.” We talk about how much fun this movie is, particularly after our struggles with the last two in the series. We chat about Black and why the level of over-the-top fun in this script helps to elevate it in ways that didn’t quite work before. We chat about Harlin and what he brings to the table, not just here but in action and horror films through the late 80s and early 90s. We discuss Geena Davis, Samuel L. Jackson, Craig Bierko, Yvonne Zima, Brian Cox, David Morse and more, looking at how well they fit in this universe. And we look at how this film affected Black’s career, pushing him to step out of the industry for a decade.
It’s a joyously ridiculous romp that’s nothing but fun and we have a great time talking about it on this week’s show. Definitely check out this movie then tune in to the show.
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: The Magnificent Seven — "’The Seven Samurai’ is such a great story, it’s been retold many times in many different ways. And I really enjoy the ones I’ve seen. With Antoine Fuqua’s upcoming remake of a remake, I’m just banking on the story I love to carry it through. Okay, I generally like Fuqua, and his cast looks pretty solid. I’m just not sold yet by this trailer. Or ‘teaser,’ I should say. I guess I’ll have to wait for the ‘full trailer’ to get a better sense of it." * Pete's Trailer: The Founder — "Outside of MBA circles, I’m not sure how many people give the mechanics of McDonald’s much thought. But unravelling the sordid history of much lauded Ray Croc and the real estate empire he built is a story worth telling, and Keaton looks terrific in the part. Like last week though, what really gets me in this trailer is the song: Barns Courtney’s Glitter & Gold."
"Be prepared, son. That’s my motto. Be prepared."
When Shane Black was paid $1.75 million for his spec script “The Last Boy Scout,” it was the most any screenwriter had been paid for their script up to that point. It wouldn’t take long before that record was broken, but the bar had been set – and more importantly, the expectations – for what Shane Black the screenwriter could deliver. Unfortunately, the production was riddled with problems and the film struggled to make its money back. It didn’t kill Black’s career, but it may have signaled the beginning of the end for the spec script boom happening in the early 90s.
Join us – Pete Wright and Andy Nelson – as we continue our Shane Black series with Tony Scott’s 1991 action extravaganza “The Last Boy Scout.” We talk about what Black brought to the table with his script and how it changed due to infighting amongst the above-the-line team involved in the production. We chat about the perfection of Bruce Willis in his role contrasted with the struggle we have with Damon Wayans as Willis’ inevitable sidekick. We touch on the goods and bads of Blackisms and Black’s storytelling themes he returns to time and again. We look at the nature of Scott’s films, how this fits into his body of work and why perhaps some of his ardent fans really love this movie. And we talk about the misogyny laced throughout the story, struggling with the way women are treated compared with what the screenwriter’s intentions likely were.
It’s a frustrating film because it had a lot of promise but never quite gets there. Still, we have a great conversation about it. Tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Doctor Strange — "As a kid, Doctor Strange always looked like a weird comic book character that dealt with things I just didn’t understand. Now, with this impending movie iteration, it looks like an incredibly refreshing dip into something new in this glut of superhero films we’re in. Cumberbatch. McAdams. Mikkelson. Ejiofor. And a bald Swinton as The Ancient One. I’m in for sure.” * Pete's Trailer: The Birth of a Nation — “The movie looks terrific, but this week I’m choosing the trailer because the visuals-musical pairing is so, so good. Watch the trailer, then go pick up Nina Simone’s rendition of Strange Fruit.“
"You ever met anybody you didn’t kill?"
Shortly after graduating from UCLA, Shane Black sold his first screenplay to Warner Bros. to the tune of $250,000. That script was “Lethal Weapon.” Black didn’t know it at the time, but he was on his way to changing the way Hollywood thought about big blockbuster action films and about screenwriters as well. Join us – Pete Wright and Andy Nelson – as we kick off our Shane Black series with Richard Donner’s 1987 film “Lethal Weapon.” We talk about how the film held up for us after our first viewings in our teen years. We chat about Black and his screenplay, looking at what’s in it, what’s not, and why his writing works so well. We look at Mel Gibson and Danny Glover as Riggs and Murtaugh, discussing everything from their partnership in this buddy cop movie to Mel’s hair and from Murtaugh’s family to Mel’s butt. We look at Gary Busey and talk about why he works well in this film. We chat about the stunts, notably Dar Richardson who lost his life right after principal photography finished. And we argue about the quality of Michael Kamen’s and Eric Clapton’s music. It’s a fun film, even if it doesn’t hold up to memories of it from our youth, so check it out then tune in to hear what we thought.
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Internet Movie Firearms Database
Trailers of the Week * Andy's Trailer: The Family Fang — "Whether the movie ends up good or not, there’s still something I just absolutely love about Jason Bateman. This story he stars in and directs about a dysfunctional family run by parents who are all about performance art and their now grown-up children looking to distance themselves from the antics looks to be the right kind of quirky for me. Plus Nicole Kidman and Christopher Walken. I’m all in!" * Pete's Trailer: Rogue One — "We were mixed on Godzilla, but Gareth Edwards at the helm of the first stand-alone Star Wars story has us intrigued. From the trailer, the frame-by-frame forensic analysis that’s being done on it in most corners of the internet at least, feels like they got the look just right. I’m all in."
"They were the footprints… of a gigantic hound!"
Basil Rathbone and Nigel Bruce became synonymous with Sherlock Holmes and Dr. Watson after appearing in 14 film versions of various stories written by Sir Arthur Conan Doyle. Yet at the start, neither of them got top billing. Yet now, Rathbone’s look as the famous detective is the iconic look for him. Join us – Pete Wright and Andy Nelson – as we wrap up this year’s series of films from 1939, commonly called the greatest year of cinema, with Sidney Lanfield’s 1939 version of the famous story.
We talk about the various versions of this story brought to the screen – from 1914 to 2016 – and contrast its popularity with what our sense is of the actual story from the book (a fairly lame way to commit a crime). We chat about Rathbone and Bruce and what they bring to the table, along with Richard Greene, Wendy Barrie, Lionel Atwill, John Carradine and Barlowe Borland. We discuss problems we have with the detective story and how that compares with what is provided by this film. We chat about the look of the film and how the production crew brought it to life, from costumes to sets, from casting to effects, from music (or lack thereof) to screenwriting. And we touch on the controversial last line and why it was so problematic when first released.
It’s a film that tells a mediocre detective story without much panache, but does at least introduce the world to Rathbone and Bruce as the iconic pair. Is it worth seeing? That’s up to you, but either way, make sure you tune in to our show!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- The Hound of the Baskervilles Project Gutenberg
- Flickchart
- Letterboxd
Trailers of the Week * Andy's Trailer: Swiss Army Man — "I love everything about this trailer. Paul Dano. Daniel Radcliffe. The insane and fantastical story it tells. This looks to be the sort of movie that gives me hope that there are still amazingly creative people at the helm making magic for us to view. I hope they don’t disappoint." * Pete's Trailer: Zashchitniki — Guardians: The Defenders — "I missed American Heist when it hit theaters last year but as a fan in general of action heist flicks, this seems right up my alley. That’s what makes director Sarik Andreasyan’s upcoming film that much more interesting. Looks very much like he’s following in the footsteps of Zack Snyder and his DC destruct-i-thons with this story of Soviet-era heroes. The cooler clip comes with the fight trailer here."
"Give a boy a sense of humor and a sense of proportion and he’ll stand up to anything."
Robert Donat defied the odds and beat both Clark Gable and Jimmy Stewart for the Best Actor Oscar in the 1939 Academy Awards with his portrayal of Mr. Chips in Sam Wood’s “Goodbye, Mr. Chips.” It’s a movie that celebrates school heroes everyone had (or should’ve) and connects in its ability to reflect back on the nostalgia of one’s life. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Wood’s film. We talk about how we felt about the film and, despite any issues we had, still found it affecting. We chat about Robert Donat and Greer Garson, both of whom really give touching and honest performances. We touch on Sam Wood as the director and what he brings to the table. We discuss the story and why stories about teachers can work so well, and why they work on us in particular. And we look at the magnificent work Jack Dawn did with the hair and makeup to bring Mr. Chips to life over the course of his 60+ years, from new hire to headmaster. It’s a touching film that works to connect us with this character and reminds us what we love about the best ‘great teacher’ movies. Check it out!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Goodbye, Mr. Chips by James Hilton
- Flickchart
- To You, Mr. Chips, the follow-up book by James Hilton
Trailers of the Week * Andy's Trailer: The Invitation — "I can’t say I’m overly excited about this trailer but it looks like there may be the glimmer of a movie I’d like to see in here. I kinda feel like it may be worth a watch just to see if I was right." * Pete's Trailer: War Dogs — “Weirdly out of character for me, but I love gun running stories. It seems as though director Todd Phillips is taking on a more serious topic — and a true story — with comedic appeal, thus it has a real Great Big Short vibe to it. Something to watch."
"Toto, I’ve a feeling we’re not in Kansas anymore!"
Victor Fleming didn’t just direct two movies in 1939, he directed two of what many consider to be the greatest films made – ”Gone With the Wind” and “The Wizard of Oz.” Where the former, though, has more problems to contend with in today’s society, what with its depiction of slavery and race in the South during the Civil War, the latter is nothing but pure cinematic joy. Seen by more people than any other movie, “The Wizard of Oz” has become infused in who we are. Quotes from the movie can pop up in everyday conversation without people even realizing they’re quoting it. The songs – particularly “Over the Rainbow” – have been burned into our brains at an early age. It truly is a shining example of what cinema can be. Join us – Pete Wright and Andy Nelson – as we continue our ‘films of 1939’ series with one of the great cinema achievements, Flemings’ “The Wizard of Oz.” We talk about what makes this film so great and why it’s lasted so long, looking at everything from the story to the music to Judy Garland as Dorothy Gale. We discuss Fleming as the main director putting the film together, the 14 writers tasked with bringing this script to life, and L. Frank Baum, the author of the original Oz stories. We chat about the actors – Garland, Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan, Margaret Hamilton, Jerry Maren, the Singer Midgets and more (not to mention Terry the dog as Toto) – and look at what they all bring to the table here. We chat about Buddy Gillespie’s special effects, Adrian’s costumes, Harold Rosson’s cinematography, Herbert Stothart’s music adaptation, Harold Arlen’s & Yip Harberg’s songs and Mervyn LeRoy’s & Arthur Freed’s producing, tying together all the elements they each were responsible for. And we comment on the popularity of the film, chat about it being a gay icon, and look at how it started at a loss but ended up making bank over the decades. It’s one of the greats and certainly one we have a lot of passion about discussing. Check it out!
Film Sundries
- Watch this film: iTunes • Amazon
- Screenplay
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- The Wonderful Wizard of Oz by L. Frank Baum
- Flickchart
- Imaginary Worlds Podcast — Why They Fight
Trailers of the Week * Andy's Trailer: A Hologram for the King — "Anyone who has been following the show knows I’m a huge Tom Hanks fan, so any new film of his is reason to celebrate. Plus, Tom Tykwer’s crazy direction, a little bit of Talking Heads thrown in, and a middle Eastern romance. I’m there!" * Pete's Trailer: Miss Peregrine’s Home for Peculiar Children — "Ender saves the world again! This time he has to swim to get there. I love a good film about kids in fantastical places, and this appears to have it in spades — Tim Burton may have just got his groove back."
"We’re the victims of a foul disease called social prejudice, my child."
When John Ford decided to helm “Stagecoach” in 1939, he hadn’t done a western since his days in the silent film era. Yet it was this film, along with his relationship with John Wayne, that would lead to him making arguably some of the greatest westerns in cinema. Yet with this film, it was really more of a chance to make a western that could be a bit more serious, not just another b-level shoot-em-up, while still making a movie that was pretty light and entertaining. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Ford’s “Stagecoach.” We talk about John Ford as a director and what he was trying to do with this film, pointing out some Ford-isms along with debating his strength as a filmmaker. We chat about Dudley Nichols’ script adapted from Ernest Haycox’s short story, enjoying what he did with the nine principal characters in the film, even if there were some pacing issues throughout. We discuss the cinematography of Bert Glennon and the way he and Ford shot the action sequences. We chat about stuntman and stunt coordinator Yakima Canutt, marveling at the amazing stunts he performs in the film while also feeling pretty horrified at the methods he devised to get the horses to fall on camera. And we touch on the cast, touching on what each of them bring to their roles. It’s a fun film, even if not one of our favorites, but still gives us a great movie to talk about. So check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon • Hulu
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- The Stage to Lordsburg by Ernest Haycox
- Flickchart
- Stagecoach Location Shooting Breakdown
- Stagecoach & the Ned Scott Still Photographs
Trailers of the Week * Andy's Trailer: Popstar — "I don’t know if I’ll ever watch this one, but this red band trailer makes me laugh more than it probably should. Andy Samberg as a Justin Bieber-esque pop star on the decline? It could actually be funny. Or it could be utter garbage. Still, they got Martin Sheen to be in it so I’ve gotta give it points for that." * Pete's Trailer: Captain America: Civil War — "I know, I know. We’ve talked about this one already. But seriously, have you checked out how smart the marketing is on this thing? The art, the trailers, the placement are just pitch perfect. Whoever loses in the film, the Russos absolutely crush."
“We women are so much more sensible. When we tire of ourselves, we change the way we do our hair or hire a new cook or decorate the house. I suppose a man could do over his office, but he never thinks of anything so simple. No, dear, a man has only one escape from his old self: to see a different self in the mirror of some woman’s eyes.”
After getting taken off what ended up being the biggest film of all time – ”Gone With the Wind” – George Cukor was given the adaptation of Claire Boothe’s very popular Broadway play, “The Women,” to direct. For someone called a ‘woman’s director,’ this was a good choice for both movies. That being said, it doesn’t mean Cukor’s film holds up well today. Join us – Pete Wright and Andy Nelson – as we head back to our series on the year 1939 to really explore what made it the ‘best year of movies,’ and we kick it off with Cukor’s “The Women.” We talk about the screenplay for this film and why it doesn’t hold up today, while also wondering what made it hold up back then. We ponder the schizophrenic messages this movie espouses, trying to figure out if it’s meant to be an early feminist film or if it’s eschewing everything feminism is about. We talk about the cast, notably Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, Joan Fontaine and Virginia Weidler, and how they hold up with both the snappy dialogue and the painfully awkward story elements. We discuss Adrian and the meaning of a 10-minute technicolor fashion show in the middle of a film, trying to decide if there really is any meaning in it or if it’s just awkwardly lumped in there. And we learn all about the existence of divorce ranches in Nevada during this period in time and why it had to figure so prominently in the story. It’s a film that really didn’t work at all for either of us, but because of that, gives us a lot of fodder for conversation. Check out the film (or skip it and save yourself the time), then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Original theatrical trailer
- Original poster artwork
- The Women. by Clare Booth Luce
- Flickchart
- A Crowded Bookshelf review
- The Divorce Seekers: A Photo Memoir of a Nevada Dude Wrangler by William L. McGee
Trailers of the Week * Andy’s Trailer: The Light Between Oceans — “I was in film school with Derek Cianfrance, and it’s always great to see the new movies he’s making. This one looks like a tough one to watch, but that’s par for the course with him. It’s a gorgeous looking story about a family getting torn apart because it’s the right thing to do. There will be tears. Count me in.” * Pete’s Trailer: The Trust — “This Nick Cage/Frodo partnership is heading to SxSW this weekend so if you’re in Austin, see it — looks weirdly funny as they find a new angle to caper the heck out of a safe under a grocery store.”
“You’re upside down, sir.”
It’s time for another Listener’s Choice episode! This time, 2015 Pony Prize winner Ben Lott gets to select and he chose Peter Bogdanovich’s 1972 screwball comedy “What’s Up, Doc?” Join us – Pete Wright and Andy Nelson – as we delve into one of Ben’s favorites. We talk about our initial expectations and experiences of this movie and how this film improves with conversation and when watched with a group of friends. We chat about the nature of screwball comedy and how it can be very difficult to jump back into an old genre but how well the writers David Newman, Robert Benton and Buck Henry pull it off here. We discuss our issues with the daffy dame played by Barbra Streisand and how she really compares to a psychopath or thief, despite the fact that once you get past the setup of the film, she really is a fun character that we grow to love. We chat about the other performers in the film, notably Ryan O’Neal and Madeline Kahn, and discuss what they bring to the table. And we talk about the nature of the comedy in the film and look at several sequences that stand out as the highlights. It’s a really fun movie that we’re glad to have seen, so thanks, Ben! So check out the movie then tune in to the conversation!
Film Sundries
- Watch this film: iTunes • Amazon
- Original theatrical trailer
- Original poster artwork
- Flickchart
Trailers of the Week * Andy’s Trailer: Embrace of the Serpent — “I’m not quite sure what to make of this story but the look of the trailer is really quite haunting. There’s something about it that draws me in with the stark beauty of the Amazon in black and white. The story looks to be equally as intriguing as the imagery; it feels a bit like a surreal nightmare. High on my list of must-sees.” * Pete’s Trailer: Fan — “Shahrukh Kahn plays an Indian superstar, and the young superfan that’s obsessed with him. Looks like a fun thriller with wtih some wacky Benjamin Button technological hoops to make this 40-something look 17 again.”
“When you’re facing a loaded gun, what’s the difference?”
“The Departed,” Martin Scorsese’s 2006 remake of “Infernal Affairs,” is the film he finally won his Oscar for. It’s a strong crime film and is definitely a Scorsese film with incredible camera work and intense violence, but is it as good as the original? Join us – Pete Wright and Andy Nelson – as we wrap up our Movies & Their Remakes series with Scorsese’s “The Departed.” We talk about what we thought of this film when we first saw it and now how it compares to its predecessor. We chat about the script and how William Monahan approached the adaptation of the original story into a South Boston setting. We discuss the actors – Leonardo DiCaprio, Matt Damon, Jack Nicholson, Martin Sheen, Vera Farmiga, Mark Whalberg and the rest – and how well they work for us (or don’t in some cases). We touch on Scorsese and how much this film fits right in with his output. We hit on other crew members and what they bring to the table, from editing to composing to cinematography and more. And we debate just how good the actors’ South Boston accents are and how effective we are at pinpointing them. It’s a great action movie that may have diminished in quality after such a recent viewing of “Infernal Affairs,” and it certainly has its share of problems, but we have a great time talking about it on this week’s show. Check it out!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Infernal Affairs
- Flickchart
Trailers of the Week
- Andy’s Trailer: Bastille Day — “Idris Elba is my pick for the next James Bond. This gives him a chance to show off his action skills and prove he’s got what it takes. Plus, Robb Stark!”
- Pete’s Trailer: A Bigger Splash — “Tilda Swinton plays a famous rock star hiding out, her vacation interrupted by Dakota Johnson in a movie that looks a lot better than 50 Shades. Director Luca Guadagnino offers an interesting follow-up to his 2009 film, I Am Love.”
“I’ve chosen to be the good guy.”
“Infernal Affairs” may have won seven out of the sixteen Hong Kong Film Awards it was nominated for in 2002, including beating Zhang Yimou’s “Hero” as Best Film, but the majority of Americans probably didn’t hear of it until it was remade by Martin Scorsese four years later as “The Departed.” And while that’s a shame that it took so many people so long to discover this 2002 Hong Kong gem by directors Andrew Lau and Alan Mak, it’s great that they did discover it. Join us – Pete Wright and Andy Nelson – as we continue our Movies & Their Remakes series with Lau’s and Mak’s crime thriller “Infernal Affairs.” We talk about the title, why it’s silly to overexplain the English title, what the original Chinese title “The Unceasing Path” means and things you can read about the film from it. We discuss the actors, primarily Tony Leung and Andy Lau (not related to the director), and how so many of the actors here are performers in other capacities. (Cantopop, anyone?) We chat about the almost pathetic role the women play in this version of the story. And we hit on the taut storytelling style exhibited here which lets us really focus on the struggle the two main characters go through. It’s a wonderful film and definitely worth watching regardless of whether you’ve seen “The Departed” or not. So give it a shot then tune in!
Film Sundries
- Watch this film: iTunes • Amazon • Netflix
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
Trailers of the Week
- Andy’s Trailer: Criminal — “It’s got Pa Kent. It’s got Deadpool. It’s got Wonder Woman. It’s got Commissioner Gordon. And it’s got Two Face. But it’s not a superhero movie. It’s a memory implant sci-fi criminal thriller that might be more drama than anything else. I don’t know what to make of it – it could be a gigantic mess or it could be brilliant. Jury’s out on this one.”
- Pete’s Trailer: Forsaken — “The Sutherland boys are together again. And this time, they’re bringing Demi. And guns. And some horses. I’ve been a fan of director Jon Cassar’s work on 24 for a long time so I’m willing to give this one a bit of a pass.”
“If you’re looking for sterling character, you’re in the wrong place.”
In the early 80s, Peter Hyams was trying to get a western made. Unfortunately for him, no studio was interested in the genre right then; as far as they were concerned, westerns were dead. Then Hyams made the realization that westerns were still alive but that they’d been transposed to the world of sci-fi. And with that, he wrote “Outland.” Join us – Pete Wright and Andy Nelson – as we continue our Movies and Their Remakes series with the ‘remake’ of “High Noon,” Hyams’ 1981 film “Outland.” We talk about the comparisons between this film and “High Noon,” and deliberate on the screenplay structure here, noting how the waiting-for-the-showdown bit works so much better here because there’s so much more story before getting into it. We chat about Hyams and the look he achieves with his DP Stephen Goldblatt and production designer Philip Harrison, not to mention Introvision, the amazing model work and megasound. We discuss Sean Connery, Peter Boyle, Frances Sternhagen and more, looking at what they each bring to the table. We touch on the fun special effects of heads blowing up and people decompressing in space and mention what really happens to a human body in decompression. And we chat about Jerry Goldsmith, chalking up another great score to one of our favorite ‘J’ composers. It’s a really fun sci-fi romp that not enough people are talking about, so check it out and tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
Trailers of the Week * Andy’s Trailer: Creature Designers: The Frankenstein Complex — "I grew up on creature features, reveling in their magic and thriving on the wondrous stories they told. This doc looks like it’ll offer an incredible chance to hear directly from some of the wizards behind these amazing creatures and I can’t wait to check it out!” * Pete’s Trailer: Mike and Dave Need Wedding Dates — “This is it, a high-water mark in gender equality: Anna Kendrick and Aubrey Plaza out-bro the bros.”
“People’ve gotta talk themselves into law and order before they do anything about it, maybe because down deep, they don’t care – they just don’t care.”
“High Noon” is often cited as one of the greatest westerns ever made, and a lot of that praise is likely because it was so different from other westerns at the time. It was bleak and black-and-white. There was hardly any action in it. And it was a character piece. This story didn’t have to be set in the old west – it could work in many genres (as we’ll explore next week). It’s more about the protagonist and his struggle to stay true to what he believes in the face of incredible odds. Join us – Pete Wright and Andy Nelson – as we kick off our Movies and Their Remakes series with Fred Zinnemann’s 1952 classic “High Noon.” We talk about why this film works, but more specifically why it doesn’t work as well for us on this most recent rewatch. We chat about Gary Cooper and our struggles with him as an actor, despite him being such a popular performer. We discuss the history of this script and story, and how it got tangled up with HUAC. We talk about Zinnemann and his cinematographer Floyd Crosby, the look they went for in the film, what they did with the camera and why they didn’t do more of it. We touch on the earworm of a song and how it really saved the movie. And we deliberate on the nature of real-time storytelling and its implications in making a gripping yarn. It’s a classic, to be sure, but not one that was at the top of our lists. Inevitably, problems with a film make for a great conversation so make sure you check out the movie and tune in!
Film Sundries
- Watch this film: iTunes • Amazon • Hulu
- Shooting Script
- Original theatrical trailer
- Original poster artwork
- Art of the Title — Iginio Lardani
- Flickchart
- Do Not Forsake Me, Oh My Darlin’ — Tex Ritter
Trailers of the Week * Pete’s Trailer: Pandemic — “From the looks of it, this is 100% first person. Very strange feeling with this one, but it fits my zombie vibe and has Rachel Nichols and Mekhi Phifer. I feel like I’ve been on a good run with indie outbreak films lately so fingers crossed this one stands up.” * Andy’s Trailer: Green Room — “I know it’s just a teaser, but with Jeremy Saulnier at the helm and Patrick Stewart going dark as an evil skinhead, I didn’t need anything else. Give me my ticket right now!”
“Behold, the mighty hunter.”
Lee Tamahori’s first foray in Hollywood, ‘Mulholland Falls,’ didn’t fare all that well. Luckily, his follow-up with 1997’s ‘The Edge’ made money and allowed him to keep working in the business. (Though if you look at his foray in the Bond franchise, ‘Die Another Day,’ maybe it’s not so lucky after all.) But does the movie feel like something from a David Mamet script? Or does it fall into formulaic Hollywood junk? Join us—Pete Wright and Andy Nelson—as we wrap up our ‘David Mamet as a screenwriter’ series with ‘The Edge.’ We talk about why this film doesn’t work for us overall, even if there are some redeeming elements here and there. We chat about Mamet and debate about how perhaps writing for the Great Outdoors really isn’t for him. We discuss the actors, notably Alec Baldwin, Anthony Hopkins and Harold Perrineau, and how they fare in the wilderness. We chat about Bart the Bear and his Hollywood legacy. We look at the cinematography and try to figure out why Donald McAlpine’s work here feels like it was shot on backlots, not the gorgeous backdrops of the Canadian Rockies. And we bring up Jerry Goldsmith, the legendary composer, who lends his hand here to compose what ends up being a strong theme that’s perhaps repeated a few times too many. It’s a frustrating film to rewatch as it certainly brought our memories of it down a bit, but definitely is a fun one to talk about. Check it out (or don’t) then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
Trailers of the Week
- Andy’s Trailer: Hunt for the Wilderpeople — “I know this is just a teaser, but it looks absurd and funny in all the right ways. Taika Waititi is behind some great Kiwi funny stuff like Flight of the Conchords so I definitely want to give this a chance.”
- Pete’s Trailer: Keanu — “Key and Peele go on a rescue mission for their gangsta kitten. I’m more excited for this film than any other Will Forte thug film yet evar. Plus, director Peter Atencio is from Ft. Collins, Colorado. Land of the free, home of the Andy.”
“The good news is you’re fired.”
David Mamet won the Pulitzer Prize in 1984 with his play “Glengarry Glen Ross.” The play really exemplified Mamet-speak and its transition to film retained that, despite the fact that it took eight years to make it to the silver screen. Join us – Pete Wright and Andy Nelson – as we continue our David Mamet as Screenwriter series with James Foley’s 1992 film Glengarry Glen Ross. We talk about its transition from stage play to film, what changed, what was added, and how it works. We discuss the cast and how strong it is (even if it’s all white guys) – Pacino, Lemmon, Harris, Arkin, Spacey, Baldwin, Price – and how they manage Mamet’s script. We chat about Foley and his filmography, looking at how this one fits into the mix. And we get into some of the technical aspects, looking at the look and music. It’s a brilliant script that makes for a very strong film, certainly one worth watching and discussing. Check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Glengarry Glen Ross: A Play by David Mamet
- Flickchart
Trailers of the Week * Andy’s Trailer: Money Monster — “Jodie Foster’s direction has been a bit hit-or-miss with me, but this story looks compelling and timely, even if it may feel a bit ‘Hollywood.’ With George Clooney and Julia Roberts heading the charge, I feel like this may be another one for Foster that I dig.” * Pete’s Trailer: 10 Cloverfield Lane — “Yeah, in fact I do think they’re making good on a promise to give us something else in the Cloverfield universe. And yeah, we probably won’t see the monster much. And yeah, it’ll probably be great. I adore the use of ‘I Think We’re Alone Now’ in this trailer.”
“He pulls a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue. That’s the Chicago way, and that’s how you get Capone!”
Brian De Palma was coming off a couple of box office disappointments when he signed on to bring David Mamet’s script “The Untouchables” to life. The studio was hoping for something akin to a movie version of their old TV show but this team opted to tell a more focused story, and that is both the success and failure of this movie. Join us – Pete Wright and Andy Nelson – as we continue our ‘Mamet as screenwriter’ series with 1987’s “The Untouchables.” We talk about what works in Mamet’s script and what doesn’t, and why elements aren’t working the way they should. We chat about De Palma and all of the De Palma-isms that he delivers here, never one to disappoint. We look at the key actors in the film – Kevin Costner, Sean Connery, Robert De Niro, Andy Garcia and Charles Martin Smith – and what they each bring to the table, particularly Connery in his Oscar-winning performance. And we touch on the technical with Ennio Morricone’s score, the fantastic production design and the noirish title design. It’s a film that unfortunately didn’t hold up for us this go-around, despite still being able to get enjoyment from it. It’s worth the watch, particularly if you haven’t seen it before, so check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Screenplay
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- The Untouchables by Eliot Ness and Oscar Fraley
- Flickchart
Trailers of the Week * Andy’s Trailer: The Conjuring 2: The Enfield Poltergeist — “I had a blast watching the first in this series. Wan has a great handle on horror and doesn’t seem to mess up sequels when he takes them on, as Insidious: Chapter 2 and Furious 7 showed us. He’s also found his muse in Patrick Wilson who makes a great team with Vera Farmiga. Plus, it’s downright creepy and daddy like.” * Pete’s Trailer: Colonia — “I don’t think I have this movie figured out. Emma Watson joins a cult to find her political rabble rowser of a boyfriend. That’s all I’ve got. But by the end of the trailer, it’s looking like a genuine thriller, so I’m willing to give it a shot. It should be said, however, that I also predicted good things about Child 44.”
“So much of the time, we’re just lost.”
David Mamet wrote screenplays for several years before he jumped into the director’s seat, and while some of them still distinctly sound like Mamet’s writing, others really don’t. The ‘Mamet Speak’ isn’t there, or perhaps it’s just less obvious. Join us – Pete Wright and Andy Nelson – as we kick off another Mamet series, this time focusing on films he worked on only as screenwriter. We start this series with his second screen credit as screenwriter, Sidney Lumet’s 1982 courtroom drama “The Verdict.” We talk about what works for us with Mamet’s script and what doesn’t, and really try to figure out why – is it not Mamet enough? We chat about the actors, from Paul Newman and Jack Warden to Charlotte Rampling and James Mason, and what they bring to the table. We really get into the look of the film, discussing Andrzej Barkowiak’s cinematography, Edward Pisoni’s production design and John Kasarda’s art direction, analyzing how they use their tools to tell this story. And we get into some subplots, really trying to resolve some issues that the film leaves hanging. It’s a strong courtroom character study, even if it wasn’t strong enough to take on Gandhi at the Oscars. Check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Screenplay
- Original theatrical trailer
- Original poster artwork
- The Verdict by Barry Reed
- Flickchart
Trailers of the Week * Andy’s Trailer: Lazer Team — “I’m not sure if this is comedy genius or a truly great representative of the dregs of January. Either way, it made me laugh and will probably end up as a guilty pleasure for me. Plus, I’m curious to see how things shake out for YouTube’s paid subscription service YouTube Red.” * Pete’s Trailer: Remember — “Atom Egoyan. Martin Landau. Christopher Plummer. Nazi Hunter Thriller. When did you stop reading to go find out when you can see this movie?”
“I’ve got a feeling beneath those jeans, there’s something wonderful just waiting to get out.”
Happy New Year! Goodbye 2015, hello 2016. And what better way to kick off the new year of shows than with Paul Thomas Anderson’s 1997 epic glimpse into the golden age of porn. With an epic New Year’s party that transitions the story from the halcyon days of porn in the 70s to its characters’ declines in the 80s, “Boogie Nights” is a great way to celebrate the previous year and welcome the new one. Join us – Pete Wright and Andy Nelson – as we discuss Paul Thomas Anderson’s second film, “Boogie Nights.” We talk about the story and why it works so well for us, regardless of the industry it presents. We chat about Anderson and what he brings to the table, highlighting so many strengths that show why he is still such a tremendous force in the film business. We discuss the actors, from Mark Wahlberg and Burt Reynolds to Julianne Moore and don Cheadle, touching on what brought them to this film and how well they work with Anderson in his story. And we cover the cinematography by Robert Elswit and editing by Dylan Tichenor. It’s really a magnificent film, even if it does make us feel a bit dirty by watching it. Check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Screenplay PDF
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Flickchart
- The Dirk Diggler Story
Trailers of the Week * Pete’s Trailer: Deadpool — “With every subsequent trailer, I’m more excited about this movie. Weirdly, it appears to be the role Ryan Reynolds was born to play. With the exception of me, in my inevitable biopic.” * Andy’s Trailer: Desierto — “Stories of border crossers are pretty regular where I live. Taking this situation and creating a stalker horror movie out of it? That’s a smart way to tell a good story that also reflects modern times nicely. I’m definitely looking forward to this one.”
“They might even replace the dog as the family pet.”
‘Tis the holiday season, which means it’s time for another Next Reel Christmas movie, and how better to share in the joy and festivities of the Christmas season than with some wacky laughs and slimy gore from Joe Dante’s 1984 horror comedy “Gremlins.” Join us – Pete Wright and Andy Nelson – as we celebrate another end of the year with some holiday cheer (and mayhem), this time with Gizmo, Stripe, Billy, Kate, Mrs. Deagle, Barney and the rest of the residents of Kingston Falls (aka Universal’s backlot). We talk about our impressions of this film from when we were young and how those changed (or didn’t) since then. We chat about the actors, from Zach Galligan and Phoebe Cates to Polly Holliday and Howie Mandel, and what they brought to the table. We discuss Jerry Goldsmith’s score and why it works really well for Andy while not so much for Pete. We talk about Chris Walas and his creature effects, and banter about the script and how it really is pretty simplistic. And we touch on what Steven Spielberg, Joe Dante and Chris Columbus all bring to the table here. It’s a fun film, one that certainly seems to have held up better for Andy than it has for Pete, and definitely fun to talk about. Check the movie out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Flickchart
- “Falling Hare” — Looney Toons 1943
Trailers of the Week * Andy’s Trailer: Whiskey Tango Foxtrot — “Tina Fey usually cracks me up. Sure, she’s had some fumbles, but I will always give her a chance. The fact that this is based on a true story makes it all the more interesting to me. Plus, Alfred Molina with a great big bushy beard!” * Pete’s Trailer: Eddie the Eagle — “Hugh Jackman as the crotchety coach of an underdog British ski jumper in the Calgary Olympics. Sure, it might be saccharine. But when he says ‘fly…’… yeah, that’s going to be a tear jerker.”
Hey folks! Please listen to this episode! We tried to keep it short, but we need to tell you about a few things you'll be seeing come January 2016 which, if you don't listen now, may come as a surprise later.
In short, new shows, new shirts, new stuff, new membership program.
Thanks for tuning in, and happy new year from all of us at The Next Reel!
“Everybody in the car. Boat leaves in two minutes, or perhaps you don’t want to see the second largest ball of twine on the face of the Earth, which is only four short hours away!”
Harold Ramis’ second foray into feature film directing introduced the world to the Griswolds – Clark, Ellen, Rusty and Audrey – as they drive from Chicago to LA on a 2-week vacation with the aim of visiting an obvious Disneyland replacement for legal reasons, Walley World. It’s a wonderful film and proved to be another box office success for Ramis, who wouldn’t direct another hit like this for 10 years with ‘Groundhog Day.’ Join us – Pete Wright and Andy Nelson – as we wrap up our very short Harold Ramis series with the classic 1983 road trip comedy “National Lampoon’s Vacation.” We talk about the original John Hughes story on which this is based and look at the darker tones in that story, comparing it with how it was reshaped in this film. We discuss the cast, notably Chevy Chase, Beverly D’Angelo, Anthony Michael Hall, Dana Barron, Imogene Coca (and her dog), Randy Quaid, Christie Brinkley and Eddie Bracken. We chat about the ending of the short story, the original ending and the rewritten ending and debate what works best (and what problems this one may have because of the final ending). And we, of course, talk about the franchise, comparing this with what we view as the only other good one in the bunch, 1989’s ‘National Lampoon’s Christmas Vacation.’ It’s a comedy classic and a great way to finish our Ramis series, so check it out then tune in!
Film Sundries
- Watch this film: iTunes • Amazon
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- John Hughes’ Original Short Story Vacation ‘58
- Flickchart
- Hotel Hell Vacation
Trailers of the Week * Andy’s Trailer: The High Rise — “I love a trailer that piques my curiosity and doesn’t have to spell everything out. This trailer is exactly that and get me very excited because I don’t feel like I know everything that’s going to happen in the movie. How refreshing!” * Pete’s Trailer: Kubo and the Two Strings — “First time feature director Travis Knight is behind some of the most lovely and original animation going, from Coraline to Paranorman to Boxtrolls. This adventure of Kubos looks to be another in a beautiful series catalog of animation.”
“Razzle dazzle!”
Harold Ramis made his big screen debut acting in Ivan Reitman’s 1981 military comedy “Stripes,” which he also co-wrote for Reitman, having worked on “Animal House” and “Meatballs” with him a few years before. He’d go on to appear in a number of films throughout his career, and generally played the straight man to people like Bill Murray. Join us – Pete Wright and Andy Nelson – as we continue our Harold Ramis series with 1981’s “Stripes.” We talk about how this film may have worked in the past but how it didn’t really work well for us in the present. We chat about the comedy and why some of it works but why much of it falls flat, possibly due to the editing, or the writing, or the directing, or the performances, or the time period, or all of it. We discuss the structure of the script and why it really should have ended after the second act. And we go through the talent, from Murray and Ramis to the wonderful old timer Warren Oates and all of the first timers popping up here all babyfaced and eager to act. It’s not a film that we really clicked with while knowing that many hold it near and dear in their hearts. That being said, we still have a great time talking about it and spoiling it rotten. So check it out and tune in!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
Trailers of the Week * Andy’s Trailer: Nice Guys — “Shane Black writes such fun scripts. Since he’s also started directing, I’ve really enjoyed his style. Well, maybe not Iron Man 3. But this looks right up there with Kiss Kiss Bang Bang. Maybe even better. This is way up there for films I have to catch next year!” * Pete’s Trailer: Batman vs. Superman — “I was all ready to hate this trailer. But then I watched it with my daughter and the look on her face during the Wonder Woman reveal? That convinced me to give it a chance. You know what else? Batfleck looks damned good.”
“So I got that going for me, which is nice.”
With a background at Second City and National Lampoon, comedy was right up Harold Ramis’ alley, and while he had early opportunities to write and perform comedy, it wasn’t until the third feature film on which he was involved that gave him the opportunity to direct. Luckily for him, that movie was “Caddyshack” and the rest, as they say, is history. Join us – Pete Wright and Andy Nelson – as we begin our Harold Ramis series with his directorial debut from 1980 – “Caddyshack.” We talk about Ramis and his co-writers, Brian Doyle-Murray and Douglas Kenney, how they came up with the idea for the script and how so much of what ended up on the screen was improvised. We discuss the older talent – Chevy Chase, Rodney Dangerfield, Ted Knight and Bill Murray – and how their performances really forced the filmmakers to diminish the story of the caddies, notably Michael O’Keefe, and what are thoughts are on this. We chat about the story of the kids as it compares with the story of the adults and what our thoughts are on these two stories. We talk about the gopher and how he figures into the story. And we chat about how endlessly quotable this movie is. It’s one of the best, if not the best, golf movies out there and certainly a fun movie to add to our list. So check it out then tune in!
Film Sundries
- Script (PDF)
- Original theatrical trailer
- Original poster artwork
- Flickchart
“Don’t think badly of me. I only want her near me.”
It’s time for another Listener’s Choice episode, and boy, do we have a doozy this week. Listener Diego Luis Contreras López wanted us to talk about a film from Spain and settled on Luis Buñuel’s return to his home country (and immediate departure thereafter) with his 1961 film “Viridiana.” Join us – Pete Wright and Andy Nelson – as we delve into our sixth listener’s choice with “Viridiana.” We talk about our previous (and limited) experiences with Buñuel and what our expectations were with this film, contrasting that with how we ended up feeling about the film. We discuss the many things Buñuel was doing and saying with this film and how that ties into the actual story of Viridiana. We chat about the performances, notably Silvia Pinal, Fernando Rey, Francisco Rabal and Margarita Lozano, and how much we liked all of them. We debate the look of the film and José F. Aguayo’s cinematography and how it was affected by Buñuel’s desire to put the importance of coming in on time and under budget ahead of sloppy filmmaking sometimes. And we look at the film’s release, the reaction to it from the Catholic Church and its banishment from several countries leading to more of an underground screening history after its win at Cannes. It’s a film in which we found a lot of meat to discuss and are thrilled to add it to the films we’ve discussed. Tune in!
Film Sundries
- Script Transcript — English
- Original theatrical trailer
- Original poster artwork
- Halma by Benito Perez Galdos
- Flickchart
- You Won’t Live to See the Last Star Wars Movie
Trailers of the Week * Andy’s Trailer: The Boss — “It’s Melissa McCarthy and Kristen Bell in an R-rated girl scout comedy. This is right up my alley which scares me a little, but it’s true.” * Pete’s Trailer: Extraction — “Bruce Willis and family! Again!”
With the 2013 release of “The Wind Rises,” his eleventh feature film, Hayao Miyazaki retired from making his beautiful animated films. Animation fans worldwide were disappointed to hear this, yet thrilled to see him go out on such a high note. Join us – Pete Wright and Andy Nelson – as we close our Miyazaki series with his final film “The Wind Rises.” We talk about the direction of Miyazaki’s career and how it took him to this story as his final output. We chat about the nature of dreams and nature and how these elements become the key connections to Miyazaki’s touch that he’s had through his other films. We discuss the nature of biopics and how an animated biopic full of fictional elements ends up feeling to us when looking at how it connects with the real Jiro Horikoshi and his role as a Japanese airplane designer pre-WWII. We debate Miyazaki’s decision to tell this particular story and how it reflects on his pacifism. We touch on the voice casts in both the English and Japanese versions, commenting on who worked well for us. And we bring up Joe Hisaishi, the film’s composer, and the beautiful music he contributed here as well as in “My Neighbor Totoro,” which we forgot to bring up last week. It’s a great film that is certainly worth watching and discussing. Tune in!
With the creation of Studio Ghibli, Hayao Miyazaki and the other filmmakers involved had created a place where they could create the films they wanted to make. With “My Neighbor Totoro,” Miyazaki’s third feature film and second he directed under the Ghibli banner, it was crystal clear what Miyazaki wanted to bring forth from his films — the relationship between man and nature, the purity and innocence of youth and the imaginative look at characters who didn’t quite fit the world as we know it. Join us — Pete Wright and Andy Nelson — as we continue our brief Miyazaki series with his 1988 film, “My Neighbor Totoro.” We discuss the elements of this film that we like so much, particularly the pacing and whether one could call it boring or not (note: neither of us do). We talk about the simplicity of the story but how through that simplicity there are some large ideas being dealt with. We chat about the voice cast and how the current English dub works for us, commenting on the problems people on Amazon have with it (despite the fact that an animated film is ALWAYS going to be dubbed, even in its original language). And we talk about the nature of the forest spirits and how we them through the eyes of children. It’s a beautiful, touching, quirky film that we love and are thrilled to talk about on the show. Tune in!
Hayao Miyazaki began his career with television and it was the show “Lupin III” that gave him the chance to direct both for the small screen as well as for the big screen with the second story about Lupin the Third in 1979. Join us — Pete Wright and Andy Nelson — as we begin our short Hayao Miyazaki series with his first theatrical feature film, Lupin the Third: The Castle of Cagliostro. We talk about the history of the character of Lupin III in Monkey Punch’s original manga series, in the TV series and its films, as well as in the Arsène Lupin character he’s loosely based on (and related to) created by Maurice Leblanc. We discuss the elements within the film and what feels like Miyazaki touches, even at this early stage in his career. We compare the interesting world of manga and anime as compared to Disney films in particular. And we chat about the casts: the original Japanese, the 1992 English dub version and the 2000 dub. It’s a fun film, maybe not one of our favorites, but still something that’s got action, comedy and entertainment for the family. Check it out then tune in!
“He wants you too, Malachai!"
Stephen King may not like the film version of ’Children of the Corn,’ but considering it spawned 7 sequels and a remake, we’d like to think that he’s at least making a decent profit on his short story from 1977. This movie started careers for Linda Hamilton, Courtney Gains, John Franklin and Peter Horton and has created quite the cult following, no matter what King — or we — think of it. Join us — Pete Wright and Andy Nelson — as we wrap up our Naughty Children series with this movie. We talk about why we don’t like it and really try to get to the bottom of what problems we feel the story has. We discuss the adaptation from King’s short story and how it changed, comparing the ’84 film with the ’09 Syfy Channel remake that was more faithful to the original King story. We chat about the effects and the overall look of the film, touching on how low budget production can lead to that (though doesn’t have to). And we have a first on the show — a Flickchart reranking! Check out the movie (or don’t) and tune in to the show. It’s arguably more enjoyable than the movie!
Film Sundries
- Script Screenplay
- Original theatrical trailer
- Original poster artwork
- Original Material
- Flickchart
- Children of the Corn Movie
- Who Can Kill a Child? — Full Feature (in Spanish)
Trailers of the Week * Andy’s Trailer: Don Verdean — “Okay, I admit it, this doesn’t look like it’s going to be that good. But it’s the team behind Napoleon Dynamite so I’m just hoping that there’s something here. Fingers crossed." * Pete’s Trailer: The Lady in the Van — “I love Maggie Smith. She makes for the cutest crazy lady, and I get the feeling that this next film is going to give her a chance to shine courtesy of Nicholas Hytner and Alan Bennett."
“Don’t be frightened. It was only the wind, my dear."
Thus far, our series to celebrate Halloween — the Naughty Children series — hasn’t really been that scary. “The Bad Seed” is labeled a crime/drama/horror but comes across a bit more as a comedy now with the over-the-top performances. “Village of the Damned” is labeled a horror/mystery/sci-fi but doesn’t have much in the way of horror. This week’s film, Jack Clayton’s 1961 film “The Innocents,” really feels like the first in the series that’s got real scares in it, and scares that still hold up today. Martin Scorsese even put it on his list of 11 most scary films. And a lot of that is because of the atmosphere Clayton and his screenwriters (mostly Truman Capote) created with this adaptation of Henry James’ “The Turn of the Screw.” Join us — Pete Wright and Andy Nelson — as we continue our Naughty Children series with “The Innocents.” We talk about how much each like this film — Andy as the veteran of the film and Pete as the newbie — any why it works so well. We chat about Deborah Kerr in a role that exemplifies the ambiguity in the story and how it works so well in context of the decaying nature Capote riddled throughout the screenplay. We talk about Jim Clark’s editing and Freddie Francis’ cinematography, as well as Georges Auric’s score, noting how well they each work to add to the atmosphere in this film. And we marvel at Martin Stephens’ performance here, vastly different (and superior) to his performance in “Village of the Damned.” It’s a brilliant film that we’re thrilled to add to our list, so check it out and then tune in!
Film Sundries
- Original theatrical trailer
- Original Material
- Flickchart
Trailers of the Week * Andy’s Trailer: He Never Died — “Damn. This looks wickedly funny. And violent. And fun. Henry Rollins as the Biblical Cain? Sure, give me some." * Pete’s Trailer: The Boy — “I’m not usually one for the horror, but this one cracks me up. Lauren Cohan is a treat to watch coming off of Walking Dead and though I forgot to mention it on the show, Stacey Miner’s screenplay looks great coming off his Black List entry Mixtape, also announced for production, and a really interesting read."
“Is there no limit to the power of these children?"
John Wyndham’s 1957 novel “The Midwich Cuckoos” is the foundation for Wolf Rilla’s 1960 film “Village of the Damned.” It’s hard to say which title may actually be worse, but the story in both seems to work for most people. It’s a decent sci-fi story that, while dated, creates an interesting scenario with all the women in a village being impregnated at the same time by some alien force. Even with that interesting scenario, however, for every element that works in favor of the film, there seems to be another working against it. At least with today’s eyes. Join us — Pete Wright and Andy Nelson — as we continue our Naughty Children series with Rilla’s 1960 film “Village of the Damned.” We talk about what works and what doesn’t, as well as why some of that matters more when it comes to actual enjoyment of the film (at least for Andy) and what they could have done to make it better. We chat about the performances, notably George Sanders, Barbara Shelley and Martin Stephens, and what they bring to the table. When it comes to Shelley, we also chat about the fact that her part is largely dismissed and why it bothers us so much. We discuss the look of the film with Rilla’s documentary approach as well as cinematographer Geoffrey Faithfull’s overall look, which worked nicely for us. And we look at MGM’s history with the film and touch on why they filmed it in England instead of Hollywood. It’s a fun film that, if you think too much about, you’ll find tons of problems; Pete sees the problems while Andy sees the fun. Check out the movie then tune in!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- The Midwich Cuckoos by John Wyndham
- Flickchart
Trailers of the Week * Andy's Trailer: Pride and Prejudice and Zombies — “I’m not really sure about this whole mashup thing — it’s fun and all for a short period of time. I’m still not sure how well it could actually work for an entire feature film. That being said, I do love ‘Pride & Prejudice.’ And I do love zombies… " * Pete's Trailer: Hail, Caesar! — “The Coens are back with a blow-out cast musical that celebrates …ummm… movie musicals! ScarJo and ChaTa and JoBro? Yeah, this is my kind of movie. Of course, I liked Hudsucker."
“I thought I seen some mean little gals in my time, but you’re the meanest."
It’s October, which means it’s time for some scares! This year, we’re celebrating with those lovable little children who just are downright bad. Our first film of the series gives us a young girl who turns out to be a malicious killer, but only because it’s her way to get the things that she wants. Join us — Pete Wright and Andy Nelson — as we kick off our Naughty Children series with Mervyn LeRoy’s 1956 classic “The Bad Seed.” We talk about why this film works for us in all of its campy, over-the-top theatrical glory and how those elements may actually help make it more enjoyable today. We chat about the performances, notably Patty McCormack, Nancy Kelly, Henry Jones, Eileen Heckart and Evelyn Varden, and how well they worked for us, particularly Kelly and McCormack as mother and her murderous offspring. We discuss the Hays Code and how it influenced the filmmakers to change the ending, even if the ending ends up being almost more censorable. We touch on the script and the amount of subtext in the characters’ dialogue, particularly the women who were always trying to live up to the 50s housewife standards. And we hit on the cinematography and music, noting how well the music works but how standard the cinematography feels. It’s a fun film that may not be the top of our lists but is a very easy watch. Check it out then tune in!
Film Sundries
- Original theatrical trailer
- Original poster artwork
- The Bad Seed by William March
- Flickchart
Trailers of the Week * Andy’s Trailer: Bone Tomahawk — “I love westerns. I love horrors. A blend of the two? With Kurt Russell and his great big bushy beard? Yes, please!" * Pete’s Trailer: Experimenter — “I love that Stanley Milgram is getting film treatment, and Peter Sarsgaard seems to be just the guy to do it. So, I’m going to binge Ghostbusters, then watch this to get the full Milgram Experience."
“Know your place. Keep your place. Be a shoe."
Bong Joon-ho’s “Snowpiercer” made waves upon its US release because its distributor decided to give it a limited theatrical release the same day they released it digitally. It was a risky move — theatre owners rely on the window between theatrical release and subsequent releases to remain around six months roughly so as to ensure they get as much money out of the screenings as they can. By shutting this window, “Snowpiercer” could have left theatre owners in the cold and been deemed not worth watching because of the “straight to video” tarnish. But it found an audience in both formats and became a surprise hit. Join us — Pete Wright and Andy Nelson — as we finish our Bong Joon-ho series with his 2013 film “Snowpiercer.” We talk about how the film is a pretty straightforward allegory in a sci-fi post-apocalytic world that audience members need to buy into if the film is going to work, and what happens if people don’t buy into that concept. We chat about the performances, notably Chris Evans and Tilda Swinton, and how well everyone works in the film. We discuss the cinematography, costume design, production design and score and ruminate on how much they all bring to the table. And we touch on the original French source material for this film which, unfortunately, neither of us have read. It’s a wonderful science fiction film that works well for us — even though we know it can be divisive. Check out the movie then tune in!
Film Sundries
- Snowpiercer — “The Abridged Script”
- Original theatrical trailer
- Original poster artwork
- Snowpiercer Vol. 1 — Graphic Novel (English)
- Flickchart
Trailers of the Week * Andy’s Trailer: Hitchcock/Truffaut — “I love Hitchcock and Truffaut. I love the book. I love the people interviewed here. This sounds like an amazing look behind the curtain with lots of great nuggets of film knowledge. One for every film buff." * Pete’s Trailer: Partisan — “Vincent Cassel is one of my favorite faces, and he brings it in this mentor/mentee commune thriller in which the apprentice, so to speak, becomes the master. Remind me not to take my son to this movie."
“You’re not even worth the dirt on my son’s toenail."
Bong Joon-ho’s follow-up feature to his massive success “The Host” was about a murder and the person trying to figure out what happened. To some people, it sounded awfully like his second film “Memories of Murder” and they were afraid he was returning to the safety of familiar territory. But 2009’s “Mother” ended up being a very different film and one which is hard to forget. Join us — Pete Wright and Andy Nelson — as we continue our Bong Joon-ho series with “Mother.” We talk about how much we like this film and why it works so well while also being a bit bonkers. We chat about the actors, notably Kim Hye-ja and Won Bin as the titular mother and her son, reveling in the powerful, honest and surprising performances they both give. We discuss the story and really try to analyze the way Bong plays with the layers of truths and what our take is on what actually happened in the story. And we chat about the cinematography by Hong Kyung-pyo, the production design by Ryu Song-hie and the music by Lee Byung-woo, all great technicians delivering solid work to this great film. It’s a wonderfully directed film that shows the hands of a filmmaker who knows his craft and we have a great time talking about it. Check it out then tune in!
Film Sundries
- Original theatrical trailer
- Original poster artwork
- Flickchart
Trailers of the Week * Andy’s Trailer: Ashby — “I love Mickey Rourke’s career comeback over the last few years and I want to see him succeed. Plus, I would have loved to have him as an ex-CIA assassin give me advice back when I was in high school." * Pete’s Trailer: Truth — “You know that thing you say with friends, that ‘if they ever make a movie of my life, I want Robert Redford to play me…’ that thing. I wonder if Dan Rather ever said that?"
“Is all of your family so dumb all the time?"
Bong Joon-ho’s third film, “The Host," ended up becoming the highest grossing South Korean film of all time straight out of the gate with it playing on a record number of screens in its home country — it made the South Korean record books with its box office performance during its opening weekend alone. Quentin Tarantino loves it. Harry Knowles loves it. But how do we feel about it? Join us — Pete Wright and Andy Nelson — as we start our Bong Joon-ho series with 2006’s “The Host.” We talk about how we feel about the movie — Andy doesn’t like it very much despite seeing the qualities that make it stand out for people whereas Pete finds it a fun watch and enjoys said qualities. We chat about the actors, notably Song Kang-ho, Byun Hee-bong, Park Hae-il and Bae Doo-na, touching on how well they work for us as members of this dysfunctional family of idiots. We talk about the monster and debate what works for us and what doesn’t. We discuss the Americans in the film as well as the English sequences, contemplating how well they work (if at all) in context with what Bong is trying to say. We cover the various messages Bong is hitting on with this film as well as touch on the various subplots that arise and how well they work. And we touch on the music and cinematography, noting what works and what doesn’t. It’s an interesting monster movie that certainly seems to have found its fans, even if Andy isn’t one of them. Check out the movie then tune in!
Film Sundries
- Original theatrical trailer
- Original poster artwork
- Flickchart
Trailers of the Week * Andy’s Trailer: Demolition — “I loved ‘Wild’ and ‘Dallas Buyers Club.’ Jake Gyllenhaal is on a genius streak right now. The story is right up my alley. Everything is lining up for me as far as being in tune with this film. Can’t wait!" * Pete’s Trailer: The Jungle Book — “So, I learned that this is a movie of terrifying photo-realistic jungle animals fighting over a young boy. And singing. So there’s that."
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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“The truth does not make it easier to understand, you know."
When a choice is referred to as a “Sophie’s Choice” most people understand that the choice must be an impossibly difficult one between two unbearable options. But if it wasn’t for Meryl Streep’s performance in the 1982 film directed by Alan J. Pakula (and to a lesser extent William Styron’s novel upon which it was based), that phrase wouldn’t resonate the way it does. Join us — Pete Wright and Andy Nelson — as we conclude our Meryl Streep series with the film for which she received her fourth Oscar nomination and first win as Best Actress, “Sophie’s Choice.” We talk about Meryl, our undying admiration for her and what she brings to the screen; plus we chat about her two primary costars — Kevin Kline and Peter MacNichol — and what they bring to the table. We discuss our problems with the film which seem to stem from the adaptation and the focus on Stingo as the main character of the film. We chat about Nestor Almendros and his cinematography work, comparing his naturalistic approach with other films he’s done and how it works here. We touch on the haunting and arresting score by Marvin Hamlisch. And we discuss the horrors of the concentration camps, noting several fascinating scenes that work well to portray the dichotomy between the world of the Jewish prisoners and that of the Nazi guards. It’s a decent film buoyed by two knock-it-out-of-the-park performances that ultimately break your heat, and as hard as it is to watch, it’s great to discuss. So watch the film (but be prepared with tissues) then tune in!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Original Material
- Flickchart
Trailers of the Week * Andy’s Trailer: Krampus — “I love ‘Trick ’r Treat’ and can’t wait to see what Michael Dougherty brings to the table with this Christmas horror movie. And clearly Krampus is in the zeitgeist these days as there are a lot of Krampus projects floating around." * Pete’s Trailer: Room — “A well-produced trailer of a potentially creepy boy-meets-world kidnap-escape thriller. Cute kid. Maybe Krampus’ll show up and really drive this one home.”
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
- The Next Reel on iTunes
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And for anyone interested in our fine bouquet of show hosts:
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“You have planted a dagger in me, and your damned freedom gives you license to twist it in my heart!"
Meryl Streep received her first nomination for Best Actress in a film that one would think had been lost in time if not for the recent Criterion Collection release — Karel Reisz’s 1981 film “The French Lieutenant’s Woman.” She lost to Katherine Hepburn in “On Golden Pond,” which makes sense, but Streep’s performance is still a fascinating one. Join us — Pete Wright and Andy Nelson — as we continue our Meryl Streep series with Reisz’s film. We talk about how the film worked for us — Pete found it painfully boring and Andy, while appreciating it, ultimately didn’t really connect with it. We discuss the intricacies of the script and how Harold Pinter adapted the ‘unfilmmable’ novel by John Fowles upon which it was based, enjoying the design of the screenplay structure quite a bit. We chat about the strengths in what is going on in the two parallel stories and what keeps us from completely connecting with it. We talk about the actors — notably Streep and Jeremy Irons — and what they bring to the table in these two roles. And we deliberate on the proper way to pronounce ‘lieutenant.’ It’s an interesting film that ultimately didn’t click with either of us, even if we could appreciate some of the work in it. And it brings our total number of films discussed on the regular show to 200! So check out the movie then tune in — we have a great chat about it!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Original Material
- Flickchart
Trailers of the Week * Andy’s Trailer: Uncle John — “The trailer is haunting and creepy, and John Ashton seems to come out of left field to play the titular character. I have a hard time figuring out what this is about, but the trailer makes me want to see it. Now THAT’S what a good trailer should do." * Pete’s Trailer: The Lobster — “I love the cultural reflection here, that if you don’t find traditional love, you’re turned into an animal and sent into the woods. Perhaps the metaphor is too on the nose, but the mood and experience of this trailer bring me a big smile."
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
- The Next Reel on iTunes
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- The Next Reel on Flickchart
- The Next Reel on Letterboxd
- Guess the Movie with The Next Reel on Instagram
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And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
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- Check out Tom Metz on IMDB
- Justin "JJ" Jaeger
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“I didn’t know it’d happen to me."
Meryl Streep won the first of her three Oscars for her supporting role in Robert Benton’s 1979 film “Kramer vs. Kramer.” Of course, as of this episode, it’s the second nomination for her out of nineteen nominations — more nominations than any other actor. And when you watch “Kramer vs. Kramer,” it’s hard not to wonder why she won for supporting actress rather than actress. Sure, her screen time is much less than Dustin Hoffman, her co-star, but her role has an equal importance in the film (and if we’re using the Hannibal Lecter argument, she clearly should have been nominated for Best Actress). Join us — Pete Wright and Andy Nelson — as we continue our Meryl Streep series, looking at some early films for which she received Oscar nominations, and this week talking about Benton’s film. We chat about how this film hit us when we last saw it in college compared to how it hit us this go-around. Hint: much stronger now. We talk about the brilliant and honest performance from all of the actors, notably Streep, Hoffman, Justin Henry, Jane Alexander, Howard Duff and just a hint of JoBeth Williams. We discuss why this story works so well and what interesting topics it hits on. We chat about Benton and his career, and we touch on Néstor Almendros’ beautiful cinematography. And we talk about how the film did at a time when big blockbuster films were all the rage. It’s a film we love that also broke both of us. Watch it — everyone should see it — then tune in to this week’s show.
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Original Material
- Flickchart
Trailers of the Week * Andy’s Trailer: The Witch — “I love the period. I love the look. I love the concept. And damn if this doesn’t look super creepy!" * Pete’s Trailer: Burnt — “Bradley Cooper wants to run the best restaurant in the world. He wants people in his restaurant to be sick. With longing. I love cooking movies. I loved Chef. I just got my first ceramic knife and I feel like I was reborn. I will see this movie."
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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- Justin "JJ" Jaeger
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“I’m happy to be able to defend Volunteers, and maybe you can have me back to defend Mannequin Two."
In 237 episodes of The Next Reel and nearly 200 movies as a part of the weekly show, we try to do solid service to the creators of the work that we talk about. Most of the time, we think we do a pretty good job. Sometimes, we drop the ball.
A few weeks back, as part of our guilty pleasure series, we did the movie Volunteers from 1985 directed by Nicholas Meyer, written by Ken Levine and David Isaacs. We did our usual thing and in the process of talking about the characters and story, we did particularly short shrift to the guys who wrote it.
Of course, we didn’t realize that we came up short until we were called out by Ken Levine himself on his blog, by Ken Levine.
Ken’s credits are one thing, but just wait… he and Isaacs are behind truly seminal television series, and that’s not hyperbolic: how about MASH? Mary? Wings? Cheers? Frasier? Yeah, all those, and many more… he even named a baseball team on The Simpsons. And that doesn’t even begin to touch his other career as a play-by-play baseball announcer.
So you can imagine how thrilled — and a touch embarrassed — we are to have the one and only Ken Levine with us on The Next Reel. We talk about his history in the field, from his first assignment on The Jeffersons to his latest plays. We talk about the craft of writing, doing so with a partner, and the growing writer’s room today. And of course, we talk all about Volunteers and what it took to bring cast and crew together for one of Andy’s favorite flicks!
“One shot."
Michael Cimino’s 1978 film “The Deer Hunter” is definitely a divisive film, one about which a LOT of people have found plenty of things to say and argue about. Aside from all of that, it’s also the film for which Meryl Streep received her first Oscar nomination. Join us — Pete Wright and Andy Nelson — as we begin our Meryl Streep series, specifically looking at films for which Streep received an Oscar nomination, with Cimino’s epic Vietnam War film. We talk about why this film was and still is so controversial — the Russian Roulette scenes and the fact that there’s no evidence they happened during the war. We discuss the nature of truth in film and analyze why this film still works effectively despite the Russian roulette scenes being fictional. We chat about the interminable wedding scene and try to figure out why we struggle with it so much. We chat about the brilliant actors, notably Robert De Niro, Christopher Walken, John Savage, Streep, George Dzundza and the wonderful John Cazale. We touch on Cimino and his career, notably how it nearly died after this film with “Heaven’s Gate.” And we debate the nature of Flickchart with some of Andy’s choices. It’s a fun-filled episode for a very strong film, albeit not easy to watch. Tune in!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
Trailers of the Week * Andy’s Trailer: Victor Frankenstein — “I enjoy Frankenstein films, though so often am disappointed by them. This one, told from Igor’s point of view (and a dashing Igor at that) looks to be pretty fun. At least I’m hoping so. The trailer gives me hope. Radcliffe and McAvoy could pull it off." * Pete’s Trailer: Spotlight — “The true story of the Boston Globe’s break of the child molestation cover up in the church. This seriously looks like everything I wanted The Paper to be. Blessed be the spiritual reboot.”
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
- The Next Reel on iTunes
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And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
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“The truth is when reality is staring you in the face and you’re afraid to die, very few of us are heroic."
It’s time for another Listener’s Choice episode, this time with our friends Per Johansson and Gustav Larsed from the Filmpodden podcast in Sweden. They selected something from the home country — Ruben Östlund’s 2014 film “Force Majeure.” Join us — Pete Wright and Andy Nelson — as we take on the icy slopes to discuss this avalanche of emotion. We talk with Per and Gustav about why they picked this film and what it means to them, as well as why they’re so divided on it. We discuss our own thoughts of this film, why we like it so much, and how much tension it created in us in the third act. We chat about the performances, notably Johannes Kuhnke, Lisa Loven Kongsli and Kristofer Hivju, and what they all bring to the film. We look at the cinematography of the film and how it portrays so brilliantly — and clinically — nature and man’s battle with it. And we try to figure out several strange and pivotal moments within the film. It’s a truly fascinating character piece that seems to divide viewers quite a bit. So check out the film then tune in!
Film Sundries
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Les Arcs Ski Resort, France
- Copperhill Mountain Lodge, Sweden
Trailers of the Week * Andy’s Trailer: Trumbo — “Since I was involved in a Trumbo project in college, I’ve been fascinated by Dalton Trumbo’s career and his blacklisting. He’s an important figure in the annals of Hollywood, and Bryan Cranston looks to do him justice. I’m quite excited to see how Jay Roach of all people brings this story to the silver screen." * Pete’s Trailer: The Hateful Eight — “The controversial production from Quentin Tarantino hits teaser status. It’s a mean spirited western filled with bounty hunters and betrayal. I’m all in.”
“Yes, Christopher lived for all women, but he died for one."
Prince has always been a flamboyant and eclectic musician, and with the album and film “Purple Rain,” he found a new art form he enjoyed. And one he won an Oscar for — Best Original Song Score. With his next film, he had conflicts with the director so took over and directed it himself. Join us — Pete Wright and Andy Nelson — as we wrap up this year’s short guilty pleasure with Pete’s pick — Prince’s 1986 film “Under the Cherry Moon.” We talk about what’s in the film and why, despite its flaws, Pete still gets so much pleasure from this film. And we talk about its flaws and everything that doesn’t work in the film. We chat about the actors — Prince, Jerome Benton, Kristin Scott Thomas, Steven Berkoff, Francesca Annis and more — and look at what each of them brings to the table. We discuss the black-and-white look of the film and ponder the reasoning for it, wondering if perhaps cinematographer Michael Ballhaus may know why Prince opted to show it this way despite having filmed it in color. And we touch on the original director and what the circumstances were under which she left the film. It’s the guiltiest of guilty pleasures and Pete still loves it despite all its flaws. Regardless of what either of us thinks, we have a great conversation about it. Tune in!
Film Sundries
- Original theatrical trailer
- Original poster artwork
- Flickchart
Trailers of the Week * Andy’s Trailer: People Places Things — “Jemaine Clement. Who needs another reason to watch this movie? Not me. This looks really sweet and touching, and of course he’s hilarious." * Pete’s Trailer: Mississippi Grind — “This is just the kind of road movie that lights me up: poker, bad luck, and the open road, baby. Ryan Reynolds and Ben Mendelssohn look great together — this is one I’m going to catch."
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
- The Next Reel on iTunes
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- The Next Reel on Flickchart
- The Next Reel on Letterboxd
- Guess the Movie with The Next Reel on Instagram
- Check out the Posters with The Next Reel on Pinterest
And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
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- Check out Tom Metz on IMDB
- Justin "JJ" Jaeger
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“It’s not that I can’t help these people, it’s just that I don’t want to."
It’s time for some guilty pleasures! Yes, the two of us — Pete Wright and Andy Nelson — dig up some films that we love but are generally not considered the greatest of movies. This week, it’s Andy’s turn with his guilty pleasure — Nicholas Meyer’s 1985 Peace Corps comedy “Volunteers.” That’s right, more Tom Hanks action from Andy, proving he’s just about ready to go Annie Wilkes on ol’ Tom. In this week’s episode, we talk about what Andy loves in this movie while also looking at it through serious eyes, analyzing what in the film really is causing it to be generally considered a bad film. In this particular case, most of the burden falls on Hanks in his performance of the pompous rich boy Lawrence Bourne III. We compare that with what works well in the film, most notably John Candy in yet another hilarious turn from the 80s. We also look at the other actors in the film — Rita Wilson, Tim Thomerson, Gedde Watanabe, George Plimpton and more — and talk about what they bring to the table. We touch on comments Ken Levine, one of the writers, wrote on his 2009 blog about the scene that ruined the movie, and Andy takes the writer to task for possibly thinking too highly of his own script. And we chat about a few people behind the camera — Meyer at the helm and James Horner composing a wonderful score. It’s a fun romp, albeit problem laden, that is high on Andy’s list of fun movies to watch but not likely one Pete will be returning to, even if he did find a few things to enjoy in the movie. So check it out then tune in!
Film Sundries
- Original theatrical trailer
- Original poster artwork
- Flickchart
Trailers of the Week * Andy’s Trailer: Goosebumps — “I love that they’re stepping out of the world of R.L. Stine’s books for this and instead are making R.L. Stine a character who has to battle his ‘demons’ with a group of kids. What a fun concept! This is definitely one I’ll be seeing with my daughter come October." * Pete’s Trailer: Spectre Trailer 2 — “I’m frustrated by this trailer. It makes me think they’re slipping into Roger Moore territory and as I think you all know, Daniel Craig is no Roger Moore. Wait… switch that. There you go."
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
- The Next Reel on iTunes
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And for anyone interested in our fine bouquet of show hosts:
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“I thought you had enough of flyers?"
Howard Hawks and Cary Grant had already given the world the hilarious “Bringing Up Baby” in 1938, and lucky for us, they liked working together. They’d work on four more films together, including their very next one — “Only Angels Have Wings.” Join us — Pete Wright and Andy Nelson — as we finish our series on films from 1939 with Hawks’ and Grant’s second collaboration. We talk about how this film fared for us upon initial viewing, and how it sat with us. We chat about our love for Jean Arthur and how wonderful she is here. We talk about the rest of the cast — Grant, Richard Barthelmess, Rita Hayworth, Thomas Mitchell, Sig Ruman and more — and what they each bring to the table. We discuss the flying effects in the film and how well they work for us, paired especially with Joseph Walker’s great black-and-white cinematography. And we chat about Hawks and why we like him so much. It’s a film that ranks good, not great, on our lists, but still a film that really got us talking and thinking. It’s well worth checking out, so do so then come back here and tune in to the show!
Film Sundries * Script Transcript * Original theatrical trailer * Flickchart
Trailers of the Week * Andy’s Trailer: Secret in their Eyes — “As a parent, this looks like a brutal film to watch. But it looks damn good to. Julie Roberts looks like she’s found a strong project, which she’s needed, and Nicole Kidman and Chiwetel Ejiofor both look awesome. I can’t wait for this one.” * Pete’s Trailer: Joy — “Love the tone of this trailer from David O. Russell. Looks to be a great follow-up to American Hustle and as always, great to see J-Law in something that isn’t Hunger Games.”
“He used to be a big shot."
James Cagney was getting tired of making gangster films for Warner Bros. by the time he starred in Raoul Walsh’s 1939 film “The Roaring Twenties. After all, he really loved comedy and the song-and-dance too. But he clearly was great as a gangster. Look at him in “The Public Enemy” or “White Heat.” He carried a dark energy that really came across in those films as well as this one. Join us — Pete Wright and Andy Nelson — as we continue our series on films from 1939 with Walsh’s “The Roaring Twenties.” We talk about our general impressions of this film, one which we both watched for the first time, and how it was enjoyable but fairly middle-of-the-road. We chat about the talent involved on screen — Cagney, Humphrey Bogart, Gladys George, Priscilla Lane, Frank McHugh, Jeffrey Lynn, and Paul Kelly, to name a few — and how we felt about each of them. We get into the gangster genre and what really made these gangster films from the 30s work, comparing this one with “Little Caesar” and more to figure out if this one is better or worse than some of those that are considered more classic. And we talk about how well this film and its news reel-esque approach to the decade really give us a great perspective on what was going on then and how it created this environment for criminal behavior. It’s a good film, maybe not something we’d rewatch day in and day out but one worth watching at least once, and we have a great time talking about it on this week’s show. Tune in!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Flickchart
Trailers of the Week * Andy’s Trailer: Into the Badlands — “Okay, so it’s a trailer for a TV show, but DAMN. Looks like a pretty kick-ass TV show to me. Post apocalyptic. Martial arts. A new feudal society. A mysterious kid in a box. I don’t really know what the show’s about, but damn if I don’t want to start watching it right now.” * Pete’s Trailer: Suicide Squad — “I like David Ayer. I think he’s a pretty darned good action director and now that I’ve seen the trailer for this film and the characters they’re introducing, I think they might just be onto something. This might just turn into a cool DC Universe after all."
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
- The Next Reel on iTunes
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- The Next Reel on Twitter
- The Next Reel on Flickchart
- The Next Reel on Letterboxd
- Guess the Movie with The Next Reel on Instagram
- Check out the Posters with The Next Reel on Pinterest
And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
- Follow Pete Wright on Twitter
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- Check out Tom Metz on IMDB
- Justin "JJ" Jaeger
- Chadd Stoops
- Follow Steven Smart on Letterboxd
“You’re not a Senator, you’re an honorary stooge."
It’s rare to find a film from 75 years ago that feels relevant still in today’s world, but Frank Capra’s 1939 “Mr. Smith Goes to Washington” is one of those films. Corruption in the Senate? Check. Corporate interests secretly working their own machinations behind the scenes to get their political puppets to do their bidding? Check. Cynical office staff who are only interested in making a buck? Check. Sad to say that the only thing that doesn’t feel modern is that a politician like James Stewart’s titular character could actually exist. Or at least survive in today’s political world. Join us — Pete Wright and Andy Nelson — as we continue with our great films from 1939 series with Capra’s fantastic film “Mr. Smith Goes to Washington.” We talk about how much we love this film and why, highlighting everything aforementioned. We chat about Stewart and Jean Arthur as the perfect leads for this film, aided by the wonderful supporting cast including Edward Arnold, Harry Carey, Claude Rains, Thomas Mitchell and more. We discuss how the Washington, D.C. press and the real Senators received the film compared with the general public. And we discuss the people behind the cameras with Capra and what they bring to the table — Joseph Walker, Lionel Banks, Dimitri Tiomkin, Sidney Buchman, Lewis R. Foster and more. It’s a top notch film that still speaks to its audiences, all while avoiding being cheesy while full of honesty. We love it. Make sure you watch this one and then tune in!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
Trailers of the Week * Andy’s Trailer: The Finest Hours — “It looks like thrilling but safe true story Disney fare, but everything about it draws me in. The disaster at sea. Chris Pine. Casey Affleck. Even Abraham Benrubi. Even though it’s a January release, count me in!" * Pete’s Trailer: Creed — “This may just be the sequel to Rocky that we need. I’m a fan of Ryan Cooler. I’m a fan of Michael B. Jordan. I’m a fan of Rocky. In the words of General George Armstrong Custer, what could possibly go wrong?"
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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"I should hate to see our country endangered by my underwear." Taking a completely different turn from last week's Civil War epic, "Ninotchka" is a very light comedy by Ernst Lubitch dealing with Russians in their post-Revolution society. Join us - Pete Wright and Andy Nelson - as we continue our film about the great films of 1939 with Lubitch's "Ninotchka." We talk about the wonderfully funny script by Charles Brackett, Billy Wilder and Walter Reisch based on the original story by Melchior Lengyel, and look at why the comedy works so well in a film like this. We chat about Greta Garbo as the titular character and how wonderful she is, and we look at the rest of the brilliant cast - Melvyn Douglas, Ina Claire, Bela Lugosi, Sig Ruman, Felis Bressart, Alexander Granach and others - as we discuss what they bring to the table. We also touch on Garbo and her retirement from the business. And we chat about Lubitsch and his "Lubitsch Touch" and what that means in context of this film. It's a fun film that's very easy to watch. Check it out then tune in!
Film Sundries * Script * Original theatrical trailer * Original poster artwork * Flickchart * The WETA Effect
“Frankly, my dear, I don’t give a damn."
Considering the racially-charged climate of the US right now, it’s oddly perfect timing that we’re starting our 1939 series with “Gone With The Wind,” a film as technically brilliant to look at as it is hard to watch because of it’s portrayal of slavery and the ‘lost cause’ Southern view of the Civil War. It certainly gives us a lot to talk about in this episode! Join us — Pete Wright and Andy Nelson — as we dive into Victor Fleming’s “Gone With The Wind.” We talk at length about the position of the film in cinematic history and how that contrasts with what it’s portraying and how we feel about that, noting that perhaps this film is one that should be considered in the same camp as ‘Song of the South.’ And we look at what problems we have with the story and why it makes us feel uncomfortable, even if the story itself can be enjoyed when taken out of historical context. Focusing more on the film itself, we look at the actors — Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, Thomas Mitchell, Hattie McDaniel and more — how they got their parts and how well they work for us. We look at lots of bit players and talk about where they’ve since popped up. We talk about the context of 1939 and how the studio system worked. We talk about the three directors who contributed to this film — George Cukor, Victor Fleming and Sam Wood — as well as the producing kingpin who really is the one responsible for getting this film made the way he wanted: David O. Selznick. We chat about other key crew who helped bring this film to life, including Max Steiner, Yakima Canutt, William Cameron Menzies and Walter Plunkett. And we marvel at how much money this film has taken in over its lifetime and deliberate over whether it should still be able to make money or if it should be locked away now due to its painful portrayal of the period. It’s a long film but a film well worth discussing because of these factors. Tune in!
Film Sundries
- Screenplay
- Original theatrical trailer
- Original poster artwork
- Gone With The Wind by Margaret Mitchell
- Flickchart
- HuffPost Politics Blog: Yes, You’re a Racist — and a Traitor
Trailers of the Week * Andy’s Trailer: Sicario — “Denis Villeneuve wowed me with ‘Prisoners’ and ‘Incendies.’ This story along the US/Mexico border looks like he’s back with another strong film and I’m quite excited to see it. Plus Emily Blunt kicking butt again." * Pete’s Trailer: Dragon Blade — “This is a mystery to me: Jackie Chan with Adrien Brody and John Cusack? Apparently it’s doing well in China, so I’ll probably give it a shot, but it’s tonally confusing to my eye and Brody as the Big Bad? I don’t buy it."
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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“Time for a change."
James Wong Howe shot color films very well, but it was his black-and-white cinematography that he was really known for. He won two Oscars for his B&W cinematography and played with many techniques that influenced filmmakers and cinematographers long after he was gone. The camera work on John Frankenheimer’s 1966 film “Seconds” is no exception. It fits the tone of the film perfectly, creating a sense of unease and discomfort quite often. Join us — Pete Wright and Andy Nelson — as we finish our B&W cinematography of James Wong Howe with Frankenheimer’s “Seconds.” We talk about the camerawork (paired with the editing) and how it works — or doesn’t work — for us in this thriller. We chat about the talent, notably Rock Hudson, John Randolph, Salome Jens, Will Geer, Murray Hamilton and Jeff Corey, and what they bring to the table. We discuss what works and what doesn’t work for us in this unique sci-fi story. And we touch on Jerry Goldsmith’s music and how much we love — or hate — it in this film. It’s a bit of a divisive conversation this week, but a very fun one. Tune in!
Film Sundries
- Dialog Transcript
- Original theatrical trailer
- Original poster artwork
- Art of the Title
- Seconds — by David Ely
- Flickchart
Trailers of the Week * Andy’s Trailer: The Stanford Prison Experiment — “Having discussed Zimbardo’s experiment in our documentary ’The Joe Show,’ I was super excited to see the trailer for this film. The experiment is a frightening piece of American history and of the history of the psychology field, and it looks like they captured this very well. I can’t wait." * Pete’s Trailer: Extinction — “Well, it’s a zombie flick so I pretty much have to pick it. But Matthew Fox I like, and Jeffrey Donovan we know from Burn Notice. I’ll give those guys a shot in an arctic apocalypse, sure."
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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“Match me, Sidney."
James Wong Howe had just won his Oscar for his black-and-white cinematography for “The Rose Tattoo” when the star of the film, Burt Lancaster, hired him to shoot his next picture, “Sweet Smell of Success.” Howe and director Alexander Mackendrick knew right away that to tell this story properly, they really needed to film on the streets of New York City at night. So they did, and in the process created a stunningly gorgeous and dark film noir that feels like it truly lives in the city, not on some Hollywood soundstage. Join us — Pete Wright and Andy Nelson — as we continue our Black-and-White Cinematography of James Wong Howe series with Mackendrick’s wonderful 1956 film, “Sweet Smell of Success.” We talk about the chiaroscuro look that Howe captured in this film, and also look at the deep focus and camera movement and how it all helps tell the story. We chat about Ernest Lehman and Clifford Odets, the writers, looking at what they each contributed to the wickedly brilliant dialogue. We discuss the cast — notably Lancaster, Tony Curtis, Susan Harrison, Marty Milner, Barbara Nichols and Emile Meyer — and what they bring to the table. We touch on Walter Winchell, the figure on whom Lancaster’s character was based. And we talk about how the film was received at the time — poorly — as well as how opinion of it changed over time. It’s a film that feels biting and dangerous, and it’s one we enjoy quite a bit. Tune in!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Sweet Smell of Success & Other Stories — Ernest Lehman
- Flickchart
Trailers of the Week * Andy’s Trailer: Bridge of Spies — “Okay, so it’s Tom Hanks. And Spielberg. It should be obvious why I picked this one. But it’s also about a piece of history I didn’t know about, so I find myself quite intrigued." * Pete’s Trailer: The Martian — “DAMON IN SPAAAAACE! I’m right in the middle of the book that spawned this movie and the trailer so far is doing great justice to the tone and spirit of the material. Very much looking forward to it!"
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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“Where’s the REST of me?!?!"
“Kings Row” was adapted from a much racier novel from 1940 and had to be sanitized quite a bit because of the Hays Code. They had to leave some pretty big elements out — homosexuality, mercy killings, incest, nymphomania — but even with that, the film still is very dark because of the issues it does deal with. Join us — Pete Wright and Andy Nelson — as we continue our Black and White Cinematography of James Wong Howe series with Sam Wood’s 1942 film “Kings Row.” We talk about the adaptation and what had to change in order for the producers to be given the green light, but what those changes meant for the film and how the added subtext really aids the film through today’s eyes. We chat about the cast — Robert Cummings, Ann Sheridan, Claude Rains and Ronald Reagan in particular — and what each of them bring to the table (notably Reagan in what many call his best performance). We talk about Howe’s great cinematography and what he adds to this dark story with a midwestern gothic style of shooting, giving this seemingly idyllic town at the turn of the last century a touch of noir. And we talk about Wood and his body of work, noting what we’d seen of his without realizing they were his films. It’s a film that really took us both by surprise but one that worked well for us, particularly as a film from the 40s. Tune in!
Film Sundries
- Original theatrical trailer
- Original poster artwork
- King’s Row — Henry Bellamann
- Flickchart
- Star Wars & Kings Row Score Thematic Comparison
Trailers of the Week * Andy’s Trailer: Everest — “Not an IMAX documentary but it sure feels like one. I’m quite impressed by everything about this trailer — the cast in particular." * Pete’s Trailer: American Ultra — “This may not be the follow up to the Bourne films that we wanted, but it’s the follow up to the Bourne films that we needed… that we deserve."
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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James Wong Howe is often cited as one of the most influential cinematographers there have been. He worked in film from the early days of the silents to the mid-70s when he received his last Oscar nomination for his color work on “Funny Lady.” But his black-and-white cinematography is what he’s primarily known for. Join us — Pete Wright and Andy Nelson — as we start up our Black and White Cinematography of James Wong Howe series with W.S. Van Dyke’s 1934 film “The Thin Man.” We talk about the joy of watching this film, and how it really doesn’t come from the mystery so much as the fantastic relationship between Nick and Norah Charles, probably the most famous sleuthing pair to ever grace the silver screen. We talk about Howe and what he brought to the table in this studio production. We chat about William Powell and Myrna Loy and how their chemistry on and off the screen is some of the best, which must be why they starred in 14 films together. We chat about the rest of the cast as well as Van Dyke and his directing style. And we discuss why a film like this works even if its story isn’t that interesting. It’s a fun film to start our new series and we have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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In case you haven’t heard, everybody seems to be talking about “Mad Max: Fury Road.” Whether they’re talking about the silly fan theories about who Tom Hardy really is playing in this film, or the ‘meninist’ groups telling people to avoid it because of its feminist agenda, or everyone else talking about the amazing action film that George Miller gave us, it certainly seems to be on people’s minds. Join us — Pete Wright and Andy Nelson — as we finish up our Mad Max series with Miller’s latest entry, and our favorite, “Mad Max: Fury Road.” Andy gets to brag about seeing it in D-Box, while both discuss how the 3D worked overall. We talk about the world building that Miller does in this film and why it works so well. We chat about Charlize Theron as Imperator Furiosa and Tom Hardy as Max, discussing what works — and may not work — in their roles. We discuss some of the people behind the scenes and what they bring to the table — John Seale the DP, production designer Colin Gibson, Guy Norris the action unit director and supervising stunt coordinator and Margaret Sixel, the editor. And we stew on how this fits into the storyline with the first three films. It’s a fantastic action film, likely one that will be oft repeated, and we have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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While the first two Mad Max films had so much going for them, it sure seemed like a stumble with the third of the trilogy. But that’s looking at it through today’s eyes because some critics like Roger Ebert sure loved it — he put it on his ’10 Best’ list of 1985! Okay, so George Miller had lost his producing partner, Byron Kennedy, and let George Ogilvie co-direct it with him. Maybe that’s why “Mad Max Beyond Thunderdome” seems to be a bit of a stumble. Maybe it was the American financing that made it feel less gritty and more… Hollywood. Whatever it was, it’s definitely the lesser of the three films. Join us — Pete Wright and Andy Nelson — as we go beyond Thunderdome with Mel Gibson and Tina Turner, continuing our Mad Max series with Miller’s 1985 film. We talk about all of the problems it has, and how Andy still finds it a guilty pleasure while Pete downright hates it. We talk about the great concepts Miller and co-writer Terry Hayes had in putting this story together, but how poorly executed they were — every one of them. We chat about the joy of working with 400 pigs on set and what they had to do to make that work. We discuss the car chase — way too late in the movie for our tastes — and how it works in comparison with those we’ve seen come before. And we deliberate on where we think “Fury Road” will fit chronologically with these first three films. It’s a very problematic film on which we find ourselves split, but it’s a very fun film to talk about. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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With the international popularity of “Mad Max,” George Miller was excited to get back into the driver’s seat and continue with his hero as he wandered the dystopian wastes of Australia looking for fuel. It was a smart move as “Mad Max 2,” or “The Road Warrior” as it was released in the States, not only did well at the box office but helped build the cult following of this franchise. Join us — Pete Wright and Andy Nelson — as we continue our Mad Max series with 1981’s “Mad Max 2: The Road Warrior.” We talk about the fundamental differences in the types of story between the first and second film, and how Pete gravitates toward the familial connections in the former while Andy gravitates toward the redemption in the latter. We chat about the great cast — Bruce Spence, Michael Preston, Max Phipps, Vernon Wells, Kjell Nilsson, Virginia Hey and of course Mel Gibson — and how they fit in mess of a future. We talk stunts and car chases — of course — and how Miller really stepped it up for this film, culminating in a 13-minute tanker chase at the end. And we look at the costume design and how it’s evolved from the first film to this. We love the film, despite our differences about which is better, and have a great talk about it this week. Tune in!
“They say people don’t believe in heroes anymore. Well, damn them! You and me, Max, we’re going to give them back their heroes!"
George Miller’s film “Mad Max” came out in 1979 in Australia and became a huge success, going on to become the most profitable film ever until it was unseated from its throne by one Blair Witch. It went on to spur two sequels and, soon, a fourth. Join us — Pete Wright and Andy Nelson — as we gear up for one of our most anticipated movies this summer by kicking off our Mad Max series with the start of it all — “Mad Max.“ Join us as we talk about why we love this film so much and how much Miller gets out of this dystopian world he’s created, despite his limited funds. We discuss the nature of this world and where it falls as far as post-acopalytic versus a near future that’s just messed up. We chat about Mel Gibson in one of his first starring roles and what he brings to the table, along with the other actors (including Hugh Keays-Byrne as Toecutter, who will be turning up on ”Fury Road" as well). We go into the amazing stunt work at length, really digging into some of the wild things they did while marveling that so few people got seriously hurt. And we look at the cinematography, art direction, costume design and composing and how each element really worked perfectly to bring this world to life. It’s a fantastic film and we’re both big fans. Tune in!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Not Quite Hollywood: The Wild, Wonderful, Untold Story of “Ozploitation” Films
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Orson Welles never was one who could direct in the Hollywood studio system without a hitch, and his last studio picture he directed, 1958’s “Touch of Evil,” stands testament to that fact. While the shoot itself went well, the film ran into its issues in post, leaving a truncated version that Welles wasn’t a part of (nor happy with) released on the bottom of a double bill. Luckily, through the plucky determination of producer Rick Schmidlin and editor Walter Murch, an extended version of the film, largely re-edited to Welles’ own notes to the studio, was cut together and released in ’98. The two iterations are night and day, and the film now stands as not only one of the great films noirs but also as one of Welles’ finest cinematic achievements. Join us — Pete Wright and Andy Nelson — as we finish our film noir series with this magnificent, and dark, film. We talk about the problems Welles had with the post on this film and what some of the changes he wanted were, along with how they worked in the extended edition. We ruminate on the idea of Charlton Heston playing a Mexican, but pass that off as an unfortunate sign of the time and a decision needed in order to get the picture off the ground. We also talk about Janet Leigh, Joseph Calleia, Akim Tamiroff, Dennis Weaver, Marlene Dietrich, Joseph Cotten and more. And we spend a while discussing the brilliant camerawork Welles put together with his DP, Russell Metty, along with Welles’ sense of storytelling with a camera and how he was able to create amazing dances between the camera and the actors. It’s a brilliant film — one of our favorites — so go check it out then tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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“Bad news sells best, because good news is no news."
From “Double Indemnity” in 1944 through “The Apartment” in 1960 (maybe even “One, Two, Three” in ’61), Billy Wilder really hit his stride. His films were all over the map genre-wise, yet he showed how great a director he was because they’re all incredibly memorable. With his successes, however, he certainly didn’t shy away from making dark pictures from time to time, and “Ace in the Hole” is arguably his darkest. Released in 1951, it came out a time when neither the public nor the critics were ready for something like it and it flopped. Hard. But with time, it’s found a new audience and has been canonized as one of his greatest achievements. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with “Ace in the Hole.” We dig deep into our personal opinions about how well the film works — Andy loves is while Pete had problems with it. We delve into what the story is trying to say and debate about how well it’s actually doing what it sets out to do. We chat about the cast — Kirk Douglas, Jan Sterling, Robert Arthur, Porter Hall and more — and look at what they bring to the table. We talk about Wilder and his directing here, along with Charles Lang’s cinematography and Hugo Friedhofer’s brilliant score. And we debate over the placement of the film on our Flickchart, wondering if the rock/paper/scissors battles will ever work better in Pete’s favor. It’s a great week talking about a divisive film. Tune in!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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“You’re like a leaf that the wind blows from one gutter to another."
The two films most often cited as the ultimate representations of film noir are Billy Wilder’s 1944 film “Double Indemnity” and Jacques Tourneur’s 1947 film “Out of the Past.” Tourneur’s film gives us Robert Mitchum at his laconic best, Jane Greer at her sexiest and Kirk Douglas in one of his earliest roles but already defined by his machismo. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir seåries with “Out of the Past.” We talk about what we love about it and how well it represents film noir, as well as the convoluted plot which certainly seems to get more complicated as it progresses. We look at that plot and question how much it affects the viewing of the film or if the noirish nature of the story allows for one to look past the plot and just focus on the mood. We chat about the talent, like Mitchum, Greer and Douglas as well as others, and what they bring to the table with each of their well-written characters. We discuss the crew, including Tourneur, and how their work helps shape this film. And we pine for the 1987 SNL skit with Mitchum and Greer in which they did a spoof of this classic called ‘Out of Gas.’ It’s a brilliant film noir and just a brilliant film — one of our favorites. We have a great time talking about it. Tune in!
Film Sundries
- Original theatrical trailer
- Original poster artwork
- Build My Gallows High — by Daniel Mainwaring as Geoffrey Homes
- Flickchart
- The Next Reel Richard Dysart Series
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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“I’ve wanted to laugh in your face ever since I first met you. You’re old and ugly and I’m sick of you! Sick! Sick! Sick!"
Fritz Lang may have often had conflicts with his producers, but when he turned out a great film, he made so great that it’s easy to look past his argumentative nature and just focus on the end product. Well, perhaps more so now than at the time. Sure, he had his stinkers, but looking at a magnificent film like “Scarlet Street,” it’s easy to forgive any battles he started and just relish the brilliance of the story. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Lang’s 1945 masterpiece, “Scarlet Street.” We delve into the murky depths of the theme of the story — is it one more of guilt or one more of jealousy? We wallow in the emasculated character of Christopher Cross, played by Edward G. Robinson, and his nemeses Kitty and Johnny, played by Joan Bennett and Dan Duryea. We dig in the shadows of Fritz Lang’s history and the cinematic tools he uses to tell his story here along with his cinematographer, his editor, and his composer. And we lose ourselves in the haunting paintings of John Decker, wondering if he really lacks perspective just like Cross does. It’s a fabulous film and a very strong representation of film noir. Definitely check this one out — there’s a gorgeous print of it out there which makes the film look brand new — then tune in to the show!
Film Sundries
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- La Chienne — Jean Renoir
- Flickchart
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“That’s life. Whichever way you turn, fate sticks out a foot to trip you."
There are good films noir and there are bad films noir. But rarely do you have a case like 1945’s “Detour,” directed by Edgar G. Ulmer, where the poor quality that would make it a bad film could actually be construed as elements that make it a good film. In fact, this is arguably the only case where that happened. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Ulmer’s “Detour.” We talk about the origins of the film on poverty row and what that meant at the time, as well as talk about some of the films that Ulmer made under this umbrella. We really dig into the quality — or lack thereof — of this film and debate if it really helps lend to the noir aesthetic or if it just makes it reek of a cheap film. We deliberate over the quality of the performances provided by Tom Neal and Ann Savage and decide we love her but are split on Neal. And we look at it in context of the world of noir, touching on the femme fatale, the poor sap of a hero, the black and white cinematography, the tone, etc. It’s a film that, if viewed without any look into the history or without a conversation about it, likely could be seen as just a bad film, but when really digging into it, there’s something more to it and it certainly is worth talking about. So check it out and tune in!
Film Sundries
- Original theatrical trailer
- Original poster artwork
- Detour — Martin Goldsmith
- Flickchart
- Who the Devil Made It? — Peter Bogdanovich (great interview with Edgar G. Ulmer
- The Ebert Review
Nobody knew they were making films noir when the genre started in the 40s — it wasn’t until much later when the French dubbed this new run of American films that had a darker bent with snappy dialogue, lots of shadows and femme fatales film noir. Billy Wilder was setting out to make a crime thriller; he didn’t realize at the time that his film “Double Indemnity” would be considered the first real film noir. Join us — Pete Wright and Andy Nelson — as we begin our Film Noir series with Wilder’s brilliant film from 1944. We talk about the genre and what it means to be called a ‘film noir,’ particularly in relationship to the Hays Code. We chat about the brilliant trio of actors who bring this film to life — Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. We look at the brilliant directing by Wilder and his co-writing with none other than Raymond Chandler. We investigate the dark and shadowy lighting by cinematographer John F. Seitz as well as the moody, driving score by Miklos Rozsa. And we touch on the real life crime that inspired James M. Cain to write the novella upon which this was based. It’s one of our favorite films and certainly the perfect way to kick off this series. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Biopics come in a variety of shapes and sizes. Olivier Dahan’s film “La Vie en Rose” detailing the life of Edith Piaf, one of France’s greatest singers and international stars, is a whirlwind of a film. Unlike biopics that tell the story linearly, this one wraps its audience in and proceeds to take them on a wild ride all through Piaf’s sadly short life, not so much focused on chronology as much as an emotional journey. It’s a brazen way to tell the story but one that mostly works. Join us — Pete Wright and Andy Nelson — as we conclude our 4-part Guess the Connection series with Dahan’s 2007 Oscar-winning film “La Vie en Rose.” We talk about Marion Cotillard’s performance, which drives this film and is, in our minds, the reason to watch it. We touch on the other performers, notably Gerard Depardieu and Emmanuelle Seigner, but how all of them are truly dwarfed by Cotillard’s performance. We discuss the nature of biopics and how this story structure works in the world of this subgenre, then debate which type of biopic we find more successful. We chat about the cinematography by Tetsuo Nagata and how great it looks, along with several specific scenes that unfold in very creative ways. And we talk about Piaf’s songs and Christopher Gunning’s score, looking at the balance between the two and how the film doesn’t feel the need to overwhelm us with every Piaf song out there. It’s a strong story because of Piaf’s life and Cotillard’s performance and we have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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- The Next Reel on Letterboxd
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And for anyone interested in our fine bouquet of show hosts:
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1997 was a big year for movies, and perhaps that’s because one of the biggest box office sensations — James Cameron’s “Titanic” — was released that year. And while it went on to make a gajillion dollars (okay, just $2.2 billion worldwide), many argue that it’s not actually the best movie of the year, but instead give that title to Curtis Hanson’s crime thriller “L.A. Confidential.” Join us — Pete Wright and Andy Nelson — as we continue our Guess the Connection series with this fantastic film. We talk about the nature of the story as a crime thriller and as, possibly, a neo-noir, and look into what the genre implications mean for what the film should have been working to achieve in its look. We discuss the look, as well as the editing, the score, the production design, and of course the writing and directing, and what all the individuals bring to the table. We dig into the actors — primarily Guy Pearce, Russell Crowe, Kevin Spacey, James Cromwell and Kim Basinger — and chat about their individual performances. And we go back to the original source material by James Ellroy and compare it with Brian Helgeland’s wonderful script, looking at how he (and Hanson) honed it down to focus it and make the screenplay and movie their own take on the take, equal in power to the novel. It’s a wonderful film that stands high in our estimation. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Next up in our Guess the Connection series: Clint Eastwood’s 2004 boxing drama “Million Dollar Baby."
For those of you who have yet to see “Million Dollar Baby,” you probably should just stop reading this and go watch the movie. Even though the movie is nearly 11 years old now, it’s still hard to talk about without going into detail about the change in story direction in the third act. That was a divisive problem at the time of the movie’s release, and while it shouldn’t be a problem now, it feels like it is. But we jump into all kinds of spoilers in our show this week. Join us — Pete Wright and Andy Nelson — as we continue our mysterious Guess the Connection series with Eastwood’s 2004 film “Million Dollar Baby.” First off, it’s not a boxing movie like “Rocky” is a boxing movie, and we talk at length about that, really looking at the direction this screenplay takes you. This is a boxing drama — a story about characters who happen to inhabit the world of boxing. We chat about the ninja-level script by Paul Haggis based on F.X. Toole’s book and how it works outside of the confines of the standard structure expected in Hollywood screenplays. We discuss the brilliant performances all the way through from Eastwood to Hilary Swank and Morgan Freeman, as well as the supporting players like Jay Baruchel, Anthony Mackie and Margo Martingale. It’s a powerful film that hits its mark every time, so watch the movie then tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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- The Next Reel on Letterboxd
- Guess the Movie with The Next Reel on Instagram
- Check out the Posters with The Next Reel on Pinterest
And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
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It’s game time, folks! This current series consists of four films that for all intents and purposes are not related, except for one connection they all have. And that’s the game — guess the connection. We won’t be announcing the films ahead of time — you’ll have to wait until they’re released to see what the films are. And when the podcast about the fourth film in our series is released on Friday, March 13th, the first person to post the correct connection on Facebook or Twitter will win a Next Reel T-shirt! Think you’ve got what it takes? Then tune in for clues and play along! First up, “Syriana."
After Stephen Gaghan wrote “Traffic” for Steven Soderbergh, Soderbergh introduced him to Robert Baer’s book “See No Evil,” and Gaghan knew the next complex multi-story film he wanted to write. After years of researching around the world, he brought “Syriana” to the world and, while well received, both critics and audiences alike found it very complicated and confusing. Join us — Pete Wright and Andy Nelson — as we begin our Mystery series with Gaghan’s 2005 film “Syriana.” We talk about why Andy likes it so much — loves it in fact — and what he gets out of it, as well as why Pete finds it to be 20 minutes of a brilliant ending preceded by tedium. We chat about the countless famous faces gracing the screen in this film and how they each do, particularly Matt Damon, George Clooney, Jeffrey Wright and Alexander Siddig. We discuss the roles each of them play and how their stories connect, as well as the fascinating element of fathers and sons in the story. We discuss the politics within the film as well as the terrorism and the corporate greed. And we cover some of the technical elements, like the editing, the camera work and the score. It’s a film that even we find divisive but one that is definitely saying something. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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- Guess the Movie with The Next Reel on Instagram
- Check out the Posters with The Next Reel on Pinterest
And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
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We love doing our Listener’s Choice episodes — it’s a great way for our listeners to get us to finally talk about movies about which conversations are long overdue. Cameron Ryan, our 2014 Pony Prize winner, got to pick the movie this time, and ended up picking the fantastic black comedy “Delicatessen,” a movie that we both love but for whatever reason just hadn’t gotten around to discussing yet. So now finally, join us — Pete Wright and Andy Nelson — as we enjoy another Listener’s Choice episode with one of our faves, the Jean-Pierre Jeunet & Marc Caro 1991 film “Delicatessen.” We talk with Cameron about why she chose this film and what it means to her, as well as the joy of winning the Pony Prize. We discuss the look of the movie — Jeunet and Caro each come from graphical backgrounds and, when paired with Darius Khondji’s beautiful cinematography, as well as the amazing production and costume design, created an unforgettable post-apocalyptic world. We chat about the indelible performances, starting with Dominique Pinon, a perfect choice for someone who was a former circus performer. And we talk about the nature of the story, a very upside down world with hell on earth and underground saviors. It’s a marvelous film that deserves to be talked about, so tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
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Neil Simon saw Alec Guinness reading the script for “Star Wars” on the set of “Murder By Death,” and very soon after that, Guinness would be known as Obi Wan Kenobi to the world. But there is so much more to Guinness before that series of films, and in this particular series, so much humor. Join us — Pete Wright and Andy Nelson — as we close out our Sir Alec Guinness series with Robert Moore’s 1976 film “Murder By Death.” We talk about Neil Simon’s comedy writing here, how it worked for us now, and, for Pete, how it’s changed since he first saw it when he was young — the story definitely has aged. We chat about Guinness’s performance as Jamesir Bensonmum, the blind butler, and how much we love what he brings to the table here. We discuss the other actors — the detectives played by Peter Falk, Peter Sellers, James Coco, David Niven, Elsa Lanchester; their seconds including Maggie Smith, Eileen Brennan and a very young James Cromwell; and in a surprising turn, Truman Capote as the mysterious host. We touch on Dave Grusin and what he brings to the table as the composer. And we can’t help but compare the movie to “Clue,” the one that we both hold in our hearts as a guilty pleasure. It’s a light and inconsequential film to talk about, despite its story problems. It’s worth a watch. Then tune in once you have!
Alec Guinness's Professor Marcus really meets his match with Katie Johnson's Mrs. Wilberforce in Alexander Mackendrick's 1955 Ealing Studios comedy "The Ladykillers," what some call the last great comedy from the studio. Where he plots and schemes to rob a bank truck, she makes tea and makes sure her guests act like gentlemen -- even when those men are thieves. It's a great premise for this film, and one that makes at least half of us on the show laugh. Join us -- Pete Wright and Andy Nelson -- as we continue our Sir Alec Guinness series with "The Ladykillers." We talk about why it worked so well for Andy and why it didn't for Pete, looking at everything from the characters to the situations to the overall story. We chat about the performances from the actors playing the five criminals -- Guinness, Peter Sellers, Herbert Lom, Cecil Parker and Danny Green -- as well as the very well mannered Mrs. Wilberforce played by the brilliant Johnson. We discuss the look of the film and the cinematography by Otto Heller, the great score by Tristram Cary and the Oscar-nominated writing by William Rose. We touch on the Coen remake and Tom Hanks playing the Guinness role. And we chat about how great Guinness really is in this film and how we're thrilled to be doing a series on him right now. So check it out -- let us know what you think about the movie. Love it? Hate it? We want to know!
Ealing Studios comedies, particularly the ones we’ve been talking about, have all had a bit of an anti-establishment feel to them but “The Man in the White Suit” feels like they were trying to something a bit more with it. The film is fascinating satirical comedy looking at the relationship between the factory owners and the union laborers in England back in the 50s that doesn’t just focus on their differences but also finds a way to bring the two groups together. The reason for their coming together is, of course, the titular character, played wonderfully by Sir Alec Guinness. Join us — Pete Wright and Andy Nelson — as we talk about this great Alexander Mackendrick film from 1951 as the next in our Guinness series. We talk about why we find this film so fascinating, and how this film is really the foundation for our podcast. We chat about Guinness and the way he plays his character, as well as many of the other wonderful actors who do so well here, namely Joan Greenwood, Cecil Parker and Michael Gough. We discuss the wonderful cinematography by Douglas Slocombe, working with more shadows than we’ve seen before, as well as Mackendrick and what he brings to the table. And we chat about some of the effects, from the luminescent suit to the stunt of Guinness scaling the side of the house to escape. It’s a brilliant film, one which we both love, and one which more people should really see. So check it out then tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
- The Next Reel on iTunes
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- The Next Reel on Flickchart
- The Next Reel on Letterboxd
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- Check out the Posters with The Next Reel on Pinterest
And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
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Sir Alec Guinness had already proven both his comedic and dramatic prowess by the time he came to Ealing Studios’ “The Lavender Hill Mob” in 1951, a point in his career when he was making two films a year. He’d continue working in both comedy and drama throughout his career, but we’re lucky to still be talking about his comedies because “The Lavender Hill Mob” is an absolute delight. Join us — Pete Wright and Andy Nelson — as we continue our Sir Alec Guinness series with a conversation about his seventh film, directed by Charles Crichton. We talk about the comedy in this film and why it still works so well six and a half decades later. We chat about Crichton and his wonderful directing, and compare this film with his last film, 1988’s “A Fish Called Wanda,” which he directed and co-wrote. We discuss Guinness and the other actors making up the titular mob — Stanley Holloway, Sidney James and Alfie Bass — and look at what they each brought to the table. We chat about our favorite moments of the film and why, even with its problems, it’s still an utterly enjoyable caper film. And we point out several familiar faces that you may miss scattered throughout the film — see if you can catch them! It’s an absolute delight of a crime caper film, one which we have a great time talking about. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
- The Next Reel on iTunes
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- The Next Reel on Letterboxd
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And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
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Sir Alec Guinness may always be remembered as Obi Wan Kenobi, but his career goes far beyond those three little science fiction films he did late in his career. He worked many times with David Lean. He gave life to the spy George Smiley long before Gary Oldman. And he starred in a number of the great Ealing comedies, his first of which is “Kind Hearts and Coronets,” where he pulls a Peter Sellers by playing 8 of the characters in the film. Join us — Pete Wright and Andy Nelson — as we begin our Sir Alec Guinness series by talking about Robert Hamer’s 1949 comedy “Kind Hearts and Coronets.” We talk about the comedy in this film, and how clever it is to write a script in which the audience roots for the protagonist even though he’s planning on committing a number of murders. We discuss the brilliant performances, from Dennis Price and Valerie Hobson to Joan Greenwood and, of course, Guinness. Not to mention a memorable turn from Miles Malleson. We chat about the cinematography by Douglas Slocombe, who we last discussed way back at the beginning of our run with the Indiana Jones series. And we talk about a recent script on the 2014 Black List, “Rothchild,” written by John Patton Ford, that takes this story and updates it. We even bring Ford on to discuss it with us. It’s a great way to kick off our Guinness series and we have a great conversation about this brilliantly funny film. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
- The Next Reel on iTunes
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- The Next Reel on Letterboxd
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- Check out the Posters with The Next Reel on Pinterest
And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
- Follow Pete Wright on Twitter
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- Check out Tom Metz on IMDB
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The end of 2014, the beginning of 2015. Happy New Year, everybody! And what a better way to celebrate than with Ronald Neame’s 1972 disaster classic “The Poseidon Adventure.” Join us — Pete Wright and Andy Nelson — as we enjoy the holiday with a wonderful conversation about this infamous ship. We talk about the nature of disaster movies from the 70s and producer Irwin Allen — the Master of Disaster — and how this genre turned into quite a thing for him. We discuss the ideas within the film, notably the religious elements, and look at what the film might be trying to say about those elements. We walk through each of the cast members — Gene Hackman, Shelley Winters, Ernest Borgnine, Red Buttons, Roddy McDowall, Jack Albertson, and more — and chat about what they each bring to the table. We discuss the amazing production design and the process they went through for flipping the set. We touch on director Neame and look at his history and what he initially thought when brought on to direct this film. And we examine the numbers for this film, looking at how well it did and why it set up the disaster genre for big successes in the 70s. It’s a fun film to end one year and begin the next, and we have a great conversation about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
- The Next Reel on iTunes
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- The Next Reel on Flickchart
- The Next Reel on Letterboxd
- Guess the Movie with The Next Reel on Instagram
- Check out the Posters with The Next Reel on Pinterest
And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
- Follow Pete Wright on Twitter
- Follow Steve Sarmento on Twitter
- Check out Tom Metz on IMDB
- Follow Mike Evans on Twitter
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- Follow Steven Smart on Letterboxd
Happy holidays! It’s time for another Christmas movie pick to celebrate, and we’re jumping back to 1947 to talk about Henry Koster’s “The Bishop’s Wife.” Join us — Pete Wright and Andy Nelson — as we dive into this perennial classic starring Cary Grant, Loretta Young and David Niven. We talk about how the film works for us and compare that with what we were expecting, considering neither of us had seen this film before. We chat about the brilliant Niven, the casual and awesome Grant, and the loving Young playing the titular character. We spend some time deliberating on the title itself, and express some confusion about why it’s called what it’s called and how that affected our opinions and expectations of this character. We chat about the release strategy of the movie and how they increased profits by changing its title. And we look at in context of it being a Christmas movie and where it stands for us. It’s a delightful holiday film that has some great light comedy paired with a more serious tone, and we have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
- The Next Reel on iTunes
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- The Next Reel on Flickchart
- The Next Reel on Letterboxd
- Guess the Movie with The Next Reel on Instagram
- Check out the Posters with The Next Reel on Pinterest
And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
- Follow Pete Wright on Twitter
- Follow Steve Sarmento on Twitter
- Check out Tom Metz on IMDB
- Follow Mike Evans on Twitter
- Follow Chadd Stoops on Twitter
- Follow Steven Smart on Letterboxd
Phew. This film should be required viewing for all high school seniors. It’s brutal and intense, but also honest and powerful in its depiction of addiction. Join us — Pete Wright and Andy Nelson — as we finish up our series on the immensely gifted actress Ellen Burstyn with Darren Aronofsky’s 2000 film “Requiem for a Dream.” We discuss why this film is so powerful, and what creating a film that goes to the places this one goes to meant in the filmmakers’ battle with the MPAA over the rating. We talk about the performances — Burstyn’s heartbreaking portrayal of a mother addicted to weight loss pills, along with Jared Leto's, Marlon Wayans' and Jennifer Connelly’s portrayals of people spiraling down in their heroin addiction. We chat about Aronofsky and what he’s doing as a filmmaker in his second film that shows him to be a true storyteller of this amazing visual medium. We touch on other key elements of the production that make this movie what it is, most notably Clint Mansell and the Kronos Quartet bringing to life one of the most haunting and gripping scores we’ve heard. And we look at why this film didn’t do as well here in the States as it should have, including why it didn’t get the award love it should have. It’s an incredibly difficult film to watch but is one made by a master of the craft. We have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
- The Next Reel on iTunes
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- The Next Reel on Flickchart
- The Next Reel on Letterboxd
- Guess the Movie with The Next Reel on Instagram
- Check out the Posters with The Next Reel on Pinterest
And for anyone interested in our fine bouquet of show hosts:
- Follow Andy Nelson on Twitter
- Follow Pete Wright on Twitter
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It’s pretty rare for a film to come along that has such a visceral effect on people when they’re watching it where they faint or throw up because it’s so overwhelming. When “The Exorcist” was released just after Christmas in 1973, it had that effect. People flocked to it in droves and seemed to have these heightened reactions to it, whether because they were so scared or they felt it was truly evil. It’s a fascinating case study in how religion and horror draws people to the theatre. Join us — Pete Wright and Andy Nelson — as we continue our Ellen Burstyn series with William Friedkin’s “The Exorcist.” We talk about what makes this film so good and so horrific — something having to do with the sense of naturalism that William Peter Blatty, the screenwriter and author of the original novel, wanted in it and that Friedkin brought to it. We talk about the performances — Burstyn, Linda Blair, Max Von Sydow, Jason Miller, Lee J. Cobb and the demonic vocal stylings of Mercedes McCambridge — and look at what they each bring to the table in this story about a mother trying to protect her little girl from things she doesn’t understand. We chat about Friedkin and his insane directing style that seems to put actors in harm’s way in his quest for the perfect film, a frightening look at the ends justifying the means. We discuss the perfect cinematography brought to the story by Owen Roizman, lending touches to create both bright and dark shots that work in tandem. We look at the amazing makeup effects by Dick Smith, working well in both areas of makeup — creature effects and age makeup. We also touch on the amazing sound design and music — Tubular Bells anyone? And we chat about how well this film did, despite outlandish claims that the film was evil. It’s truly a terrifying film that deserves the praise it gets. It’s one of our favorites and we have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Ellen Burstyn won her Oscar for Best Actress for her powerful turn as Alice Hyatt in Martin Scorsese’s 1974 film “Alice Doesn’t Live Here Anymore,” and it was clearly well-deserved. Always an actress in pursuit of roles as strong female characters, Burstyn took this film on after her huge success with “The Exorcist.” Join us — Pete Wright and Andy Nelson — as we start our Ellen Burstyn series with “Alice Doesn’t Live Here Anymore.” We talk about the film as a whole, looking at the journey this widow takes with her son told in a very realistic, gritty, yet comedic way. We discuss Burstyn in the role as Alice, along with other actors in the film including Kris Kristofferson, Diane Ladd, Vic Tayback, Valerie Curtin, Alfred Lutter and Harvey Keitel, and look at what they each bring to the table. We chat about Scorsese, making his fourth film here, and look at how this film fits in his body of work. And we talk about the brilliant moments scattered throughout the film — as well as a few key moments that feel like there could’ve been a bit more to the script. It’s a great film that, while we don’t love it, certainly has a lot to appreciate, and we have a great time talking about it this week. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Joel and Ethan Coen must have a funny sense of humor, because the idea of making an “adaptation” of Homer’s ‘The Odyssey’ without having read it just seems like a bad idea when I picture anyone else doing it, but with them it seems like that’s part of the joke. They put enough of the story into this film to warrant it being credited as an adaption but certainly create a world of their own within the context of the film — 1930s Mississippi. And the Coens are masters of creating worlds within their films. Join us — Pete Wright and Andy Nelson — as we finish our Coen series with this fantastic 2000 film. We talk about the story and how it ties into Homer’s original poem, as well as what the Coens have in the story from the era that makes it their own. We discuss the wonderful actors and their performances, from George Clooney and Tim Blake Nelson, to John Turturro and John Goodman, along with all the wonderful supporting performances in between. We delve into the magical world of digital color intermediates and how this film was the first full feature to use this process, as well as analyze the process a bit. And we wrap up our Coen series with a bit of a chat about them and their films, touching on people they’ve worked with, our thoughts on them as filmmakers and storytellers, and looking at how their films stack up against the others. It’s a great film that we both love and have a great time talking about. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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It seems appropriate to the character of the Dude that “The Big Lebowski” took its time finding its audience. Coming fresh on the heels of their first Oscar-winning hit, “Fargo,” the Coen Brothers’ 7th film had a strange sense of humor, felt disjointed, was full of swearing, and didn’t connect with audiences or critics, who were all largely left scratching their heads. But time was on the side of the movie as people continued to discover it, turning it into a much-loved cult classic — with its own annual festival even. Join us — Pete Wright and Andy Nelson — as we continue our Coen Comedy series with 1998’s “The Big Lebowski.” Pete contemplates why it still doesn’t work for him completely, and Andy talks about why it works for him and tries to convince Pete of its brilliance. We discuss the characters depicted in this story and highlight what each of the performers brings to the role, most notably Jeff Bridges. We talk about some of the production team — Roger Deakins and Carter Burwell in particular — and discuss what they bring to the table. And we chat about how the movie has taken on a life of its own, leading to the annual Lebowski Fest, the religion of Dudeism and countless research papers and websites analyzing the intricacies of this film. We’re a bit split on the film but in a way, that really ties the conversation together. Check it out!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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It’s time for some laughs! Kicking off our series of Coen brother comedies, we jump in with the second film of theirs, “Raising Arizona.” Coming after “Blood Simple,” they certainly went 180 degrees with this wild comedy. Join us — Pete Wright and Andy Nelson — as we talk about this hilarious 1987 film. We talk about why the film works for us and what we like about it — and why it’s so stinkin’ funny! We discuss the performances — Nicolas Cage, Holly Hunter, John Goodman, William Forsythe, Trey Wilson, Frances McDormand and more — and look at what they bring to the table and why they all work so well in this film. We chat about the Coens and where this fits into their balancing act of serious and funny films. We talk about Barry Sonnenfeld and his amazing camera work, looking at what it does to benefit this film. We relish the yodeling stylings from Carter Burwell and the amazing voice of John R. Crowder, and delight in the perfect setting created by the production design team. And we touch on the real Arizona where the movie was filmed and how this movie fits in the state in which Andy lives. It’s one of our favorites and we love talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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It’s time for another Listener’s Choice episode! For this round, listener Jeremy Wickett was chosen and gave us Albert Brooks’ 1991 film “Defending Your Life” to discuss. Join us — Pete Wright and Andy Nelson — as we talk about Brooks’ movie. We talk with Wickett about why he likes the movie and what made him pick this film as the one he wanted to hear us cover on the show. We discuss our own opinions about the film, look at some of the problems it has, and, even though neither of us ended up loving it like Wickett does, look at what works. We chat about Brooks, the actor, and what he brings to the role, as well as a bit about his background in comedy and, more specifically, with SNL. And we look at the rest of the cast, including the brilliant Meryl Streep, Rip Torn, Buck Henry, Lee Grant and even Shirley MacLaine. It’s an interesting concept of a film that never completely worked for us, but one we have a great time discussing. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Bryan Singer’s film “Apt Pupil” was actually the second time the film was under production; the first attempt had several casting issues and when it finally started shooting, ended up running out of funds, killing the project. Perhaps that was a sign that Stephen King’s novella was a bit too tricky to make correctly. It’s a very dark story that doesn’t really have any likable characters in it. Singer’s 1998 adaptation toned much of the violence from the book down, but also took a different angle with the ending that many people, including us, felt didn’t work. Join us — Pete Wright and Andy Nelson — as we finish our epic Stephen King adaptation series with Singer’s “Apt Pupil.” We talk about what worked well in the book, what works in the film, and where the film may have gone wrong. We discuss the wonderful performances by Ian McKellan and the late Brad Renfro and look at what they bring to the film, despite its problems. We chat about Singer and some of his regulars, notably John Ottman, his composer/editor. And we circle back to the Nazi elements within the film and what Singer may have been after with this story, as well as other films in his career. It’s an interesting but flawed film that we have a great conversation about. Check it out!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Rob Reiner could very easily get back to making films like he did in his heyday if he made another Stephen King adaptation. Seriously, “Stand By Me” and “Misery” are two of the best King adaptations we’ve seen on the silver screen. Join us — Pete Wright and Andy Nelson — as we discuss the penultimate film in our King series, Reiner’s 1990 film “Misery.” We talk about the brilliant performance by Kathy Bates, someone who really deserved her Oscar, and what she brought to the role of Annie Wilkes. We also talk about the fantastic James Caan, playing against type with this subdued author character who is pretty much bedridden the duration of the film, as well as Richard Farnsworth and Frances Sternhagen, a brilliant pairing. We chat about the nature of fandom and what it means to a creator of works when they essentially turn their product over to the consumer. We discuss the fantastic cinematography by the great Barry Sonnenfeld, his last work as DP. We touch on the music by Marc Shaiman as well as the Liberace music and how well it works to enhance the environment. And we highlight some of the changes from novel to screen, comparing the internal world Caan’s character creates to help survive his ordeal versus the taut screenplay that William Goldman delivers, and how the changes don’t take away from the story but really streamline it for this other medium. It’s a gripping, tense, psychological, claustrophobic thriller and we have a great time talking about it. Check it out!
Perhaps it was because elements of the novella ‘The Body’ were autobiographical that the story has so much heart compared to Stephen King’s previous works. Perhaps it was because there weren’t supernatural elements. Or that it didn’t fall into the horror genre. Whatever the reason, ‘The Body’ and the film based on it, Rob Reiner’s 1986 film “Stand By Me,” are beautiful and touching stories about childhood, growing up, friendship, and journeys. Join us — Pete Wright and Andy Nelson — as we talk about the next film in our King series, "Stand By Me.” We talk about what this film says for us about memories, nostalgia, youth, friendship, life and more, as well as how these elements contribute to what we love about the movie. We discuss the talent in the amazing four young lead boys — Wil Wheaton, River Phoenix, Corey Feldman and Jerry O’Connell — and how perfectly cast they all were for the roles they each played. We also talk about Kiefer Sutherland as the antagonist, and what he brings to the table. We chat about the script as well as the novella, and why the story works so well (and why the screenwriters deservingly got an Oscar nomination). And we talk about Reiner as a director, looking at where this movie fits within his career. It’s an incredible film that deserves returning to time and time again. We have a great talk about it this week. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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There's something about your first love, and there's something about your first car. Stephen King found an interesting way to tap into that with his novel "Christine," and John Carpenter found an interesting way to develop it even further in his 1983 adaptation. Sure, the car may be possessed, but Arnie sure falls for his car... and she for him. It's an interesting take, and one we delve into this week. Join us — Pete Wright and Andy Nelson — as we continue our Stephen King series with Carpenter's "Christine." We talk about our first experiences with this film and how that compared with our recent viewings of it and whether the film held up or not. We discuss the performances — Keith Gordon, John Stockwell, Alexandra Paul, Robert Prosky, Harry Dean Stanton and more — and how well they worked... or didn't. We chat about the car — the beautiful iterations of the Plymouth Fury that they blend together to create this possessed automobile -- and how she's one of the strongest pieces of the film, particularly the magical scene where Christine rebuilds herself. We touch on script problems, particularly the struggle we have with Christine's reasoning for her kills. And we talk about what John Carpenter brings to the table, and if it holds up with some of his other films made at this time. Andy ends up liking this film more than Pete, but we both have a great time talking it up. Check it out!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Back in the 70s and 80s, Stephen King's stories generally had a lot more scares in them, as did their cinematic equivalents. Perhaps that's why David Cronenberg's adaptation of "The Dead Zone" feels a bit out of place — it comes off as much more of a dramatic thriller than a horror film. It certainly garnered critical praise and found its audience, but 31 years later, it comes across a bit dated. Join us — Pete Wright and Andy Nelson — as we continue our Stephen King series with 1983's "The Dead Zone." We talk about our feelings of the movie when we first saw it and where we stand on the film now, finding the film to not hold up that well. We chat about the performances and how they work but don't grab us -- even Christopher Walken who seems to be just developing his strange mannerisms here. We discuss the problematic flow of the story and how its episodic nature really leaves the film forgettable, but perhaps is why the story worked so well in the land of episodic television when the USA Network put it out in 2002. And we touch on the cinematography, the production design and the score, looking at what works and what doesn't. It's still a decent film but oddly forgettable upon revisiting it. But that doesn't stop us from having a great conversation about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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There's something truly terrifying about a lovable pet turning on you and attacking. Especially when that pet is a St. Bernard, one of the big dogs with a small barrel of brandy around its neck that's supposed to rescue people lost in the snowy Alps. But that's what makes for great horror, right? Turning something lovable into something horrible. And Stephen King did that perfectly in his novel "Cujo," which was turned into a film in 1983. Join us — Pete Wright and Andy Nelson — as we continue our King series with Lewis Teague's great horror film "Cujo." We talk about what the film means to us and why we both love it so much, whether it's as a kid watching it for the first time or as a parent watching it later in life. We discuss the brilliant performances in the film, led by Dee Wallace and Danny Pintauro, and how they help ground the film in a reality that works incredibly well for this King tale that surprisingly remains free of supernatural elements. We chat about the production of the film, how Teague came into it late, the great cinematography of Jan De Bont, Charles Bernstein's score and more. We contemplate why the critics at the time really didn't like the film at all, and how it really hasn't changed frustratingly. And we chat about the nature of working with animals, and how animal trainer Karl Miller managed to get all the various performances Teague needed to tell his story out of somewhere between 5 and 10 dogs, not to mention a man in a dog suit. It's a film that is considered "rotten" on Rotten Tomatoes, but one that we both love. Watch the film and tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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George A. Romero had already established himself as a master of the horror genre when he and Stephen King created their horror anthology film "Creepshow." With two stories based on King's short stories and three original stories written just for this, Romero created a film that pays homage to the great horror comics from the 40s and 50s, like Tales From the Crypt. It balances horror with humor, all in a beautifully stylized comic book template. Join us -- Pete Wright and Andy Nelson -- as we continue our Stephen King series with Romero's 1982 film "Creepshow." We discuss this look that Romero instills in the film and how well that works to create this funny and frightening homage. We chat about each story and discuss what works and what doesn't. We talk through the amazing cast that Romero put together, marveling that he was able to get some of the actors that he did. And we touch on the brilliant effects work by Tom Savini, a master in his own right, who brought the monsters and mayhem to life. It's a film that we both had a tremendously fun time watching, so check it out and tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Stephen King may not have been a fan of what Stanley Kubrick did when he turned King’s third novel, “The Shining,” into one of his films, but audiences didn’t seem to mind. King purists still have problems with some of Kubrick’s decisions, but the film has withstood the test of time and still stands up as one of the great horror movies out there. Join us — Pete Wright and Andy Nelson — as we begin our Stephen King series with Kubrick’s “The Shining.” We talk about how the film works for us and why, looking at which of the performances stand out and which seem maybe a bit over-the-top for us. We discuss Kubrick’s touches on the film, from beginning to end, and discuss what those touches do for the film. We chat about the differences between the book and the movie and how changing the focus of the story does create a very interesting journey into our character’s heads. We touch on various elements of the crew — the cinematographer, the steadicam operator, the production designer & art director, and the editor — and look at their contributions to this frightening film. We ask ourselves if there really is any logic to the photo at the end, and if that matters. And we dismiss the documentary “Room 237” and its conspiracy theories as a bunch of bunk. It’s a fun conversation about one of the great Stephen King adaptations, even if it is one that King was disappointed with. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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There is something interesting about going into a film that's had as many bad reviews as Jason Reitman's "Labor Day" has had, and that has flopped at the box office. Does it taint our own views or make us more critical of it? Hard to say, but it certainly makes for an interesting exploration of a film that works in some ways and doesn't in others. Join us — Pete Wright and Andy Nelson — as we celebrate the US's Labor Day holiday weekend with another Reitman film to add to our collection and deliberate on our own views of whether we like this film or not. We talk about how we feel about the film itself and look at what worked for each of us and what didn't work, and compare that with what the public consensus seemed to be. We touch on the thriller vibe the film has with the romantic drama vibe, and how marketing one way or the other can definitely determine how a person approaches the film. We chat about the amazing performances from Kate Winslet, Josh Brolin and Gattlin Griffith and how Reitman always brings amazing performances to his films, even when the script is weaker. We discuss the story, specifically looking at several elements that we both have problems with for one reason or another — the montages and the voiceover — and analyze how they could have affected people's perception of the film. And we look at the unfortunate numbers, acknowledging that people did not click with this film which led it to fail at the box office. It's a compelling film that works better for some than for others, and it's certainly one that provides for a stimulating conversation. Plus we have a special guest give us an insider's report from the Telluride Film Festival! Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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The last of Leone's 'Man with no name' trilogy is the longest and considered by many to be the best. By the time he made it, he was a much more assured and mature storyteller. And it shows. Join us — Pete Wright and Andy Nelson — as we finish the trilogy with 1966's "The Good, the Bad and the Ugly." We talk about Leone and the style he's been developing over the course of this trilogy, and what he brings to the table this go-around. We chat about both the climactic gun fight as well as the scene immediately after it, and look at what the filmmakers and storytellers were working to convey in these sequences. We discuss Clint Eastwood, Lee Van Cleef and the new-to-Leone's-films Eli Wallach, who brilliantly plays Tuco. And we chat about many on the crew who helped make this film what it is. It's a fantastic film, even if Pete prefers the prior one. Watch the movie then tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Sergio Leone continued building on the mythos that he and Clint Eastwood had created in "A Fistful of Dollars" with the follow-up, "For a Few Dollars More," and it is in this film that Eastwood really developed so many of the tropes that he would continue using throughout his career. The squinting, silent gazes he'd give before gunning someone down. The one-liners. And for Eastwood's other westerns, a defined look. Join us — Pete Wright and Andy Nelson — as we continue our misnamed Man With No Name trilogy series and talk about Eastwood in his second film with Leone, 1965's "For a Few Dollars More.' We discuss the development that Leone shows from his first western to this one, as well as the development that Ennio Morricone shows in developing his brilliant score. We chat about Eastwood as well as the perfect western actor Lee Van Cleef, the ever manic Gian Maria Volonte and the ever frightening Klaus Kinski. We talk about the violence and rape in this film along with the use of marijuana and how it really seemed to break some filmmaking barriers for mainstream movies at the time. And we chat about the fantastic production design that really builds this western world that Eastwood, Van Cleef and Volonte inhabit along with their cast-mates, a world that can still be seen by visiting Mini-Hollywood in Almeria, Spain. It's a wildly fun film and one we have a wonderful time talking about. Tune in!
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Spaghetti Westerns didn't completely begin with Sergio Leone's 1964 film "A Fistful of Dollars," but his film certainly set a new bar — and created an international audience — for these films. This film revitalized a genre that had been slowly dying by getting rid of the black hat/white hat type of story that instead focused on characters who had a lot more gray in them. And this film is really the film that set Leone on his way to making the types of films he'd continue making throughout his career. Join us — Pete Wright and Andy Nelson — as we start our Man With No Name Trilogy series with a conversation about "A Fistful of Dollars." We talk about how this film changed westerns and what its European sensibilities brought to the film that those in the US latched onto. We discuss Clint Eastwood and why he got involved in the film, and look at what he brought to his role as Joe. We chat about the other cast and how they hold up with Eastwood. We discuss the interesting cinematography that in so many ways came to define Leone's style, as well as the standard practice at the time in Italy of post-syncing all of their audio which leads to all of the actors feeling slightly out of sync. And we talk about the violence in the film and discuss how people felt about it at the time along with how it ended up influencing films to follow. It's a great start to Leone's unofficial (but well-marketed) trilogy and we have a blast talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Terry Gilliam has said that 'The Fisher King' and 'Twelve Monkeys' were two of the easiest films for him to make. Perhaps that's because he found the right way to work in the studio system, perhaps it's because he found the right people to work with, perhaps it's because he wasn't working with his own scripts. It's hard to say why that is, but they certainly proved successful at the box office, showing that Gilliam wasn't box office poison and allowing him to continue his career. Join us — Pete Wright and Andy Nelson — as we conclude our Terry Gilliam series with his 1995 film 'Twelve Monkeys.' We talk about what Gilliam did between 'The Fisher King' and this film and why he latched onto this film. We discuss the nature of the story and how it works for us now — is it a film we love or a film that ends up being forgotten not long after rewatching it. We chat about the three main actors — Bruce Willis, Madeline Stowe and Brad Pitt — and what they each bring to the table, as well as some of the fantastic supporting cast. We cover the nature of time travel and debate whether this film's rules really work, or if that matters as long as the rules apply within the film itself. And we chat about Terry Gilliam and what we've learned about him over the course of this series. It's a great way to finish up — tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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After the financial disaster that was 'The Adventures of Baron Munchausen,' Terry Gilliam needed a way to prove to the studio brass that he could make a great movie that was on budget and made money at the box office. He found it in 'The Fisher King,' the film he made and released in 1991. Join us — Pete Wright and Andy Nelson — as we continue our Terry Gilliam series with the fantastic 'The Fisher King.' We talk about why this film works so well for us, even if Roger Ebert clearly didn't click with it. We discuss the brilliant 4 leads in the film — Jeff Bridges, Robin Williams, Mercedes Ruehl and Amanda Plummer — and look at what each of them bring to their own roles that make them work so well. We chat about the brilliance of Richard LaGravenese's script and how honest he portrays the characters yet how efficient the script is as well, giving full portrayals of characters even for minor characters (like the brilliant Michael Jeter). And we cover how this film succeeded at the box office and even gathered a handful of Oscar nominations, showing people that Gilliam can make films that make money. It's a wonderful film that we have a great time talking about. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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After the battle that Terry Gilliam had to endure to release 'Brazil,' it's a shame that his next movie ended up being another debacle. From producer problems to studio exec switcheroos to plain old bad luck, 'The Adventures of Baron Munchausen' was a tough film to get made. Join us — Pete Wright and Andy Nelson — as we continue our Terry Gilliam series with this beautiful but troubled film. We talk about what works in the film and what doesn't work in the film, and what likely were the real problems that didn't help the movie ever find its audience at the time. We chat about the brilliant actors all through the film — including young roles for Uma Thurman and Sarah Polley, as well as a deliciously funny Oliver Reed — and what they brought to the table. We discuss the problems this film had in getting made and yet really only scratch the surface. We talk about how the film did financially and contemplate how it ended up being the lowest grossing film on our list of films we've discussed. And we look at how the film works for us while looking also at how it works for children and wonder if perhaps this film will always be better when first seen through the eyes of a child. It's a fun film that's stunning to look at but full of story problems all the way through, but that doesn't stop us from having a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Terry Gilliam has always been an ambitious director with wild visions for his films. Sometimes that’s worked out, sometimes it hasn’t. In the case of the follow-up to his successful film Time Bandits, Brazil didn’t work out, at least at the time. Gilliam had a very public battle with Sid Sheinberg, the president and CEO of MCA-Universal at the time, who didn’t want to release Gilliam’s film as it was presented to him. It wasn’t until 1996 when Gilliam’s director’s cut was finally released, but people could tell long before that there was a great film here. Join us – Pete Wright and Andy Nelson – as we continue our Terry Gilliam series with Andy’s favorite movie, Brazil. We talk about the battle in more depth and how it helped and hurt the film. We chat about why Andy likes it so much and look at what Gilliam is doing in this film that does make it stand out as a great film. We touch on the various versions of the film available and what their differences are. We discuss the nature of dreams vs. reality, of bureaucracy and technology, and the importance of ducts among other things. And we chat about many of the talented people both in front of and behind the cameras. It’s a fantastic film that definitely warrants conversation, so check it out and tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Getting out from under the shadow of Monty Python proved difficult for Terry Gilliam early in his solo career — no one in America would finance any films for him — so while he waited to get his big movie, "Brazil," off the ground, he wrote a script for an idea he'd been kicking around that would appeal to the whole family. "Time Bandits" proved to be a box office success and still is one of Gilliam's most profitable movies, allowing him to make "Brazil" immediately afterward and continue in the business. Join us — Pete Wright and Andy Nelson — as we dig into his 1981 film. We talk about how this film struck us at an early age and how we find it now, thrilled that Gilliam made a children's film that didn't need to gloss anything over for kids but kept it raw and edgy. We chat about the slew of actors running all through it — from the brilliance of the kid and six dwarfs in the titular roles to all the fantastic cameos and bit parts scattered through it (and, of course, most notably the brilliant David Warner playing Evil in the best way possible). We discuss the theological views of the story and how these views don't really affect the film, which can be viewed as simply a children's film still. And we look at the amazing world building done by Gilliam in this film and how he couldn't have done it without the help of his brilliant costume designer, production designer and art director. It's a film that holds up incredibly well for us and holds a special place in our hearts. We have a great chat about it, so check it out and tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Considering how much critics and audiences seem to hate Alex Proyas' 2009 film Knowing, it's surprising that it actually did fairly well at the box office. We don't know if that's proof that people actually like it, but it was hated enough that Andy felt it was appropriate to call it a guilty pleasure of his. Join us — Pete Wright and Andy Nelson — as we finish up our short and fun Guilty Pleasure Series with Proyas' Knowing. Andy talks about why he loves it so much, and Pete talks about what he likes about it while pointing out all the problems he has with it. We debate the merits of what it's trying to do with what is actually presented to us. We chat about the stunning visual effects work, particularly the plane crash, how they went about creating it and why. We discuss the performances, primarily Nicolas Cage's and Rose Byrne's, and how they work for us (if at all). And we look at the importance of scope in the film — does a payoff need to be sized to its setup? It's a great conversation about a much maligned film. Andy's not sure he won Pete over but it's still one that Andy holds dear. Check it out, tune in, then let us know what you think!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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As someone once said, cult films aren't born, they're chosen. The Adventures of Buckaroo Banzai Across the 8th Dimension failed at the box office, but the film was just quirky enough to find that fan base and get propelled into cult status. While the film didn't do well enough to warrant a sequel, it did find a big fan in Pete. Join us — Andy Nelson and Pete Wright — as we begin our short (but hopefully fun) Guilty Pleasure Series with Buckaroo Banzai. Pete talks about why this film is a guilty pleasure for him and Andy admits that, while never having seen the film before, it's one that he could find himself really enjoying given a few more watches. We chat about the world building that the filmmakers infused this film with and find big and obscure films with which to compare its world building. We discuss the actors from top to bottom and how they all infuse the film with great energy, helping to create this world that feels fully formed, even if the script is a bit convoluted. We talk about how the film was received and how it became a cult favorite. And, inevitably, we spill out a few quotes from the film because, well, it's full of them. We have a great time talking about Pete's guilty pleasure this week so check it out!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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It’s time to draw the curtains on our 1981 series with another Louis Malle film, Atlantic City. While technically made in 1979 and released in Canada and France in 1980, this film wasn’t released in the US until April 1981. Because of that, however, it does feel like a film from the 70s to us, like many films in our series ended up doing. Join us — Pete Wright and Andy Nelson — as we discuss Malle’s second film to be released in 1981 in the US. We talk about how the film worked for us — Andy really loved it this go-around, latching on to the characters, the story and the sadness of it all while Pete enjoyed the supporting characters more than the leads and overall felt it dull. We chat about how the film came to be and who else was considered for the parts. We talk about the performances of Burt Lancaster and Susan Sarandon, and how they work for us, again splitting our opinion. And we examine how timely this film fits into the changing scenery in the real Atlantic City at the time, constant demolition and construction as the city became an East Coast gambling hub. Its a fascinating film that we don’t see eye to eye on, but one that is definitely worth talking about. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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The late 70s and early 80s were a great time for Australian cinema. The filmmakers churned out lots of great (and cheap) movies and these movies helped create a resurgence of Australian films on the world cinematic stage. Peter Weir was one of these filmmakers, and his 1981 film Gallipoli really helped this resurgence with its story of friendship and the loss of innocence in times of war. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Weir’s Gallipoli. We talk about the horrors of this battle in Turkey, who fought it and how this film portrays the war. We discuss the odd structure of the film as it focuses primarily on character and less on the war, and why that works, but also why it makes the first half of the film lag a bit. We chat about Mel Gibson and Mark Lee, how they work as actors in this film, and why we like their portrayals. And we touch on how this film’s popularity did help boost it and other Australian films up onto the world stage. It’s a powerful film, even if it’s not something we feel like we’d find ourselves returning to very often. Still. well worth looking at. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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John Landis made a big shift in his filmmaking when we went from comedies like The Kentucky Fried Movie and Animal House to An American Werewolf in London. At the time, people weren't used to horror films that blended with comedy and it took him over a decade to actually get it made. The film was, however, a success when it was released and still has a big fan base. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Landis' horror/comedy film. We discuss why this film works so well for us and what makes it hold up so well, now nearly 33 years since it was first released. We talk about the great cast headed up by David Naughton, Griffin Dunne and Jenny Agutter, and what casting decision almost had the film move to Paris. We talk about the beginning of the film and how we'd rewrite it to fix some little problems we have. We chat about the werewolf effects and how Rick Baker really brought a new level of makeup effects to the forefront of cinema, changing it forever. And we discuss many other aspects of the film — cinematography, editing, sound mixing, composing — that elevate the film into something that builds an incredibly effective world and makes for a film that stands the test of time. We love this film and have a great time talking about it. Tune in!
Michael Mann has spent most of his film career exploring the world of crime and the criminals that inhabit it. Not to mention neon lighting. His feature film debut, Thief, certainly started him on the right track. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Mann's Thief. We talk about why this film works well for us as well as what elements don't work, really digging into Mann and his proclivity to give short shrift to his female characters. We chat about the truth brought to the film by bringing on real thieves to work as technical advisors, training James Caan to work with real equipment and actually really cracking safes on screen. We talk about the great James Caan as well as the rest of the cast — Tuesday Weld, James Belushi, Robert Prosky and more — and what they all bring to the movie. We chat about Tangerine Dream and their music, why Mann hired them, and what, if anything, works with their score. And we really dig into the character arc of Frank played by Caan, discussing how it works in context of the script, and why the actual ending of the screenplay changes his story in a way that works for us even if it doesn't feel very much like a 'Michael Mann' ending. It's a great film that we're happy to revisit. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Anyone who listens to the show knows that we have a love/hate relationship with Brian De Palma. With his 1981 film Blow Out, he makes one of his strongest films and lands squarely on the side of ‘love’ for us (thank the heavens since neither of us had seen it recently and we couldn’t remember it well enough). Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with De Palma’s Blow Out. We talk about the tone of the film and why it worked so well for De Palma. We chat about the opening sequence and if it starts the film on the wrong tone or if, perhaps, it gives a sense of the irony at work within the film. We discuss the actors — notably John Travolta, Nancy Allen, John Lithgow and Dennis Franz — and how well they work for us (except Nancy Allen who plays her character in a way that might not work as well for some). We chat about the brilliant production work by the DP, the sound team and the production design team, building a film that films haunting and tragic. And we talk about the nature of De Palma, what he’s doing with this film, what techniques he employs and why it works so well. We loved this film and we have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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My Dinner With Andre is certainly not an easy film to classify. It certainly is a film that could be considered divisive, but that's really between people who get into it and people who just don't click with it. It is a film of two people having a conversation over dinner, after all. But to many, it is one of Louis Malle's classics, a film that makes many lists of great films, and a film that inspires conversation. Join us -- Pete Wright and Andy Nelson -- as we have our own conversation about this film that fits in our 1981 film series. We talk about how the film worked for us when we first saw it and how it hit us on this most recent viewing. We look at what the film is really about, why it works and why it draws us in. We discuss the origins of the film and how Wallace Shawn and Andre Gregory came up with the idea, wrote it, got it into Malle's hands and ended up making the film. And we chat about how everyone needs to get their own Wallace and Andre action figures, the kind that Corky has in Waiting for Guffman. It's a great film, albeit one we wouldn't put on too often, but certainly one that inspires a fantastic conversation. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Many films in the early 80s continued the cynicism of the 70s, and that certainly holds true for a number of John Carpenter's films, who has used several of his films and characters in them to take a pointed look at the hypocrisy of the government and society's ills as he saw them. His 1981 film 'Escape From New York' falls into that mold, while also feeling like nothing more than an early 80s action thriller set in a dystopian future. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Carpenter's 'Escape From New York.' We talk about how the film holds up for us (not very well despite still being fun) and why it likely doesn't work as well as other films of Carpenter's in that period. We discuss the glimpse into the year 1997 as the film describes it and reminisce about what really happened in 1997. We chat about the performances, from Kurt Russell in one of his iconic roles, to Lee Van Cleef to Adrienne Barbeau to Isaac Hayes in a role far too weakly written for him. We touch on the production of the film and how they didn't film any of it in New York City except a few bits on Liberty Island. And we chat about the character of "Snake" Plissken, why he works, why we like him, and if we agree with Russell in saying that it's an intrinsically American character and should only be played by American actors when they finally get around to doing a remake. It's a fun film that unfortunately really carries the burden of its budget and its time around its neck, getting weighed down and faltering when it has such a great concept. Regardless, we have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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There are great years of cinema like 1999 when the films seem to redefine the direction of the medium. And then there are years that, while maybe not changing the nature of cinema, certainly have a lot of great movies.1981 is one of those years. Wolfgang Peterson's epic WWII submarine film came out in Germany in 1981 and changed the way many filmmakers constructed tension in war and action films. It changed the way people viewed Germans during the war because it portrayed the submariners as simply human. And it became the most popular foreign language film in the US for a very long time. Join us — Pete Wright and Andy Nelson — as we begin our series on 1981 with Peterson's "Das Boot." We talk about the power of the anti-war story and why it works so well, even if German critics at the time thought it was a horrible move on the part of the filmmakers. We discuss the director and his cast, looking at what each of them bring to the table, particularly Jürgen Prochnow as the Captain of the U-boat. We go over the length and debate the worth of the additional hour in the director's cut — was it necessary to add it all back into the film? We talk about taking the tour of the Bavaria Film Studios to see the original full-scale model of the submarine (and take a ride on Falcor from The NeverEnding Story!) And we talk about the complexities of shooting a submarine film with models, handheld cameras with gyroscopic stabilization systems, moving sets on gimbles made to spec, and more. It's a powerful film that perhaps begins to wear its welcome, but we love it and have a great time talking about it this week. Tune in!
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People often talk about the great movie year of 1999, and one of the great films that came out that year is 'The Matrix,' the film that made bullet-time a filmmaking standard and stunt wire work almost an expectation in action films. But it's a great film because of its script, written by Lana née Larry and Andy Wachowski, who went on to co-direct it as well. Join us — Pete Wright and Andy Nelson — as we delve into our next Listener's Choice movie selection with 'The Matrix.' We talk about the script and how it works in the world of science fiction, but also how the script goes beyond that by including elements from a wide variety of other sources — religions, movie genres, writings and theories, etc. We discuss how well it does with these heavier and headier ideas, and if those elements matter when watching the film to make it enjoyable. We chat about the cast and crew and everything they're bringing to the table to create this amazing world. We mention the film just had its 15th birthday and argue about whether it holds up as well as it first did or if it's showing its age now. And we really have to deliberate with this versus several other films we've discussed in previous episodes when trying to rank it on Flickchart. It's a great film that's well worth talking about. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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One of the interesting things to explore in the usage of found footage style films is how it can be applied to different genres. Okay, so it works better in some genres than others, but it's not a genre in and of itself, nor is it restricted to horror movies. But one thing that is consistent is the fact that we're watching real people in a real situation they likely didn't survive. There is an inherent connection to reality that isn't present in other styles of films because of this, and in a film like Norway's 'Trollhunter,' it ups the stakes because everything feels that much more real. Join us — Pete Wright and Andy Nelson — as we wrap up our found footage series with André Øvredal's 2010 fantasy thriller 'Trollhunter.' We talk about why this film works and what works about it — from the trolls to Otto Jespersen's world weary titular character Hans, from the effects (mostly) to the reality presented in the film. We discuss the interesting religious thoughts brought up in the film, and also look at the insightful story of the government and its need to control what information the people get. We chat about the myths of the trolls in Norwegian folklore and how bringing them so literally to life in this film helps the reality of the story, though possibly hurts it as well. And we frame it in context of our other found footage films to really get a sense as to what works and what doesn't. It's a fun series to have under our belts, and one we certainly hope to revisit in the future. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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When making found footage style films, it's important to stick with the conceit — someone is holding the camera and filming events as they happen, then we someone later stumble upon the footage and watch it to understand what happened. What's great about Josh Trank's 2012 debut film 'Chronicle' is that he takes that conceit and finds ways to use it to his advantage while also exploring ways to break out of the conceit with multiple cameras and camera movement. Join us — Pete Wright and Andy Nelson — as we continue our found footage series with this great superhero film. We talk about how Trank did an amazing job of modifying the conceit in order to tell an excellent film, warts and all. We discuss the cast — from Dane DeHaan to Michael B Jordan — and look look at what they each bring to the film. And we look at this story in context of superhero origin stories and discuss the idea of developing a new super villain. It's a creative and fun movie and we have a great time talking about it. Check it out!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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The J.J. Abrams team jumped into the found footage realm with a fun Godzilla-style monster movie that was kept under strict wraps while filming, to the point where excited audience members actually believed that it might have possibly been a live-action version of Voltron. "Cloverfield," which, in the film, is the name the government gives to this top secret creature after-the-fact, is a unique creature feature that at once allowed for an intimate story set in a massive location. Join us — Pete Wright and Andy Nelson — as we discuss Matt Reeves' 2008 film "Cloverfield." We talk about how this film handles the camerawork vs. "Quarantine," and why this one may employ a bit more shaky-cam than our previous film. We discuss the goods and bads in the film, notably talking about how for both of us, the cast is one of our biggest problems with the movie. We chat about the filming and editing process and how they're used differently in a found footage style film. And we talk about the monster and how well she works for us. It's a fun film that may not be our favorite, but still is a lot of fun. It's well worth talking about. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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For many audience members, found footage films are just an opportunity to to film a horror story on the cheap and don't bring anything to the table. There are films, however, that work to use the filmmaking style to their advantage in exploring different ways to tell their stories. Sure, it's a conceit, but if you buy into it, it can make for a fun style of storytelling. Join us -- Pete Wright and Andy Nelson — as we begin our Found Footage Series with John Erick Dowdle's 2008 film "Quarantine." We talk about the nature of found footage films, what they need, why they're often horror films, and why it works in this film. We discuss the script of this film and, while still enjoyable, what big problem crops up late in the film that leads to too many questions and, if thought about critically, can really spoil the story. We chat about the original Spanish film, "[REC]," on which this is based, what the differences are, which version works better, and why the original film's director hates this one so much. We chat about the cast and what they bring to the table in a film largely made up of long shots. And we complain about the marketing images for this film and ponder what could possibly have been their intention when using the film's final image as the poster design. It's a fun and frightening horror film that has its problems, but still is effective at creating a claustrophobic horror film. We have a great chat about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Tom Hanks and baseball — they go together like peanut butter and chocolate. Aside from always wanting to be an astronaut, Hanks has always been a great baseball fan and eagerly jumped at the chance to be in Penny Marshall's 1992 film about the All-American Girls Professional Baseball League. The film is a crowd pleaser and drew in the crowds when it was released, which was great because it shined a light on an aspect of sports history that had sadly been largely forgotten. Join us — Pete Wright and Andy Nelson — as we finish our Tom Hanks series with a dip back into our spring Baseball series of past years. We talk about how this film came to be, and how Penny Marshall couldn't even find any female screenwriters to come on board to write the script. We discuss the performances and how everyone, from top to bottom, really fits their parts and puts in the work, even if we don't always care for their performances. We chat about the script and how that might be what's leading to some of our struggles with performances as the script really does feel straight out of screenwriting basic training. We talk about the roles of women in sports and in media, how skewed toward men it all is, and how this film does help give better role models for young girls. And we close it out discussing Hanks himself and what these four films in the first decade (for the most part) of his career showed us about who he is and where he'd be going. It's a great film, albeit with a basic script, that highlights a key time in our history, and we have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Tom Hanks already won his back-to-back Oscars and with an ensemble film like "Apollo 13," he wasn't a clear choice to get nominated again to make a three-peat a possibility. All of that aside, as anyone on the cast or crew who worked on the film knows — as well as anyone who saw the film — he was clearly born to play an astronaut. He reunited with Ron Howard on the making of this amazing film dealing with one of the worst space disasters the world has ever seen, and even though everyone knew what happened, it was a compelling piece of cinema. Join us — Pete Wright and Andy Nelson — as we continue our Tom Hanks series with "Apollo 13." We talk about the amazing effects work and how it seamlessly blends with real footage, miniatures, and amazing weightless photography filmed in the vomit comet. We discuss the performances throughout the film and what each of the performers brings to the story, including Hanks, Gary Sinise, Bill Paxton, Kevin Bacon, Ed Harris, and Kathleen Quinlan. We chat about the roles of women in this film and similar films, what works and what doesn't for us in their part of the story, and why we feel they're portrayed the way they are. We talk about the amazing score done by James Horner in this film and how well it fits in context of the film. And we chat about some of the awards the film won, was nominated for, and wasn't nominated for, and what we think about that. It's a great movie — one of our favorites — and we have a fantastic conversation about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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"Forrest Gump" broke all sorts of box office records when it was released in the summer of 1994, which may be why people spent a lot of time digging into what they thought the film was really saying, even if it's not what the filmmakers were actually saying. At its heart, it's a character story about people struggling to find their paths in life, and looking back on it 20 years later, it's still an absolutely beautiful film. Join us — Pete Wright and Andy Nelson — as we continue our Tom Hanks series with Robert Zemeckis' Oscar-winning film, "Forrest Gump." We talk about the rhetoric and opinions that came out shortly after the film's release and where we each stand with those lines of thinking. We discuss the amazing performances across the board, focusing on Tom Hanks, Robin Wright, Gary Sinise, Mykelti Williamson, Sally Field and Hailey Joel Osment. We chat about the stunning effects work all through this film and how they're often completely invisible, and we reveal our opinions on the Oscars that year and what we think should have won. It's a great conversation about an unforgettable film. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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In the late 70s and early 80s, Disney Pictures had been getting grief for releasing films that were too adult. When “Splash” came along, they decided to create a new label for releasing more adult fare. And thus, Touchstone Pictures was born! On top of that, the film was such a success that it pushed its star, Tom Hanks, and director, Ron Howard, up toward the upper echelons of the Hollywood elite. Join us — Pete Wright and Andy Nelson — as we begin our Tom Hanks series near the beginning of his career with “Splash,” a film that Andy holds near and dear to his heart while Pete struggles with many aspects of it. We talk about the beginnings of Hanks’ career and how he ended up getting cast in this film, as well as how well he works in it. We touch on the other actors — Daryl Hannah, John Candy and Eugene Levy in particular — and how they do in the film. We discuss what works for Andy and what doesn’t work for Pete and try to identify specific elements that could be causing Pete to disconnect from the movie. And we chat about the cinematography and how beautiful the film looks, standing out from the flat lighting most comedies suffer from. It’s a film Andy and Pete likely will never agree on, but it’s certainly fun to talk about. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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It's a sad state to consider that Christopher Nolan had to fight to get money to make "Inception" because it wasn't a sequel, based on a comic book, a remake, or something similar. It was purely an original script about a wild inverted heist taking place inside someone's dreams. Sure, Warner Bros. eventually gave Nolan $160 million plus to make his film and it went on to become one of the highest grossing films of all time, but the fact that he had to fight to get money doesn't bode well for the state of the industry. All that aside, it's a marvel of a film, and we conclude our latest Original Sci-Fi series with this non-benevolent alien movie, Nolan's 2010 film, "Inception." Join us — Pete Wright and Andy Nelson — as we talk about Nolan and the wild story he tells in this film, and how much of a struggle it must have been to not just fight to get the money but also to introduce all the exposition that goes along with telling an original film about dream thieves. We chat about Nolan's preference for physical effects and how much they bring to the film, even if some of them had to get enhanced by digital effects. We discuss the performers, particularly Leonardo DiCaprio and Marion Cotillard and the relationship their characters have. We go over the ending and what we think happens, as well as cover Nolan's intentions for ending it as he did. And we talk about the bombastic score by Hans Zimmer and how well it works in the film. Its an incredible film every time you watch it, and makes for a lot of great conversation. Join us!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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When the extended trailer for James Cameron's 1989 undersea scifi spectacular, "The Abyss," was released, detailing everything from the production on sets built in an unfinished power plant to the intense action and character moments throughout the film, all set to Michael Stearns' powerful score from the IMAX film "Chronos," it set the stage for an epic film that promised to deliver "Aliens" underwater. When the film was released, it received good reviews and earned its money back, but wasn't what people expected. Plus, it had an ending that left audiences scratching their heads a bit. But 3 years later, Cameron was able to return to it and release an extended version with nearly 30 minutes of new material, including an extended ending that answered a lot of questions, even if it did add an element to the story that feels heavy handed. His new version was received very positively and showed that going back and meddling with a film could result in a better product, and it's definitely a film worth rewatching. Join us — Pete Wright and Andy Nelson — as we continue our Original SciFi series with "The Abyss." We talk about what works for us and what doesn't in this film, and how much that really matters in the end. We talk about the amazing cast that really sell the story — even the cheesy lines and heavy-handed plot elements — and why some of them refuse to talk about production of this film to this day. We chat about the effects and where this film fits in the context of the history of special effects development. We discuss Cameron and his ability to make films as well as his passion for technologies and undersea exploration, and how those two passions came together perfectly here. And we discuss the nature of film worlds versus the real world, and how accurate a film needs to be when depicting real things. It's a great film with some problematic elements that we're perfectly willing to overlook, and we have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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In 1977, Devil's Tower went from being known as the first National Monument (for those who had actually heard of it) to the iconographic image marking the rendezvous point where the aliens want to meet the humans in Steven Spielberg's third theatrical film, "Close Encounters of the Third Kind." The release and success of the movie saw visits to the monument skyrocket, which shows the power in Spielberg's film. Join us — Pete Wright and Andy Nelson — as we jump back into our Original SciFi series with this fantastic entry into the genre. We talk about the way this film has changed in our eyes as we've gotten older, and how the parenting of both Roy and Gillian, played by Richard Dreyfuss and Melinda Dillon, now feels incredibly poor. We discuss the nature of the 3 existing cuts of this film, what's different, what works and what doesn't in the changes, why the changes were made and which to watch. We chat about the nature of this film in the world of scifi films and why is feels very naturalistic, playing to realistic sensibilities that fit very much with Spielberg's views at the time he made this that it was more science speculation than it was science fiction — it's a story of alien visitors in a world where he believed we had already been visited. We go through the incredible talents behind the amazing special effects, the music, the editing and the production design, as well as the line up of the cast, even if Pete feels Spielberg should've swapped Dillon and Teri Garr in their roles. And we question the decision to put a "PRESENT DAY" title card up at the start of this film when watching it today clearly dates the film (leading us to question the import of ever using this title card). It's a fantastic and lengthy discussion over one of our favorite science fiction films of all time. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Wong Kar-Wai's sumptuous film "In the Mood for Love" premiered at the Cannes Film Festival in 2000 and, while it lost the Palm d'Or, it left an indelible impression on everyone who saw it. A story of a connection between a man and woman who learn their spouses are having an affair, the film deals with their growing friendship as they help each other come to terms with the infidelity. In the process, they also struggle with their own draw to each other. Join us — Pete Wright and Andy Nelson — as we discuss the first of our Listener's Choice films. Steven Smart won the drawing and chose this film for us to discuss, and we're thrilled he did because we both fell in love with it. We talk about the nature of the love between the two leads played by Tony Leung and Maggie Cheung and how, on the one hand, the draw they have to each other is never consummated because they don't want to stoop to the level of their spouses, while on the other hand, they both are afraid that it's not what the other person wants so they don't act. We discuss the stunning look of the film, both from a cinematography standpoint as well as costumes and production design, and how the artists behind those elements make the film what it is. And we chat about director Wong Kar-Wai and how he started making one film but ended up with this one (perhaps because he did this without a script?). It's a beautiful film that touched both of us with its art and finesse. We had a wonderful time watching this film and have a great time chatting about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Richard Dysart is one of those faces that you instantly recognize. He's acted on the stage, on the movie screen and on the TV screen most of his life. In his films, he generally played strong supporting characters, helping to fill any given scene with what it needed. (Look at him in the films we've discussed in our Dysart series as well as several past shows — The Hospital and The Thing — to really get a sense as to what he brought to those movies.) On TV, he often carried the projects, whether he was playing a US President (he played Truman and Eisenhower twice each), a studio head (Jack Warner and Louis B. Mayer), or his most iconic character, Leland McKenzie on the entire run of L.A. Law. He's worked in about every genre there is (as well as animation), has played some of the kindest characters on screen and some of the most vile, and has worked with an incredibly wide array of actors, directors and others in the industry. Join us — Pete Wright and Andy Nelson — as we have a special episode talking with the incredible, humble and versatile Richard Dysart. We talk with Dick about where his passion for this crazy industry grew from and how he took that passion and turned it into a career in radio, which led to theatre, eventually TV and inevitably film. We chat about the way 'live TV' worked and how everyone was still kinda winging it in this fledgling industry at the time, and talk about how it's changed as the industry matured. We discuss his move into film, first playing an uncredited role in a Steve McQueen film, and then touch on a wide variety of movies that he worked in over the years. We point out several of our favorites and talk about the work on those specific projects. And we ask him about what he's up to now and if he has any regrets with his career. It's a delightful conversation with a funny, congenial man full of insight about the industry, stories about experiences on set, and a genuine passion for the world of acting. We're thrilled to ask you to join us for this special episode.
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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"Pale Rider" marks Clint Eastwood's 10th time directing himself in a film, something he went on doing until 2008's "Gran Torino" and something he clearly knows how to do well. This seems to hold true especially in westerns, even though he only directed himself in four of them. Perhaps that's because he had so much experience in them and learned from other directors like Sergio Leone how to stand, how to ride, how to stare, how to shoot on film. And while "Pale Rider" is an obvious retelling of the classic 1953 film "Shane," it can stand on its own merits and doesn't feel like a ripoff. Join us -- Pete Wright and Andy Nelson -- as we come to the last film in our Richard Dysart series, 1985's "Pale Rider." We talk about the story of this film and how lean it is, while also apparently being a ghost story, something neither of us ever caught on to until reading up on it. We discuss the actors, notably Eastwood, Michael Moriarty, Carrie Snodgress, Richard Kiel, Sydney Penny, and of course Richard Dysart, and how well they work in this film. We chat about the Biblical references in the film, the idea of Eastwood's character, Preacher, being a ghost, and how that structure works in context of this story. We talk about the nature of the little man versus the corporate machine, something we've talked about in a few recent episodes, and how it works in this film. We go over the look of this film and discuss what Bruce Surtees and Eastwood bring to the film by using low lighting, particularly for the night and interior scenes. And we touch on Lennie Niehaus's music and why it works so well in context of the film. It's a classic western with some great moments that further cement Eastwood as the true iconic 'stranger' character. Give it a watch then tune in!
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Hal Ashby made a number of stand-out films in the 70s, films that looked at human nature in offbeat stories that didn't feel like they came from a mold. When Peter Sellers presented him with the opportunity to direct an adaptation of Jerzy Kosinski's novella "Being There" shortly after the book's publication, he loved the idea and spent the next 9 years working to find the funding to get it made. The film was finally released in 1979 and was considered by many to be Peter Sellers' return to greatness. Join us — Pete Wright and Andy Nelson — as we continue our Richard Dysart series with this fantastic film. We look at the era of the film and, while it's certainly a 70s film, it still feels timeless. We talk about the nature of Sellers's fascinating portrayal of Chance the Gardener (or as Chauncey Gardiner, as he comes to be known), and what our own interpretations of this character are. We chat about the way the film ends and what we think Kosinski and Ashby were wanting to say... if anything. We discuss the nature of the footage during the end credits and debate whether it takes away from the mysterious and beautiful mood the end of the film creates or not. And we discuss both cast and crew in this film, including the wonderful Richard Dysart who brings an amazing, quiet gracefulness to his benevolent doctor who is the only one not fooled by Sellers' Chance. It's a film we love and love to discuss. Watch it and tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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There have been a good number of films made about the film industry, but few have taken such a dark and surreal look at the Hollywood machine as John Schlesinger's 1975 "The Day of the Locust" did. While it's based on the Nathanael West book from 1939 and takes place at that time, it feels like a modern — or possibly even timeless — story of the business and the fringe-dwellers who want to be a part of its magic. Join us — Pete Wright and Andy Nelson — as we begin our Richard Dysart series with Schlesinger's film. We talk about our experiences with this film (which is at times mind-boggling, slow, horrifically violent, absurd, and pointedly smart) and how it's one of those films that sticks with you whether you want it to or not. We discuss the performances and how perfect they are for the story — William Atherton, Karen Black, Donald Sutherland, Billy Barty, and of course Richard Dysart. We chat about the interesting structure this film has, feeling more like a novel than a 3-act screenplay, and how it challenges us with trying to determine who we would call the protagonist. And we work to figure out what the film is saying through some of its incredibly haunting imagery. It's not a film for everyone, but it's certainly a film worth watching if you're looking for a dark tale spun about the movie machine and how it destroys people. It certainly is a film that warrants a lot of discussion. Think you're up for it? Give it a watch then tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Happy New Year! To ring in 2014, we wanted to find a tie-in to the new year so landed on 1994's Coen brothers comedy, "The Hudsucker Proxy." Join us — Pete Wright and Andy Nelson — as we delve back into the comedies from our good friends the brothers Coen and ring in 2014 with this fun film. We talk about the overall feel of the Coens' films and compare their comedies to their dramas. We discuss what it takes to be a great film and what would make one 'lesser' and where we'd put this film. We chat about any deeper meaning about corporate greed that can be read into this film, and whether or not it was intentionally put there by the Coens and their co-writer, Sam Raimi, or not. And we talk about how Roger Deakins' work has evolved over the years with the Coens and what changes he's made in his own style from watching in their washroom. It's a fun movie and one worth watching and discussing. Check it out!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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It's the holiday season again which means it's time for us — Pete and Andy — to talk about another holiday classic! Join us as we talk about Peter Godfrey's screwball war comedy from 1945, "Christmas in Connecticut." We talk about how much fun the movie is and how it feels a bit pro-feminist yet how it definitely shows its age at the same time. We talk about the great cast, particularly the wonderful Barbara Stanwyck, Sydney Greenstreet, S.Z. "Cuddles" Sakall, Dennis Morgan, Reginald Gardiner and Una O'Connor, and how well they fit in their roles. We discuss Godfrey and his place in Hollywood, as well as his hobby as an amateur magician. And we chat about how this film fits in our holiday lists — is this one we'd put on every year or not? It's a fun, albeit dated, movie and we have a great time chatting about this movie. Give it a watch then tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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It's easy to compare "City of God" to "GoodFellas" — they both have a frenetic filmmaking style, they both revolve around youth growing up in a world of violence, and they both take that violence to awful places. Plus, they're both brilliant films. Join us — Pete Wright and Andy Nelson — this week on The Next Reel as we finish our Foreign Language series with a true highlight — Fernando Mereilles' and Katia Lund's 2002 film "City of God." We talk about the story and how it introduces us to this world of the favelas of Rio that not only gives us a sense of the time and place in the film incredibly effectively, but also connects us to characters that fit in this world and take us on a journey over several decades here, yet in a way that still feels intimate. We discuss the energetic and wild cinematography and directing style of the film and why it works so well. We chat about how the film was received around the world and why so many people have connected with it. And we talk about other projects Mereilles has done and how they differ or are similar to his style we see here. It's a great conversation about a great film. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Even though Edward Yang's final film, "Yi Yi, A One and a Two," was critically acclaimed, it is a long film and requires patience, the right frame of mind when watching, or something similar to really connect with the film. At just shy of three hours and exploring pretty much every aspect of life in one Taipei family over the course of a year, it's certainly something that can tax some viewers, but for those who click with it, it's a masterful, powerful, poignant film. Join us — Pete Wright and Andy Nelson — as we continue our Foreign Language film series with this Taiwanese entry from 2000. We discuss what works so well in this film... for Andy and what doesn't work at all in this film... for Pete, having very interesting discourse back and forth in the struggle to explore this film. We talk about the characters in the film and what they're bringing to the story, most notably the young Yang-Yang who ends up providing the most poignant elements of the story. We chat about the New Wave of Taiwanese cinema in the 80s-90s when Yang was beginning his career and how that group and their sensibilities informed Yang's filmmaking. And we discuss what works and doesn't work for us in the cinematography and the editing, and why it works so well for Andy but not Pete. It's a fascinating exploration into a film that clearly works for some but not others, and one that's full of fun facts and interesting arguments. Watch the movie and tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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"Run Lola Run" came out during a period when lots of unique and truly fantastic films were opening up in theaters. Luckily for Lola, it was equally unique and fantastic, ensuring that it didn't get buried. Tom Tykwer's wild film, so thoroughly infused with energy and style, took a simple tale of a woman trying to (quickly) raise money for her boyfriend to ensure he doesn't get killed by the gangsters for which he works, and gave it a philosophical bent when he decided to write it in almost a video game style where we see the same situation play out three times. It's an absolutely fascinating film to watch and a very easy film to enjoy. Join us — Pete Wright and Andy Nelson — as we continue our Foreign Language Film series with this thrill of a film. We discuss the nature of the film itself and the almost avant garde dreamscape nature of it, exploring what it was Tykwer was trying to say by making the film this way. We chat about what works for us and what doesn't, and look at one sequence in particular that ended up feeling more problematic than it has in the past. We talk about the performances, notably Franke Potente and Moritz Bleibtreu, and why they work so well for us. And we chat about the style, particularly the cinematography and editing, and how they help the film achieve this level of energy not often maintained as well in other films. We both love this film, despite some problems, and have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Rarely does a film truly take you into somebody's head for almost the entire film. Sure, you get POVs here and there in films, but it's a tricky tool to use, especially for longer periods of time. When Ronald Harwood hit on this in-the-head technique for his adaptation of Jean-Dominique Bauby's biography, it was exactly what the story needed to be told as a film. Enter Julian Schnabel, an artist/filmmaker who brought his own intuitive magic to the directing of it, and you end up with 2007's "The Diving Bell and the Butterfly," a stunningly gorgeous film that's as powerful a story of human resilience and beauty as it is a difficult film to watch because of the subject — a man living with locked-in syndrome. Join us — Pete Wright and Andy Nelson — as we continue our foreign language series with this brilliant film. We talk about our feelings of the movie and how powerful it is yet how difficult it can be to watch and why. We chat about the unique techniques Schnabel brings to the table in the making of the film and why they work so well with this story. We discuss the actors — Mathieu Amalric, Max von Sydow, Emmanuelle Seigner, Marie-Josée Croze and more — and how they all bring an amazing personal strength to the film. We talk about Janusz Kaminski's beautiful cinematography and how well it lends itself to the telling of this story. We bring up the novel Bauby's widowed girlfriend wrote about her experience and talk about why she got virtually left out of the film. And we look at the critical reception this film had worldwide, even if it struggled to bring in the bucks. It's a glorious poem of a film and one worth talking about. Definitely check it out then tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Juan Carlos Fresnadillo broke onto the international scene with "28 Weeks Later," the sequel to Danny Boyle's film, and has been tied to a number of high-profile Hollywood projects since, including the just-announced "Pet Sematary" remake. But it's his feature film debut, 2002's "Intacto," that one only need look at to understand why this writer/director is in such hot demand. Join us — Pete Wright and Andy Nelson — as we begin our Foreign Language series with a show about this fascinating movie from Spain about people who gamble not to win money, but to win luck. We talk about the fantastic element of this story — the idea that luck is something that can be taken from other people through touch or photos — and how it works in the film. We discuss the problems with the script that we have and the struggle to fully understand all of it on a single viewing, even though it's so easy to look past these issues while enjoying this film. We chat about the global feel of the film and how interesting it works as a movie made by a first-time feature filmmaker, creating a project that truly gives an immense sense of scale and a complex sense of the world. And Andy goes on and on about his fascination for the Malaysian Jungle Nymph, aka the Heteropteryx dilatata, the giant bug that lands on Tomas' head in the film, and how he wants to raise his own. (Pete, on the other hand, is whole-istically against it.) It's a great way to kick off our foreign language series. If you haven't seen the movie, definitely check it out, then tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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David Mamet's always one to put cons in his films, even when the film is a fight film taking place in the world of mixed martial arts. His 2008 film, "Redbelt," feels like a mash-up of genres — a con film, a fight film, a film noir, a samurai film, an intimate character portrait. It's a bit of all of these, and probably because it's hard to pin it down, it couldn't find its audience when it was released. Despite that, we wanted to include it in our David Mamet Directs series. Join us — Pete Wright and Andy Nelson — as we discuss the 10th film Mamet's directed. We discuss the nature of the genre mash-up and how it works for us, compared with how it worked for audiences when it came out. We talk about our opinions of the film and why it works for us, despite numerous problems. We chat about Chewie — the amazing Chiwetel Ejiofor — and not only what he brings to the role of the jiu jitsu instructor who stands by his principles against all adversity, but also how that helps make the film what it is (especially the final moments). And we talk about the amazing Robert Elswit and what he brings to the film through his stellar cinematography. It's a fascinating, wonderful film that definitely deserves to be seen by more people. Check it out and tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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David Mamet has made a name for himself as a playwright, as a screenwriter, as an author, and as a writer/director. His fifth film that he wrote and directed, "The Spanish Prisoner," didn't make many waves when it came out in 1998, but it seemed to impress the critics and it ended up in the black. Join us — Pete Wright and Andy Nelson — as we begin a short David Mamet Directs series by talking about this film. We talk about what makes this film work and what makes it fall apart, and how that works for us. We discuss the nature of 'Mamet speak,' the type of dialogue that Mamet is known for, and how the actors work with that dialogue in this film. We chat about the convoluted and complicated con going on in this film, and address why it is much more problematic returning to it a second time. And we talk about the nature of the problems in the film and wonder if some of it may have been intentional by Mamet. It's an interesting film, despite it's flaws, and we have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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In 1989, Cameron Crowe made his directorial debut with what many consider to be one of his best films, "Say Anything..." It wasn't one of the top films at the box office that year, but it certainly found its audience since then and is still hailed by many to be one of the great romantic films out there. Join us — Pete Wright and Andy Nelson — as we talk about Crowe's first film. We discuss our memories of the film when it first came out and compare it with our feelings about it today — interestingly, neither of us feel that strongly about the film anymore. We chat about the amazing roster of talent, not just in the big roles but also the supporting roles and cameos all through the film, and look at what works and what doesn't. We discuss the problems we have with the film now — notably the subplot with Diane's dad and his troubles with the IRS — and try to analyze what it is about them that's not working. And we talk about how the film uses Seattle, the city in which it was filmed, in comparison with other films, notably "Sleepless in Seattle." It's a film we found ourselves remembering more fondly for what it once meant to us rather than what it does for us today, but we have a great time talking about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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While romantic comedies may be dead in our current day and age, they were alive and well 20 years ago when Norah Ephron’s “Sleepless in Seattle” came out. And what sort of hurdle did they put between the couple to keep them apart until the end of the film? Why, they had them on opposite sides of the country and never actually had them meet until the very end of the film! It’s genius! Join us — Pete Wright and Andy Nelson — as we talk about this fantastic 1993 film, the latest in our romantic comedy series. We discuss the brilliant cast — Tom Hanks, Meg Ryan, Ross Malinger, Bill Pullman, Victor Garber, Rita Wilson, and more — and what they all bring to the film. We chat about the great script and how strong it is, still holding up unbelievably well today, and how it changes the landscape of romantic comedies. We talk about the music and how prevalent it is, why it works so well, and why the original composer, John Barry, left. And we discuss the nature of rom-coms today, ruminating on whether this script would’ve been able to get the greenlight in modern Hollywood. We love this film and have a wonderful time chatting about it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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Peter Sollett was an indie film director that got his 'big' Hollywood break with 2008's Nick & Norah's Infinite Playlist, a simple, honest sweet film that did well enough at the box office for him to get to continue his career as a director. This sweet film is the next in our fun-filled Horror-spectacular month of Romantic Comedy that we're right in the middle of. It's actually quite a fun series. Join us — Pete Wright and Andy Nelson — as we talk about this cute indie RomCom, possibly the first in our discussion that truly fits the genre. We talk about the cast, particularly Michael Cera and Kat Dennings, and how the two of them really embody these two characters of Nick and Norah so perfectly and why we like them in the roles — as well as problems we may have with them. We discuss the origins of the original novel and how the gum wasn't really in the novel but became such a prevalent story device in the film. We chat about the music and how music really plays an integral part of RomComs (or at least the ones we're talking about on the show). And we talk about the simplicity of the story, what works about it, and what doesn't work about it — namely why we didn't seem to connect to it as much this go-around and where this film likely will fall in our collective memories in 50 years. It's a very sweet, simple film that we both like, albeit less than we used to, and we have a great time talking about. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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And for anyone interested in our fine bouquet of show hosts:
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We continue our Romantic Comedy series with a film that really puts that genre to the test — 2002's About a Boy, directed by Chris and Paul Weitz. Is it a RomCom? Is it a comedy drama? Or a RomComDram? It's hard to say, but it is a great film that is full of honesty, heart, and human connection. Join us — Pete Wright and Andy Nelson — as we talk about this great film. We discuss Hugh Grant and Nicholas Hoult as the two leads (who both also co-narrate the film), what they bring to the film, and why they both make everything in the film feel so believable. We talk about the amazing Toni Collette who grounds the film with an amazing character turn that creates a great counterpoint to the growing friendship between Grant's and Hoult's characters. We discuss the Weitz brothers and the interesting paths their directing has taken them. We chat about the cinematography, costume designs, and production design and what they do for the world of this film. And we discuss the great ear worms in this movie. It's a great film, whatever it's genre, and we love talking about it. Tune in!
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It's October, which must mean it's time for another month of horror, right? Wrong! This month, we're turning the tables on all the Freddies and Jasons and Michaels and will be spending the month talking about romantic comedies! Our first stop? Marc Webb's feature film debut, 2009's "(500) Days of Summer." Join us — Pete Wright and Andy Nelson — as we discuss one of our favorite romantic comedies out there. We talk about what a romantic comedy is and what makes this film fit it, as well as what's different about it. We discuss the nature of love and memory, how this film honestly captures emotions around relationships, and how those emotions tie into love and memory. We look at the touching and truthful performances by Joseph Gordon-Levitt and Zooey Deschanel and what they bring to the table, along with things that may not work as well. And we talk about the cinematography, the production design, the costume design, and the music and how key they all are to making this film stand out as a rom-com masterpiece. It really is a wonderful film and we're happy to be starting our rom-com month with it. Tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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It was the genius mind of producer Jack Harris who saw potential in combining two popular 50s genres — the horror sci-fi films and the teen delinquency films — when he got Irvin Yeaworth to direct 1958s "The Blob." There were plenty of low budget midnight movies being churned out then, but somehow this one ended up hitting the winning streak by getting picked up by Paramount and distributed across the country, making a name for its star, Steve McQueen, in the process. Join us — Pete Wright and Andy Nelson — as we talk about this 50s sci-fi/horror/teen drive-in classic this week. We talk about the nature of looking at films like this and how they work — or don't work — through modern eyes. We chat about how McQueen broke onto the scene with this film and ended up having a love/hate relationship with it the rest of his life. We discuss the nature of the teen films coming out in the 50s and how this film tapped into that zeitgeist. And we chat about the production and success of this film, coming from filmmakers just trying to make a movie. It's not one of our favorites but we still have a great time talking about it. Check it out!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Hellllllloooooooooo! Welcome to episode #100 of The Next Reel, everybody! And what a better way to celebrate than to finish the Three Flavours Cornetto Trilogy series that we started in March 2012 with our episode on Edgar Wright's latest film, "The World's End." Another genre film filled with poignant character moments, riotous moments of comedy, fantastic writing from beginning to end, and solid and assured direction, Wright finishes off this pseudo trilogy (that he started with "Shaun of the Dead" and "Hot Fuzz") with a film that actually does help tie all three films together thematically while still remaining its own complete film. Join us — Pete Wright and Andy Nelson — as we delve into the frothy tale of five guys revisiting (or to some extent reliving) their past as they try to finish a 12-pub crawl they never completed before only to have it rudely interrupted by alien invaders. We talk about Edgar Wright, Simon Pegg and Nick Frost and what these gents have brought to the table in each of these 3 films, and why this film is such a treat to see because of the reversal in character types for Pegg and Frost. We discuss the rest of the actors, both familiar from Wright's other work and new to it, and what they bring to the table. We chat about the great stunt choreography and how that pairs with the fantastic cinematography to create some of the most invigorating fight scenes in a while. We go into the themes of the film and how the nature of nostalgia can affect a person negatively and how we, as people, need to keep moving forward. And we quote some of the great lines from the fantastic script by Wright and Pegg. It's a blast of a film, even if the tonal shift and disagreeable protagonist may keep some people from fully falling for it as we both clearly did. We have a great time talking about it (and thoroughly spoiling it) so go watch it and tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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At the 2008 Oscars, Joel and Ethan Coen pulled off what only 4 other directors had done before them, walking away that night with 3 wins. The film, of course, is "No Country for Old Men," and they won for Best Adapted Screenplay, Best Directors, and Best Picture. Javier Bardem won Best Supporting Actor for his chilling portrayal of hitman Anton Chigurh, which was well-deserved, and the film was nominated for 4 other Oscars. At the time, it was their highest grossing film, and put right at the top of many critics' best film of the year lists. Join us — Pete Wright and Andy Nelson — as we conclude our Dramas of the Brothers Coen series with a conversation about "No Country for Old Men." We discuss the nature of the landscape in this film, and how it not only fits in the context of this particular story but also how it fits in the look of the Coens' films we've included in this series. We talk about the performances from top to bottom, starting with Tommy Lee Jones, Bardem, Josh Brolin and Kelly Macdonald and going all the way through Stephen Root and Barry Corbin (as well as the amazing faces the Coens consistently cast in small roles), and how they each bring 100% authenticity to this film. We chat about the differences between the book and the film and how the Coens really treated Cormac McCarthy right with this adaptation. And we discuss the trust the storytellers put in the audience by allowing key moments to happen off-screen and by ending the film where they do. It's a master-class in filmmaking from a pair of the most interesting directors working today. Watch the film and tune in!
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!
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Joel and Ethan Coen may have won big at Cannes with "Barton Fink," but it wasn't until 1996's "Fargo" was nominated for 7 Oscars including Best Picture, and won Best Actress (Frances McDormand) and Best Original Screenplay for the Coens that Hollywood really started believing that these guys could deliver the goods. (They did fail miserably in Hollywood with their previous effort, "The Hudsucker Proxy," after all.) Join us — Pete Wright and Andy Nelson — as we continue our Drama by the Brothers Coen series with our discussion on this homespun tale of murder, "Fargo." We talk about the nature of the setting — North Dakota and Minnesota — and what that brings to the film. We chat about the brilliant talent — from William H. Macy to McDormand to Steve Buscemi to Peter Stormare to Harve Presnell — and what each of them brings to the table. We discuss the nature of protagonist vs. antagonist in a film structured like this and what reversals do to the storytelling process. We delve into the beautiful cinematography of Roger Deakins and explore what he was doing with the camera in this film. And we go back and forth on the Mike Yanagita character as far as what it means in the context of this film. We love this film and talk at length about it. Tune in!
"Barton Fink" was the crowning glory of the Cannes Film Festival when it premiered there in May 1991. Critics heaped their praises on it. But it never really connected with the audience and hence was a box office failure. Luckily, Joel and Ethan Coen made a film that is worth rewatching and discussing, even if it's not completely decipherable. Join us — Pete Wright and Andy Nelson — as we continue our Drama of the Brothers Coen series and delve into the murky, oozing depths of "Barton Fink." We talk about the pervasive symbolism throughout the film and ask what it means, if it's too much, if it's too on the nose, or if it's worth it. We chat about the brilliant sound design and beautiful cinematography, and how those elements of the senses play such key roles in this film. We chat about the nature of honesty and ethics and what this film has to say about them. And we discuss the fascinating character portrayals, most notably Barton played by John Turturro and Charlie played by John Goodman. It's not an easy film to understand but it's clear that it's a film made by deliberate filmmakers who know what they're doing. We have a great conversation about this film, and hopefully our conversation is easier to understand than the film itself. Tune in!
For their third film, the Coen brothers decided to again make something completely different from what they've done before. With "Miller's Crossing," they made a gangster picture that honors conventions of the genre while also twisting those conventions, just as they did with "Blood Simple." And it worked for some people while not for others (and lead to a big bomb at the box office). Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we continue our Drama by the Brothers Coen series with 1990s "Miller's Crossing." We talk about what we think of the film and why it's largely been a film that's been hard for both of us to get into over the years, yet one in which we finally connected this time — and liked quite a bit. We discuss the amazing performances from top to bottom in this film and what all of the wonderful actors — Gabriel Byrne, Marcia Gay Harden, Albert Finney, Jon Polito, John Turturro, J.E. Freeman, etc. — bring to the table. We chat about the role of the hat worn and lost time and time again by Tommy, Byrne's character, and what we think the Coens are saying with it. And we chat about some of the amazing production crew — Barry Sonnenfeld and Carter Burwell in particular — and why they stand out. (And we completely left out the amazing production designer Dennis Gassner and costume designer Richard Hornung, along with countless others — stellar work, all of you!). It's a tough film to follow but we both really got a lot out of it this time and had a great time talking about it. Check it out and tune in!
"Blood Simple," released in film festivals in 1984 and theatrically in 1985, found as many detractors as it did fans initially, but no one can argue that it was all that the filmmaking duo of Joel and Ethan Coen needed to break onto the scene as fresh, quirky and sometimes violent voices in the cinema world. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we start our Drama by the Brothers Coen series. We talk about how much we love this neo-noir crime thriller and why, and debate whether it's just a film noir or really a neo-noir (and if that really means anything anyway). We chat about the performances — Dan Hedaya, Frances McDormand, John Getz and the unforgettable M. Emmett Walsh — and why they each stand out for us in different ways (most notably Walsh in his horrible yellow jacket). We discuss how this film introduced the world largely to the cinematographic eye of Barry Sonnenfeld, what it did for the film, what worked, what didn't, and why Sonnenfeld shouldn't have started directing. We chat about the nature of the story — complex and simple all at the same time in a story that honors genre conventions as much as it manipulates and breaks them. And we talk about the Coen brothers in general and why we feel there is such a pervasive split between cinema-goers as to their opinions of the Coens' films. It's a fun, bloody, dark film that just gets better with age. Check it out and listen in!
In 1934, a little film studio released what they thought would be a minor but fun little film called "It Happened One Night." That film went on to earn 5 Oscar nominations — Best Picture, Director, Actor, Actress and Screenplay — and win all 5. It also was an audience favorite and turned that little studio — Columbia Pictures — into one of the major players. Join us — Pete Wright and Andy Nelson — as we talk about Frank Capra's wonderful film "It Happened One Night." We talk about how this film, which is generally considered to be the first screwball comedy, was huge in the careers of its two stars, Clark Gable and Claudette Colbert, even if they didn't think it was a picture worth being in when they were making it. We discuss the supporting players and how Capra often filled his films with great ones — and how some in this film became the basis for various Looney Tune characters. We chat about the great work of Frank Capra but how he really was a director making films for a specific time. And we look at several specific scenes and talk about why they work so well, given the genre, the actors, and the script. It's a wonderful, fun and breezy film. Tune in!
Charles Laughton is most known for his larger than life performances in films from the 30s through the 60s, but he did have one chance to direct which came in the form of 1955's The Night of the Hunter, a film he also co-wrote with James Agee based on the novel by Davis Grubb. Unfortunately for him, the film was a huge flop. Luckily for us, this quirky anomaly of a film has not only survived but has thrived — it is now critically praised and generally considered to be a classic film. Join us — Pete Wright and Andy Nelson — as we continue our Couples on the Run series with Laughton's The Night of the Hunter. We talk about our impressions of the film, why it works, and what are some of its potential stumbling blocks in connecting with audiences. We chat about the amazing performances, from Billy Chapin and Sally Jane Bruce playing the two kids on the run to Robert Mitchum, Shelley Winters and Lillian Gish, the three adults heading up the film. We discuss the look of the film and how it contributes to the unique vibe Laughton was going for, whether by using silent film techniques or film noir lighting styles. And we talk about the overall tone of the film — from horror to noir to comedy to fairy tale etc. — and how that helps give the film a unique tone not often seen in films. It truly is a wholly unique and special film, and we have a great time talking about it. Tune in!
William Goldman is often credited as the first screenwriter to sell a spec script, meaning he wrote a script without getting paid for it then sold it once he was done with it. It's common in the novel-writing world, but in the late 60s, it was unheard of in the film business. That script was "The Sundance Kid & Butch Cassidy," which legendary producer Richard D. Zanuck, who was running 20th Century Fox at the time, optioned for twice what they were allowed to, knowing it was going to be big. And he was right. We continue our Couples On the Run series with George Roy Hill's 1969 western, "Butch Cassidy & the Sundance Kid." Join us — Pete Wright and Andy Nelson — as we discuss the place this film has in the western genre and why it remains a classic to this day. We talk about the wonderful performances by Paul Newman and Robert Redford, and how Hill had to fight to get Redford on at the time because he was relatively unknown. We chat about Hill and Conrad Hall, the cinematographer, and what they both brought to the table. And we discuss Burt Bacharach's Oscar-winning turn for his score and song "Raindrops Keep Fallin' On My Head," and how well these anachronistic bits worked for us this go around. It's top-notch filmmaking and we love this movie. Tune in!
Quentin Tarantino's first script that he wrote turned out to be one he couldn't get made himself. Lucky for us (or unlucky as some Tarantino fans feel), he managed to get "True Romance" into the hands of Tony Scott. Tony gave it a linear structure and a happy ending and, in our estimation, created a magical fairy tale of a film. We're continuing our "Couples on the Run" series and are thrilled with this week's edition of "True Romance" to the list. Join us — Pete Wright and Andy Nelson — as we talk about the origins of the script and its road to becoming the film that it is. We chat about not only the incredible performances throughout the film, but also the amazing, star-studded line-up of actors playing the parts and how much we enjoy them all. We discuss the nature of the violence in the film and how it created quite a stir politically at the time though how, by today's standards, it's not too harsh. And we hit on the crazy Tarantino Universe theory and how this film ties into it. We love this film and have a great time talking about it. Tune in!
Infrequent filmmaker Martin Brest may have directed the box office bombs Gigli and Meet Joe Black, but he also directed the huge critical and commercial successes Beverly Hills Cop and Scent of a Woman. Somewhere in the middle of these films, he made a fantastic action-comedy about a bounty hunter taking a criminal across country to collect his reward. That's right, we're talking about Midnight Run, a part of our Couples on the Run series. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we discuss the actors in this film, particularly Robert De Niro, Charles Grodin, Joe Pantoliano, Yaphet Kotto and Dennis Farina, and how they work for us now 25 years after the film first came out — some better than others. We chat about the nature of the action-comedy film, particularly those from the 80s, and how the comedy has fared as time's worn on. We talk about the great script by George Gallo and how it stands out in its genre because of the honestly written characters that are developed well over the course of the story. And we talk about the crew who worked on it with Brest, notably Danny Elfman turning in one of his early great scores that definitely veers away from the wacky. It's a film that holds up well — mostly — and one we have a great time talking about. Listen in!
Stanley Kubrick's 3rd film, "The Killing," was a box office bomb due to a poor release plan from United Artists and virtually no marketing. Luckily, the film was critically praised and has grown in stature since its release in 1956. It's a film noir about a race track heist gone wrong with the fantastic Sterling Hayden leading the charge, and the last film in our Heist series. Join us — Pete Wright and Andy Nelson — as we finish this series with Kubrick's early classic. We talk about the story and how revolutionary it was at the time to tell a story that was told out of chronological sequence. We discuss the actors and the roles they play in this great film, particularly Sterling Hayden, Elisha Cook Jr. and Marie Windsor. We talk about the look of the film yet how Kubrick and his cinematographer, Lucien Ballard, were at odds throughout production. And we chat about why this film was so ahead of its time and why it's largely considered an important classic that's worth discussing. It's a great finish to our current Heist series. Listen in!
After director Ron Howard dropped out from "Inside Man" to instead re-team with Russell Crowe on "Cinderella Man," producer Brian Grazer ended up turning to an unlikely director to make this fun heist film — Spike Lee. Give his largest budget and a script that's more of a genre film than anything else Lee's done before, he managed to create a wild heist film with a great twist ending. Join us — Pete Wright and Andy Nelson — as we continue our Heist series this week with Lee's 2006 film "Inside Man." We talk about what works in this film and what doesn't work and how this film fits within Lee's body of work. We chat about the pacing of the film and how some elements that are problems for Andy aren't for Pete, but how Pete's problem areas aren't problems for Andy. We chat about several key members of the crew and what they're bringing to the table. And we chat about the perpetual problem Lee seems to have with female characters in his films. We still enjoy the film even with its issues, and we have a great time talking about it this week. Tune in!
Ben Affleck made a smart move when he decided to start directing films. He had made some bad career moves as an actor and was fizzling out. With his 2007 directorial debut "Gone Baby Gone," he proved he had chops — and that they weren't in acting. He's a great director. With "The Town," his 2010 heist film, he again shows he knows how to write and direct a great film, and can still act as long as he's in the right material. Join us — Pete Wright and Andy Nelson — as we continue our Heist Series with Affleck's great bank robber film. We talk about the amazing talent all through the film — Affleck, Jeremy Renner, Rebecca Hall, Blake Lively, Jon Hamm, Chris Cooper, Pete Postlethwaite, and more — and how they bring this world of robbers to gritty life. We chat about the changes the film went through from the original theatrical cut to the extended cut to the extended cut with alternate ending and how the alterations affected the story. We chat about the nature of the script, adapted from Chuck Hogan's novel "Prince of Thieves," and why it works so effectively even if it is formulaic. And we run through the wide array of reviews — from hating it to loving it — and deliberate on why we think the opinions vary so much with this film. It's a great and fun entry into our Heist Series and one well worth talking about. Listen in!
There's something interesting about heist films because, generally, you're rooting for criminals to pull off a heist and criminals usually aren't who you'd expect to be your protagonist. But watching Roger Donaldson's 2008 heist film The Bank Job, based on the real Baker Street Robbery in London 1971, you can't help but root for Terry Leather and his imperfect gang as they not only rob the bank and pull off one of the biggest scores in London's history, but actually get away with it too. Maybe that's because the people after them are all much worse, and maybe that's because you can't help but side with Terry played wonderfully by Jason Statham. Join us — Pete Wright and Andy Nelson — as we start our Heist series with this great movie. We discuss the story and how it fits within the true story — and what truth means in a film based on a true story anyway. We chat about the great cast and the complex script and how it all ties together perfectly. We touch on Donaldson and his career, looking at him as an effective filmmaker. And we discuss the look of the film — the cinematography, the costume design, and the production design — and how it plays an important role in bringing the swinging world of 1971 London to life. It's a fun if raunchy film to start off our series. Tune in!
Woody Allen has made some great films and he's made some stinkers, but he is a man who consistently cranks films out year after year. In 2006, his film "Scoop" happened to have a stage magician in it and, because of that, we felt it was important to include in our series about films made about stage magic in 2006. But paired with the other two films in this series — "The Prestige" and "The Illusionist," this film falls flat. But that doesn't mean we don't have a great time talking about it. Join us — Pete Wright and Andy Nelson — as we wrap up our magic series with one of Allen's worst films, "Scoop." We talk about the magic, the murder mystery and the comedy in this film and how none of them particularly stand out. We discuss the actors — Scarlett Johansson, Hugh Jackman, Ian McShane and Woody Allen in particular — and what, if anything, they bring to their roles. And we chat about what works in Allen's films and why this film feels so slight and forgettable. It's not one of our favorites, but we still have a great conversation about it. Tune in!
2006 was quite the year for movies about stage magicians, and as our series continues, we've decided to focus solely on the 3 films dealing with prestidigitation that came out that year. Neil Burger's The Illusionist came out a few months before Christopher Nolan's The Prestige, but it dealt with an entirely different story. True, they both take place in the world of magicians, but while Nolan's film dealt with a strong professional rivalry, Burger's dealt with an unrequited love and the fight the two lovers struggle through to be together. Join us — Pete Wright and Andy Nelson — as we talk about The Illusionist and the magical year of 2006. We chat about the performances in the film — Edward Norton, Paul Giamatti, Rufus Sewell, and Jessica Biel primarily — and how they work for us. We chat about the nature of the ending of the film and how the nature of the end works — or doesn't. We discuss the actual magic tricks performed in the film, all based on actual tricks of the period, and how the CG embellishments actually may detract from the power of the story. And we talk about the cinematography and score and the strengths and weaknesses in them. We have a great time revisiting this film. Tune in!
Right after the amazing success of Batman Begins and right before the brilliance of The Dark Knight, Christopher Nolan switched gears completely and made a fascinating period piece about two rival magicians duking it out to be the best. The Prestige wasn't the most popular film of his but certainly garnered its share of positive acclaim and audience draw. Join us — Pete Wright and Andy Nelson — as we begin the next series on The Next Reel: this time, a series about films that deal with magicians. We start with what we feel is an absolutely amazing film — The Prestige. We talk about the nature of magic tricks as defined within the film — having the pledge, the turn and the prestige — and how the film itself is structured as if it's a magic trick. We discuss the fascinating characters portrayed by Hugh Jackman and Christian Bale and the nature of what their characters need to do in order to become the best. We chat about the nature of a film structured in a nonlinear style like this one is, how that ties into the original source novel by Christopher Priest, the nature of the unreliable narrator, and why it all works so well in a film about magicians. And we contemplate the nature of rivalry and how the film not only emphasizes that aspect of competition in everything done by the two principal characters but also by the real-life scientific duelists Thomas Edison and Nicola Tesla. The Prestige is a fascinating film that is meticulously structured in a deliberate way so as to create its own magic trick and get the audience every time. We find it extremely effective and have a great time watching it as well as talking about it this week. Check it out!
After writing his teleplay for "Marty," it wasn't long before Hollywood asked Paddy Chayefsky to adapt his script for a feature film. And it's a good thing he did too — he won his first Oscar for his screenplay. Join us — Pete Wright and Andy Nelson — as we finish our Paddy Chayefsky series with Delbert Mann's 1955 film "Marty." We talk about our feelings for the film and how, while the story of a man with image issues who finally finds love is touching, it still feels very slight. We discuss the actor who plays Marty — the wonderful Ernest "the beef" Borgnine — how he's made his mark indelibly in our heads, and whether this role felt like the right one for him or not. We chat about the other actors nominated for supporting roles — Betsy Blair and Joe Mantell — and how their roles fit within the context of this story about Marty (and whether they deserved Oscar nominations for their performances). And we discuss Chayefsky's interesting writing, not just here but in all 3 films, and look at what themes he's repeating and why. It's a good film that won Best Picture in 1955 and, while perhaps not as relevant today, is still an interesting film to catch up with. We have a great time talking about it, so tune in!
For his original script "The Hospital," Paddy Chayefsky won his second Oscar and created an enemy for himself — the US's medical institution which he was satirizing. But his script, while genius in many ways, veers off course into several strange directions that take the sting out of the satire. And that's, perhaps, why the film isn't talked about much these days. But it's still worth watching and talking about! Join us — Pete Wright and Andy Nelson — as we happily talk about this wild Chayefsky ride and continue our series on this great American writer. We talk about the brilliance of Chayefsky's satire in the script and how it works so well, and contrast that with several elements that don't seem to fit the film completely and make for a less satisfying experience. We discuss the great performances of George C. Scott, Diana Rigg, Barnard Hughes, Richard Dysart and others, and how those wonderful Chayefsky monologues really give these great actors something to chew on. And we talk about the reason Chayefsky wrote this film and how the reaction to this film may have been a partial cause of his death. It's a fascinating film to watch that has moments of brilliance paired with moments of absurdity, resulting in a film that's great to look back at and study, if not one to watch on a regular basis. We certainly have a great time discussing this film. Tune in!
It's easy for us on this show to talk at great length about Sidney Lumet's 1976 film "Network" as it's one of our all-time favorites. Both a scathing indictment of the TV industry and a reality check for people's feelings about the times in which they were living, this film made an indelible mark on the world of film and created one of the most iconic movie lines ever. Join us — Pete Wright and Andy Nelson — as we not only finish our series of films from 1976 but also begin a short but deliciously sweet series of films written by the amazing Paddy Chayefsky. We talk about the prescience with which Chayefsky seemed to have about the modern state of television and our media-infused culture when he wrote this film in the mid-70s, and what he's really saying with the film. We discuss the brilliant directing by Lumet and how he and his director of photography, Owen Roizman, chose to corrupt the look of the film as it progresses, taking us from a relatively normal world to one that is much more menacing. We go through the amazing cast — Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Ned Beatty, Beatrice Straight, and more — and talk about how pretty much every one of them is given their time to shine in this amazing script. And we look back on 1976's Oscars and pick our own winners if we were the only two people voting. We have a great time talking about this amazing film. If you haven't seen it, go watch it IMMEDIATELY, then come back and tune in!
For Clint Eastwood's fifth directorial effort, he returned to one of the genres he's most well-known for — the western — and created an absolute classic, The Outlaw Josey Wales. A western affected both by the revisionist movement within the genre that had been growing for nearly a decade as well as by the overall darker, more realistic tones exhibited in 70s cinema, this film took a lot of old elements from classic westerns and turned them on their heads: the Union soldiers are the bad guys, the outlaw is the hero, the Native Americans are not just real characters but actually integral to the story, and the final shootout takes an unexpected — and ultimately very gratifying — turn. Join us — Pete Wright and Andy Nelson — as we talk about one of our favorite westerns and continue our series of films from 1976. We discuss classic western elements and look at how they shift within this sub-genre, the revisionist western, as well as discuss what this sub-genre is really all about. We talk about the wonderful collection of actors, both leads as well as unforgettable supporting roles filled by amazing character actors, and how they all lend a sense of reality to the film (even if their scruffiness can make them hard to distinguish from one another). We chat about the troubles with the making of this film and why Philip Kaufman was fired as director after a week of production. And we discuss Forrest Carter, the author of the original novel "Gone to Texas" on which the film was based, his history as a KKK leader and segregationist supporter, and how that affects our views on the film. It's a glorious western that is an interesting precursor to Eastwood's 1992 masterpiece Unforgiven, and we have a great time discussing it. Listen in!
Brian De Palma had been making feature films for almost a decade before he made Carrie in 1976, but it was this film that became his first blockbuster and really pushed him to the next level. By making an adaptation of the first book by an up-and-coming writer at the time, Stephen King, and turning it into a very effective and frightening psychological horror film, De Palma created a classic that is nearly as effective (if a bit dated) as it was when first released. Join us -- Pete Wright and Andy Nelson — as we continue our 1976 series with Carrie. We talk about De Palma and his filmmaking style, particularly how he uses the film tools at his disposal to enhance the genre in which he's working as well as to explore the boundaries of what he can with the medium. We chat about the wonderful actors, from Sissy Spacek and Piper Laurie all the way to down to Edie McClurg, and how wonderful they all are, if not quite frightening in how they represent roles in our collective bad high school memories. We discuss the nature of the filmmaking style, balancing the worlds of innocence with that of horror — good versus evil. And we talk about some of De Palma's regular collaborators and what they bring to the table, from composer Pino Donaggio to art director Jack Fisk. It's a great horror film that has stood the test of time and we have a great time chatting about it. Tune in!
We're continuing our 1976 series with Martin Scorsese's gritty film Taxi Driver, one of his greatest and arguably most talked about films. Based on a screenplay by Paul Schrader, who set out to write about loneliness, Scorsese's film burst onto the scene with Travis Bickle as the antihero in a gritty, grimy New York full of sex and violence, very much establishing Scorsese as a filmmaking force to be reckoned with. Join us — Pete Wright and Andy Nelson — as we discuss the fascinating filmmaking techniques Scorsese employs in making this film, taking elements of experimental filmmaking and mixing it with a vibrant and alive camera to create an amazingly visual film. We talk about the performances — Robert De Niro, Jodie Foster, Albert Brooks, Cybill Shepard, Harvey Keitel — and what the actors bring to the table. We chat about the nature of a film essentially about a psychopath and how that affects its audience, and in particular Pete who now hates himself for not liking the movie (despite still appreciating it). And we expound on the majestic score by Bernard Herrmann — his last — and what it brings to the film, even if Andy can't remember his name. We have a great conversation about the film with just the right amount of disagreements thrown in for your listening pleasure. Tune in!
In 1976, John Schlesinger made a film adaptation of William Goldman's novel Marathon Man, and in the process, made everyone afraid to go back to their dentist. There are few things more horrifying than watching Laurence Olivier's Nazi dentist drill into Dustin Hoffman's teeth (the healthy ones because it'll hurt more, naturally). Join us — Pete Wright and Andy Nelson — as we start a new series digging into great films from 1976, a great year for cinema, and we start it off with Marathon Man. We chat about the tonal shift in films in the 70s (and mention the great documentary about 70s films, A Decade Under the Influence), and how that change affects this thriller. We discuss the nature of a world in crisis, where this film's world is after WWII, the psychology of people as passive witnesses, and the nature of paranoia itself and how all of these themes play important parts in the film. We chat about Hoffman, Roy Scheider (our favorite 70s actor), Olivier, Bill Devane, and Marthe Keller in the film, and examine what they bring to their performances, particularly in this grittier period of filmmaking. And we talk about the famous torture scene and how it holds up by today's standards. We're thrilled to be talking about 1976 and have a great conversation about this film. Check it out and tune in!
We end our Original Science Fiction series with Andrew Niccol's visionary 1997 film set not too far in the future, Gattaca. Join us — Pete Wright and Andy Nelson — as we delve into not just what makes this film great and unique, but also what ties the four films from this series — Dark City, Sunshine, Moon, and Gattaca — together. We chat about the nature of science fiction films set close to where we are now and how those stories use the tools of science fiction to explore the dangers of where we could end up. We discuss the concepts of genetic manipulation as it is in the world of the film, what actual geneticists think of it, and what the filmmakers are trying to say. We talk about the great performances in the film, from Uma Thurman and Ethan Hawke to Alan Arkin to Xander Berkeley, and how they're all bringing great stuff to the table. We get into the look of the film, from the stunning production design and costume design to the marvelous cinematography, and how all of these elements came together to create an original future that certainly feels believable. And we look at the nature of being an original science fiction film and what that actually means — not just how it fits within the genre, but how those films tend to fare at the box office. It's a great film that poses interesting questions and certainly is worth watching and discussing. Tune in!
Our original science fiction series continues with Duncan Jones' fascinating film debut from 2009, Moon. Made for a low budget, this entry into the science fiction genre showed that you didn't need a $100 million budget to tell a science fiction story that makes you think while also being a great story. Sure, it has its problems, but it's easy to forgive when it's as fascinating to watch as Moon is. Join us — Pete Wright and Andy Nelson — as we talk about it on this week's episode of The Next Reel. We talk about the low budget production of this film and what they were able to pull off to create a compelling piece of sci-fi. We chat about Sam Rockwell playing opposite Sam Rockwell, how well it works technologically-wise, how well he performs it, and what it means to the story. We delve into what the filmmakers are saying with this film and how well the message is pulled off. And we chat about the effects, both digital and physical, and how well they're blended. It's a great film, even with the issues that come up in Act 3, and one well worth talking about. Check it out!
We continue our Original Science Fiction series with Danny Boyle's 2007 film, Sunshine. It's a film that stands out as a highlight in sci-fi films for its magnificent vision depicting mankind needing to travel to the sun to reignite it, but one that most people seemed to never hear about or avoid as it was a big box office disappointment. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we continue our series with this film. We talk about the fascinating discussions and explorations that arise out of this film regarding the nature of man vs. God as well as science vs. nature. We hash on the end of the film and why Andy has a problem with Danny Boyle's directing choices. We discuss the brilliant special effects and how they help the film ground us in the reality of this world and journey. And we throw in some scientific facts about the sun for good measure. It's an episode full of information, debate and fun. We have a great time talking about Sunshine. Watch the film and join us!
With all the franchises, spin-offs and films based on other mediums these days, it seems rare to find original sci-fi films. That inspired us to do a series of original sci-fi films, and we're starting with one of our favorites. In 1998, Alex Proyas created a fantastic and wholly unique science fiction film, Dark City, that unfortunately bombed at the box office but has since proven to be a cult hit in the after markets. This film, a neo-noir sci-fi with a very mysterious twist, follows a man with amnesia as he tries to uncover who he is, why nothing seems to make sense, and why he woke up at the scene of a murder. Join us — Pete Wright and Andy Nelson — this week on The Next Reel as we begin our Original Sci-Fi series with Proyas' Dark City. We talk about the nature of the world, a place of puppets and puppetmasters, and what happens when a puppet realizes the world it's in. We discuss the great cast — Rufus Sewell, Jennifer Connelly, William Hurt, and Keifer Sutherland in particular — and what they bring to the table. We chat about the stunning production design and effects, as well as the shadowy noir cinematography style. And we cover the script and how it seemed to come out at a time when many stories with this similar theme were being released, like The Matrix and The Thirteenth Floor. It's a great sci-fi and we have a great time talking about it. Tune in!
There's something about memories of childhood and baseball that seem to go hand in hand. Perhaps it's the tradition of baseball — it feels as tied into good ol' Americana as much as fireworks on the Fourth of July or hot apple pie, things that can certainly define childhood memories. Perhaps it's just that it was one of those things you did as a kid that helped shape who you would become. Regardless, David Mickey Evans tapped into this connection for 1993's The Sandlot, his directorial debut, and ended up creating a cult favorite that will stand the test of time because of it. This week, join us — Pete Wright and Andy Nelson — as we wrap up our current baseball series with this fantastic movie that tells a simple childhood baseball story yet seduces the audience into reconnecting with their own childhood. We talk about the nature of this story and how its episodic coming-of-age nature connects it to other great films like A Christmas Story and Stand By Me. We chat about the great cast and how these Sandlot kids really work well together as a group of friends. We discuss how the film really does seduce you, as Roger Ebert said in his review, "with its memories of what really matters when you are 12." And we hit on the interesting and opposing views of baseball that this film and our last film in this series, Moneyball, take. It's a very easy and enjoyable film to watch and we have a great time talking about it. Tune in!
It's spring training season again, and we're back to discuss more baseball movies! In 2011, Bennett Miller directed Moneyball, a fascinating film — one of our favorites — that details the 2002 season of the Oakland A's, and particularly how General Manager Billy Beane decided to use a new statistical approach nicknamed moneyball to buy players, bucking all tradition within the game. The film was a critical and commercial success, and received numerous awards and nominations including 6 Oscar nominations. This week, join us — Pete Wright and Andy Nelson — as we begin this year's baseball series with this amazing film. We talk about the brilliant performances, from the key performances by Brad Pitt and Jonah Hill to the supporting performances by Robin Wright and Spike Jonze (and even Derrin Ebert!). We discuss Pete's fascination with the nature of moneyball and the use of statistics to essentially better control the destiny for a team, and how that balances with the unpredictable magic that happens in the game. We chat about the amazing Wally Pfister and what he brings to the table with his cinematography. And we also chat about the struggle the screenwriters had in getting the script adapted from Michael Lewis' nonfiction book, why the film took so long to get made and who had been involved at various points in getting it made. It's a deeply engrossing film that we love, and we have a great time talking about it. Tune in!
It's Valentine's Day, and what better way to end our current John Huston series than with his 1985 romantic mafia comedy, Prizzi's Honor? Huston was struggling with his health in the 80s but still a vibrant and essential director when he made this film that garnered 8 Oscar nominations. Join us — Pete Wright and Andy Nelson — as we celebrate love and death in this quirky film. We chat about what works and what doesn't with the performances in the film, particularly Jack Nicholson's and Anjelica Huston's, and how essential they are in a film with such a variety of characters like this film has. We discuss what Huston was trying to say with the film and how it fits into his body of work. We talk about the amazing crew and what they bring to the table as well as the kudos they received for their work. And we chat about the nature of the story — a mafia comedy — and what Richard Condon, who wrote the novel on which it was based, was saying with the story. It's a fun film and we have a great time talking about it. Check it out!
When people list off caper films, it's a long list that comes to mind — Ocean's Eleven, Rififi, The Killing, The Ladykillers, Kelly's Heroes, The Italian Job, The Usual Suspects, even more recently Inception — but the film that really kicked it all off was 1950s masterpiece, The Asphalt Jungle. John Huston co-adapted W. R. Burnett's novel and turned it into one of his greatest directorial achievements, a story of a group of criminals working hard to pull off the perfect heist only to have everything fall apart in the end. It's not only the start of the caper subgenre, but also a master work of character development and taut filmmaking.
Join us — Pete Wright and Andy Nelson — as we continue our John Huston series with this fantastic film. We talk about how the film looks at the criminal's heist and how that balances with the character development. We chat about the amazing actors who bring the film to life — from Sterling Hayden to Marilyn Monroe. We discuss where the film fits in MGM's body of work and how it felt different for what the studio was churning out at the time. And we revel in the gorgeous black-and-white cinematography shot by Harold Rosson that gives the film a haunting, gray film noir vibe and helps define this jungle — this city beneath the city.
It's a film that quickly shot up our list of favorite films upon rewatching and is definitely worth talking about. Tune in!
In 1948, John Huston managed to crank out two of his most well-known films — The Treasure of the Sierra Madre, a masterpiece that received many accolades but took a while to warm up at the box office, and Key Largo, a noirish crime film that takes place during a hurricane on the Florida Keys which did great at the box office but didn't create a big splash in the awards circles. Join us — Pete Wright and Andy Nelson — this week as we continue our series about John Huston with Key Largo, a film that works in many aspects for us but doesn't work in others. We talk about the actors and what we think of their performances — Humphrey Bogart, Lauren Bacall, Edward G. Robinson, Lionel Barrymore, even an appearance of Jay Silverheels who most famously played Tonto on "The Lone Ranger." And we definitely don't forget to chat about Claire Trevor, a fantastic actress who won the film's only Oscar for Best Supporting Actress, along with why we felt she won that award. We discuss the origins of the script, how Huston and his co-writer Richard Brooks reworked the original material to create something with more political subtext, and how that works for us. And we talk about the film's relationships w/both the film noir genre as well as the crime genre, and how the cinematography really works advantageously to create vibes from these genres. It's a film that, while we like it, doesn't hold up as well this go around. That being said, it's still worth watching if you haven't seen it before, and it's fun to talk about. Listen in!
It's a classic (and oft misquoted) line from one of the greatest films of all time, John Huston's classic film from 1948, "The Treasure of the Sierra Madre." This week, join us — Pete Wright and Andy Nelson — as we delve into this fascinating and tragic film, once considered a difficult film that received more praise from critics than it did from audiences at the time even though now it's considered one of the best films ever made. We talk about the fantastic trio of actors heading up the film—Humphrey Bogart, Tim Holt and the unforgettable Walter Huston—John's dad—who rightfully won an Oscar for his performance. We dig into the troubles of location shooting and why it was such a challenge back then. We talk about the nature of man and what the story is saying about what happens to men when large quantities of money (or in this case gold) come into play. And we chat about the mysterious B. Traven, author of the original novel, and the strange theories about who he really is. It's an absolutely fantastic film and one well worth talking about. Join us and listen in!
That's right, ladies and gentlemen, this week join us — Pete Wright and Andy Nelson — as we talk about one of the most unforgettable films in the history of cinema, "The Maltese Falcon." As a part of our periodic and ongoing John Huston series, this is a film we've looked forward to talking about for a great long while. We have a wonderful time discussing the importance of this film.
It's John Huston's directorial debut, the film that gave Humphrey Bogart his leading man status, and it's considered to be the first film in the film noir genre, a style known for its dark, gritty look; its cutting dialogue; its dark protagonist; and the lovely femme fatale. We talk about what marks this film as the first film noir. We discuss the brilliant dialogue in the film and how well the actors are suited to their parts, saying the dialogue so perfectly that it still zings today. We chat about the great cast and crew on the film and their contributions. And we talk about how edgy this film was for 1941, yet how that somehow still carries over today, keeping it relevant as a film even if its script wouldn't pass muster in today's Hollywood. It's a fantastic classic and a must-see, and we have a great time talking about it this week. Join us!
Divisive before it even opened, Kathryn Bigelow's film Zero Dark Thirty depicts, in a very procedural way, the steps it took to find Bin Laden after the 9/11 attacks. While you can argue whether Bigelow should have received a Best Director nomination in the recent Oscar announcement, it's clear that she's a filmmaker at the top of her form making a film that tracks this decade-long manhunt through the eyes of one dedicated woman, and what it does to her in the process. It's a fascinating film and one that certainly is worthy all of the nominations and accolades it's currently receiving. Join us on this week's episode of The Next Reel as we — Pete Wright and Andy Nelson — close out our series on Bigelow with this amazing film. We talk about the context of this film in relation to what really did — or did not — happen, and how that affects audience members' interpretations of the events as depicted. We discuss the amazing performance by Jessica Chastain and the haunting portrait of Maya, the CIA operative behind this mission, as well as the rest of the crew the Bigelow brings on board, including screenwriter/producer Mark Boal, her partner on The Hurt Locker. We delve into the issue of torture as depicted in the film, how it's created a controversy, and what our opinions are on it. And we chat about the depiction and reality of the clinical (mostly) insertion of Seal Team Six into the compound, how well it was put together yet how surprised we were by how loud they were. It's a film that truly deserves its mark as one of the top films of the year and another definite high mark for Bigelow. We have a great time talking about it (and spoiling it heavily). Watch the movie then listen in!
Kathryn Bigelow made a big change in her career direction as a film director when she made 2009's "The Hurt Locker." While it still had the adrenaline action sensibilities she displayed in her prior films, this film was less of a Hollywood action movie and more of an honest portrayal of soldiers in a war. This week on The Next Reel, join us — Pete Wright and Andy Nelson — as we delve into Bigelow's independent war film that made her the first woman to win a Best Director Oscar. We talk about how Mark Boal discovered the story while embedded as a journalist in the war and how well it works as a film, yet also is a script not structured in typical Hollywood fashion. We discuss the actors and what they bring to the table in what is ostensibly a psychological study of these characters. We chat about how the film was shot and what it does for the feel of the film. And we talk about the reception of the film and how disappointing it is that more people haven't seen it. Truly one of our favorites, we have a fantastic time talking about this film. Listen in!
Based on a dream James Cameron had in 1985, Strange Days came out in 1995 and strangely took place only 4 years in the future — during the 48 hours leading up to the year 2000. Cameron's ex-wife Kathryn Bigelow, helmed the film, bringing her skills at directing action to the forefront to create what at the time was a wild, mind-bending, noirish tale that looked at people in LA dealing with the latest "drug" craze — living other people's experiences through futuristic recording devices. Join us — Pete Wright and Andy Nelson — as we ring in the New Year with the first of our Kathryn Bigelow series on this week's episode of The Next Reel in which we talk about Strange Days.
We talk about what we thought of the film at the time and compare that with how we feel about the film now, noting how much the film doesn't hold up and how many problems it really had. We chat about the script and the vast amounts of expository dialogue and how clunky Cameron can often be when writing scripts. We discuss the performances, particularly Ralph Fiennes, Angela Bassett, Tom Sizemore, Vincent D'Onofrio and William Fichtner, and whether they were used effectively or not. We discuss the story elements that worked for us, notably the rape scene, and how effective it is yet how unfortunate it is that the team didn't focus solely on that element rather than force it to tie into the New Year's party story. And we praise the outstanding achievements Bigelow, DP Matthew Leonetti and their team of camera operators, stuntmen, technicians, etc. who worked hard to create — pioneer, really — the stunning work done on the POV shots throughout the film. It's a bit of a disappointment returning to it for us, but we have a great time talking about it. Tune in!
Happy holidays, everybody! It's time for our annual holiday episode here on The Next Reel. This year, we — Pete Wright and Andy Nelson — are talking about a film that doesn't actually take place at Christmas time. In fact, it's a movie that doesn't even really have anything to do with the holiday except that the name's in the title. It's Preston Sturges' 1940 forgotten gem, "Christmas in July."
Okay, so it's full of the spirit of giving — therefore it still fits in our books as a holiday film. But it's also full of some of the best and zingiest dialogue that we've heard in ages. There's nothing like the crackling dialogue that Sturges writes, and he gets the right actors to deliver it. Join us this week as we talk about this wonderful (and brief) movie! We chat about the nature of satire in films of the time and how it came to be used, as well as who's writing the same biting satire today. We look at Preston Sturges and his wild up-and-down life. We discuss the themes of the film, from dealing with the poverty of the depression to the nature of belief in one's talent. And we enjoy laughing about the great and hilarious performances by the very talented cast. It's a simple, funny, earnest and joyous film that celebrates giving and believing in one self. We love it and know you will too. Listen in!
There's something about the wacky sci-fi fantasy eye-gasm The Fifth Element that is very divisive. On one side, it's a bizarre, nonsensical, mess that hardly has a story worth talking about. On the other, it's groundbreaking in its visual effects, inventive in its production and costume design, and a romping, mind-numbing good time. While the characters who aren't weird muppet-y aliens would be better served by actually being cartoons, they're played by big-name actors who all get into their roles with undeniable fervor and relish. It's amazing how much of a mess the film is, yet a lot of people really dig it.
Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we conclude our Luc Besson series with this film that Pete really enjoys and Andy really doesn't. We talk about what doesn't work in this film, which is really a lot, yet how for so many, the film is still an utter joy to watch. We chat about all the actors, including Bruce Willis, Milla Jovovich, Ian Holm, Gary Oldman, and Chris Tucker, and what they bring to the table. We talk about the gorgeous visuals and how they really stood out at the time and still stand out as an amazing world created by a visionary director who knows how to craft images. And we talk about how this film came out of a 16-year-old Besson's imagination and really feels like that original vision he had is probably not too far from what we ended up seeing on the screen. It's an interesting mess and we have a great time talking about it. Listen in!
It's the perfect description of the awkward yet touching relationship between a simple 40-something assassin and a wise-beyond-her-years pre-teen girl, and it's at the heart of our next pick in our Luc Besson series, his first foray into English-language cinema, 1994's Leon: the Professional, or more simply just Leon. Join us — Pete Wright and Andy Nelson — as we talk about this fascinating film that we both quite enjoy, a film that is possibly Besson's best.
We discuss the fascinating hitman story and what Besson brings to the table, including his Besson-isms that aren't as prevalent as they were in Nikita but still show their face. We deliberate on the difficult waters the filmmakers were treading when telling this love-story-buried-within-a-crime-story between Natalie Portman's Mathilda (in her first movie role) and a much older hitman (the always awesome Jean Reno). We talk about the amazing talent — Reno, the amazing turn of 12-year-old Portman, and the ridiculously over the top and meme-inspiring performance of Gary Oldman as a corrupt and evil DEA agent. We chat about the powerful cinematographic moments that Besson and his DP Thierry Arbogast used to capture a few of the most powerful scenes in the film. And we again wonder why Besson feels it necessary to continue employing a composer as bad as Eric Serra. It's a film that Pete has always loved and Andy only just recently realized he likes it a lot more than he thought, and we have a great time talking about it. Listen in!
We're starting off our Luc Besson series with a film that fascinates us, even if it sometimes devolves into a cartoonish atmosphere. This week, we chat about Besson's 1990 film Nikita, or La Femme Nikita if you're so inclined. Join us — Pete Wright and Andy Nelson — as we start off this series with this Pygmalion-like tale of a young woman trained to be a government assassin.
We discuss what works and what doesn't in the performances, particularly focusing on Anne Parillaud's performance of the title character. We chat about Besson and what he brings to the table, for better or for worse. We talk about the nature of this French government assassin program and why it creates an interesting idea, though that is pretty ridiculous when you think about it too long. And we talk about the amazing visual style that Besson uses to tell this story, even if the script and the direction aren't always on par with it. He's a wild director and we have a wild romp in this, the first of our Luc Besson series. Listen in!
Ryan Gosling plays such a mysterious, quiet character in Nicolas Winding Refn's 2011 film, "Drive," that he's never even given a name — he's simply credited as Driver. The film has shades of noir and of 80s crime films, creating a dreamy neon quality interrupted by horribly violent outbursts that wake you up. It's a fascinating film that critics really took notice of when it was released. Join us — Pete Wright and Andy Nelson — as we talk about it in this week's episode of Movies We Like, wrapping up our Great Car Chase series.
We talk about the car chases in this film and what they bring to the story. We chat about Gosling as well as all of the other great actors, particularly Albert Brooks who's darker than we've ever seen him before. We chat about the camera used to shoot the film and what that brings to the table. And we mull over the violence as it's depicted in the film, and question what Refn could be saying by making it so violent. It's a great finish to a fun series. Listen in!
One of John Frankenheimer's best films came late in his career — 1998's Ronin. A seemingly simple story about a group of mercenaries who take a job trying to get a mysterious case is twisted around with double-crosses and plot twists, and becomes a perfect example of Hitchcock's MacGuffin. Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we continue our great car chase series. We talk about the great car chases in this film and how they were executed, as well as why Frankenheimer chose to film them the way he did. We discuss the script and the writers, most notably David Mamet, and how he ended up deciding to get credited as co-screenwriter under an alias. We chat about the great actors and what they bring to the film, yet how one of them never has felt right to us in his role, as great of an actor as he is. And we chat about the title of the film, the nature of ronin warriors, and what it means in context of this film. It's a great action thriller with amazing car chases and definitely a film worth talking about. Listen in!
It's our ONE YEAR ANNIVERSARY, everyone! That's right, we've been doing the "Movies We Like" podcast for one year now, and what better way to celebrate than with the next in our Great Car Chase series—William Friedkin's 1971 Best Picture Oscar-winner, "The French Connection." Join us—Pete Wright and Andy Nelson—as we celebrate one of our absolute favorite films. We talk about the fantastic car chase in this film and how Friedkin and his producer Philip D'Antoni—who also produced "Bullitt"—worked hard to come up with a way to kick it up a notch and create what is now regarded one of the best car chases in cinema history. We chat about Friedkin's documentary background and what he brought to the table, creating a gritty vibe and a new style of filmmaking that would change the nature of cop films for years to come. We discuss the fantastic performances all through the film—Gene Hackman, Roy Scheider, Fernando Rey, etc.—and how they tapped into this gritty realism by working with their real-life counterparts. We also, of course, talk about the real French connection case that this was based on, who was involved, how they helped with this film, and how the film and the real story differ. And we look at 1971's other cop films and Oscar nominees to see how this film compares. It's top-notch filmmaking and certainly a movie we like. We have a blast talking about it and hope you enjoy listening.
Steve McQueen was one of the coolest actors out there. He brought amazing performances to the screen time and time again. The Magnificent Seven. Papillon. The Thomas Crowne Affair. The Great Escape. The Getaway. The Sand Pebbles. The list goes on. In 1968, he played Frank Bullitt in Peter Yates' film Bullitt, and brought incredible realism, sensitivity and intelligence to the role of a San Francisco policeman. He also brought his desire to create realistic car chases, and because of this ended up a part the granddaddy of all car chases put on film.
Join us—Pete Wright and Andy Nelson—for this week's episode of Rash Pixel's "Movies We Like" as we begin our Great Car Chase Series with this fun film. We talk about what works in the film (performances, real locations, stunts) and what doesn't (the story). We chat about the great performers all through the film, as well as the amazing crew helping put it together. And we chat about the car chase, what it's done for the world of stuntwork, as well as what the cars were that were involved in the dramatic 10-minute chase. It's a fun chat starting us off in a new series. Listen in!
"Hey, there's something down here." These aren't words you want to hear when you're stuck on a spelunking trip, particularly when you find out that the "something" that's down here wants to eat you. That's what happens to the cast of six ladies on an adventure trip in Neil Marshall's 2005 film, "The Descent." It's the final episode in our month of horror series, and what a way to end! Join us—Pete Wright and Andy Nelson—as we talk about one of the greatest horror films of the last decade on this week's episode of Rash Pixel's "Movies We Like."
We chat about why this movie works so well, both as a horror movie and as a metaphor for someone descending into madness. We discuss the great cast and how well they work within Marshall's smartly written script. We talk about the crawlers, the monsters in the film, hypothesize their origins and discuss why they are so effective. We talk about the amazing look of the film (dark is the key word) and the haunting music. And we break down the two different endings and what the original/extended ending really adds to the film with its presence. It's a fantastic film and DEFINITELY a movie we like. Listen in!
"Is everyone there dead?" "Yeah, in the sense that they all sort of fell down, and then... got up and... started eating each other." Zack Snyder's 2004 "Dawn of the Dead" remake of George A. Romero's 1978 zombie classic may not be trying to say much, but it sure provides a good, fun scare. Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we continue our October Horror series with this film. We talk about the differences between the original and this remake, what works in the remake and what doesn't. We talk about the great effects work, as well as Snyder and his career. We discuss the great actors in this film and the inherent problem of having too many characters for us to have to pay attention to, as well as what characters and relationships ended up being the ones we latched onto. We chat about the interesting connection Heather "A Nightmare on Elm Street" Langenkamp has to this film. And we talk about our favorite moments in the film—the ones that always work and create great zombie moments, regardless of how ridiculous they may be. It's a fun and scary film, and the penultimate in our month of horror movies. Listen in!
"This is what I've seen in the four weeks since infection: people killing people, which is much what I saw in the four weeks before infection and the four weeks before that and before that as far back as I care to remember. People killing people." Zombies had notoriously been slow entities—let's face it, the walking dead just don't move so fast. But then Danny Boyle came along and, with writer Alex Garland, injected the zombie sub-genre with speed in their film "28 Days Later." The zombies became fast creatures. And all the more terrifying because of it.
Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we continue our October Horror series by delving into this 2002 film that revolutionized zombie films to come. We talk about how the movie not only altered what people think of zombies and zombie movies, but also how the filmmaking style has since influenced countless low-budget horror filmmakers, including many who shoot projects in the first person film style. We chat about the great actors inhabiting the film, as well as some of the fabulous production people involved. And we also talk about the shift in the third act, how that works for us and really what the filmmakers are trying to say with the story taking the direction it does. It's a bloody and bloody brilliant film, and definitely a movie we like. Listen in!
In 1982, John Carpenter's "The Thing" was released but had a tough time competing against other big sci-fi films released at the same time—E.T. the Extra Terrestrial and Blade Runner. It also was viewed by critics as being overly gory and wretched. With time, however, the film has gained a big cult following, big enough to warrant a prequel, a comic book series, a video game and a potential sequel. Now, it's considered by many to be one of the great horror films of all time.
Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" (our 50th!) as we start our October horror series with this fantastic film. We talk about why it's one of our favorites and the memories of seeing it for the first time. We chat about the amazing cast and the stellar "thing" designed by FX master Rob Bottin. We talk about Ennio Morricone's music and why this film has gained popularity over time, becoming such a staple in horror, and how that's lead to all of the subsequent spin-offs. It's a marvelous horror film and a great one to start our horror series. Listen in! Oh, and did you know that The Thing is regularly viewed by members of the winter crew down at the Asmundsen-Scott South Pole Station after the last flight out? How fittingly morbid of them...
"You are young. Life has been kind to you. You will learn." With these words early on in Tim Burton's 2007 film adaptation of Sweeney Todd: The Demon Barber of Fleet Street, we instantly get a sense of the dark place that the character of Sweeney Todd, played marvelously by Johnny Depp, has come from. This isn't your typical happy-go-lucky musical. No, this is dark and bloody and beautifully grim. It's the perfect story for Burton and ends up being one of our favorite films of his, the final film in our Richard D. Zanuck series. Join us—Pete Wright and Andy Nelson—for this episode of Rash Pixel's "Movies We Like" as we delve into everything about this film.
We chat about the stellar performances by Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall and everyone else. We discuss the amazing Stephen Sondheim and the surprisingly long history of the story of Todd. We chat about the blood and the grand guignol style Burton uses for the film, but also about the melancholy and heartbreak present in the story. We bring up Depp's singing and what it does for the film and talk about the rain of blood in the title sequence and how it perfectly sets us up for the film. And, of course, we talk about Zanuck, his involvement in the film, and how challenging it was to get the film made. It's a horror and it's a marvel, and it's definitely a movie we like. Listen in!
"You know about icebergs, Dad?" "Do I? I saw an iceberg once. They were hauling it down to Texas for drinking water. They didn't count on there being an elephant frozen inside. The wooly kind. A mammoth!" The only thing better than a great story is a great storyteller, and Edward Bloom certainly fits the bill. Not a moment goes by in Tim Burton's 2003 film "Big Fish" when young Edward, played by Ewan McGregor, isn't living one of his fantastical stories or old Edward, played by Albert Finney, isn't spinning one of his wild yarns, and that's the hook that pulls us so readily into the film.
Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we dive into this quirky and personal story by Burton, the next in our Richard D. Zanuck series. We talk through things that work for us and things that don't within the film. We discuss screenwriter John August's role in bringing the film to light, latching onto it before Daniel Wallace's original novel that it's based on was even published, as well as what we think of August in general. We talk about Burton and his crazy, auteur style. We discuss the great performances in the film—McGregor and Finney certainly, but also Jessica Lange, Alison Lohman, Robert Guillaume, the late Matthew McGrory, Steve Buscemi... the list goes on and on. We chat about Danny Elfman's music for the film and his connection with Burton. And we also talk about Zanuck and how he came to the film with Burton after they worked on "Planet of the Apes" together. It's a touching film dealing with the relationship between parents and their children, and certainly a movie we like. Listen in!
"Pretty soon you be feeling all unnecessary." In 1991, Richard D. Zanuck and his wife, Lili Fini Zanuck, produced her directorial debut, "Rush," a story of two undercover cops trying to bring down a big drug dealer in a small Texas town and in the process become addicts themselves. Our memory of the film, unfortunately, was a bit better than the film itself (even if one of us disliked it less than the other).
Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we talk about this financial failure for the Zanucks. We talk about the troubles with the script and how it may have been a better film if they stuck to the truth of the story it was based on. We chat about the actors, particularly the leads Jason Patric and Jennifer Jason Leigh, and how she really is the one who grounds the film, providing something to latch onto. There's also Sam Elliott and Max Perlich providing great moments and Gregg Allman looking very serious. We chat about the camera work, particularly the long shots that Lili uses periodically, and how they work for the story. And we discuss where this falls in the Zanuck line-up and where they go from here.
Despite the movie not being everything we remember from 1991, we have a great time talking about it. Listen in!
Driving Miss Daisy was a perfect story choice for Richard D. Zanuck to produce. Sure, it was difficult to get made but for a film that only cost $7.5 million dollars to produce, it raked in over $100 million at the domestic box office, putting it in the top 10 of the year with the likes of Batman and Lethal Weapon 2. Topping that off, it led Zanuck, along with his wife, Lili Fini Zanuck, to win the Best Picture award at the Oscars.
But this 1989 film, which deals with prejudice and friendship in the relationship between an old Jewish woman in the south and her African American driver, stands out for many people as a perfect example of what's wrong with the Oscars because it came out the same year as Spike Lee's Do the Right Thing, a film that deals with race relations in a much more intense and direct way, and what many feel should have won the Best Picture award.
Regardless of your position on which is the better film or which should have won, Bruce Beresford's film Driving Miss Daisy, written by Alfred Uhry based on his Pulitzer prize-winning play, is a beautiful, simple, and sweet story of two people who are the most unlikely to develop a friendship, yet they do just that. And it's heartwarming.
Join us — Pete Wright and Andy Nelson — on this week's episode of Rash Pixel's Movies We Like as we discuss the amazing performances — Morgan Freeman, Jessica Tandy, and Dan Aykroyd are all fantastic. We chat about what the film is saying about race and look at in context of the 25 years over which the story takes place. We look at the films it was up against at the Oscars that year (as well as those that weren't nominated). And we discuss the amazing or horrible Hans Zimmer music, depending on your taste for his 80s synthesized scores. It's a discussion that ranges all over the map as we talk about this wonderful film, the fourth in our Richard D. Zanuck series. We have a great time talking about it, and hope you have a great time listening to it. Listen in!
"I used to hate the water." "I can't imagine why." When someone says the word 'jaws' to you, it inevitably conjures up the man-eating great white shark in Steven Spielberg's 1975 thriller masterpiece. It's hard to imagine a time when the word 'jaws' didn't do this. But that's what Spielberg's film "Jaws" did, as well as birth the notion of the summer blockbuster and make people not want to swim in the ocean.
Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we chat about this film, the next in our Richard D. Zanuck series. We talk about why this film works so well and how it tapped into people's natural fears. We discuss the unfortunate repercussion this film had on people's understanding of sharks and how Peter Benchley, the author of the book and co-screenwriter, now wishes he hadn't written the book for that very reason. We talk about the great cast headed up by Roy Scheider, Richard Dreyfuss, and Robert Shaw, and what they bring to the table as well as the technical mastery the crew added to this film, from the amazing cinematography to the sound and, of course, John Williams' unforgettable score. And we discuss the amazing new Blu-ray that Universal just released, creating a finished product that looks like it could have been shot yesterday. It's one of the greatest films out there and well worth talking about. Listen in!
After his father fired him from 20th Century Fox and a short stint at Warner Bros., Richard D. Zanuck joined forces with his buddy David Brown from his Fox days and the two joined forces as the independent producing duo under the banner The Zanuck/Brown Company. For their first film? They found possibly one of the greatest scripts ever written -- David S. Ward's "The Sting" -- got George Roy Hill to direct with Paul Newman and Robert Redford heading up the stellar cast and ended up producing the Best Picture winner of 1973, as well as one of the greatest films ever made. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" for the second in our Richard D. Zanuck series as we discuss (and maybe gush a little bit because of our overwhelming love for this film) everything that makes "The Sting" great. We chat about David S. Ward's amazing script and why it works so well, as well as the world of con men and how this film does such a stellar job of welcoming us into this world. We talk about George Roy Hill and what he brings to the table, particularly with Newman and Redford, two amazing actors with whom he worked a few years earlier in "Butch Cassidy and the Sundance Kid." We discuss the rest of the team and their invaluable contributions as well as the 7 Oscars the film took home for those contributions. And we revel in the amazing Scott Joplin ragtime tunes that fill the film from beginning to end, wonderfully arranged by the late, great Marvin Hamlisch. It's a fantastic film -- one of our favorites -- and one that really put Richard D. Zanuck on the map as an independent producer in his own right, helping him get out from under his father's immense shadow. Listen in!
"Murder's nothing. It's just a simple experience. Murder and rape. Do you know what beauty there is in evil?" It's the start of our Richard D. Zanuck tribute series, ladies and gentlemen, and what better way to begin than with the first film he produced for his father, Darryl F. Zanuck, 1959's "Compulsion." Based on the book of the same name by Meyer Levin about the Leopold/Loeb murder from 1924, Richard D. Zanuck puts together a top notch team of cast and crew, headed up by director Richard Fleischer, to create a film that comes in under budget and ahead of schedule. It's a fascinating story about two young geniuses who are convinced they can commit the perfect crime and they do -- except one of them accidentally drops his glasses at the scene of the crime. The true story is horrifying, and it's equally so in this honest film depiction. With neither of us having seen this film before preparing for this episode, we stumbled upon a rare gem that deserves more viewers. We chat about the incredible cast headed up by Dean Stockwell and Bradford Dillman as the two murderers, Orson Welles as their lawyer, E.G. Marshall as the DA prosecuting them, Gavin MacLeod as his assistant, and Diane Varsi and Martin Milner as the friends caught up in the whole mess. We discuss Fleischer and what he brought to the table, along with William C. Mellor, the DP. We also discuss the interesting homosexual and sadomasochistic subtexts the film broaches, as well as rape and capital punishment, which for 1959 was a pretty big deal. It's an amazing film to stumble across and the perfect start for our Richard D. Zanuck tribute series. Check the movie out on Amazon and listen in!
"Jason Bourne was just the tip of the iceberg."
We always knew there were other operatives out there, and when the producers couldn't get Matt Damon and Paul Greengrass to return to do another Jason Bourne movie, they did the right thing by bringing in the man who's been with the series from the start—Tony Gilroy—to not only write but also direct this latest entry into the franchise, "The Bourne Legacy."
Tony Gilroy opens up the world of these supersoldier spies and builds on the already complex levels of secret government programs to bring us another operative from one of Treadstone's sister programs. This time, it's Aaron Cross played with intensity and intelligence by Jeremy Renner. Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we delve into the complex and globetrotting story.
We discuss what the new actors to the franchise—Renner, Rachel Weisz, Edward Norton, and Stacy Keach—bring to the table. We talk about the fascinating way Gilroy makes a film that actually takes place in parallel to "The Bourne Ultimatum" and how that enhances the size of this universe. We chat about the stunts and chase sequences in the film and how the work and don't work, and we cover the elements that work for us as well as those that don't. On the whole, it's a great entry into the Bourne franchise and one that we're happy to talk about. Listen in!
"You start down this path, where does it end?" "It ends when we've won." Frightening words coming from a CIA agent more intent on keeping his team's illegal program under wraps than in saving American lives. And that's the man intent on preventing Jason Bourne from learning about his past, because that man, Noah Vosen -- played wonderfully by the ever-brilliant David Strathairn -- knows it will lead to his own downfall. It's time, ladies and gentlemen, for the final chapter in the Jason Bourne trilogy, even if it's not the end of the Bourne series. Jason finally works to dig up where he came from, no matter how ugly it is, and come to terms with it. It's a great film and an awesome end to this trilogy, even if the jiggly monkey cam does make people literally vomit in the aisles. Listen in as we -- Pete Wright and Andy Nelson -- talk about it this week on Rash Pixel's "Movies We Like!" We chat about Jason Bourne's and Matt Damon's character growth/performance over the course of these three films and how it matures. We discuss the nature of the camerawork and how it seems to get progressively shakier as the series progresses. We discuss the top notch editing and stuntwork in this film. And we talk about its place in the Bourne franchise. We have a great time discussing this film as we lead up to the release of The Bourne Legacy. Join us!
"Word in the ether was you'd lost your memory."
Jason Bourne's back, still trying to figure out his past as a government assassin while struggling to stay ahead of both the good and bad guys as they attempt to take him out. This week, we're covering the 2004 film, "The Bourne Supremacy", the second in the Bourne franchise. Paul Greengrass took over as director after Doug Liman's struggles with the studio brass on the first film, and he does a bang-up job -- quite literally, in fact. He brings a much more in-the-action style to the story, making it feel like you're in the fights with Jason Bourne. Or for some people, just making them nauseated -- there's a reason some people call this style "queasicam". Join us as we -- Pete Wright and Andy Nelson -- talk about the movie this week on Rash Pixel's "Movies We Like". We discuss the directing styles of Greengrass vs. Liman and the cohesiveness of the two styles in the series. We chat about the amazing stuntwork and how it really brings a level of reality to the story. We cover the amazing actors and performances in the film, as well as talk about the amazing crew who brought it all together. We talk more about Bourne versus Bond. We discuss the complicated plot twists in the overall story, even if they don't entirely work. And we also give props to a few people we forgot to mention in the last episode, other key players who helped make "The Bourne Identity" what it was. Listen in!
"I can tell you the license plate numbers of all six cars outside. I can tell you that our waitress is left-handed and the guy sitting up at the counter weighs two hundred fifteen pounds and knows how to handle himself. I know the best place to look for a gun is the cab of the gray truck outside, and at this altitude, I can run flat out for a half mile before my hands start shaking. Now why would I know that? How can I know that and not know who I am?"
This week, movie lovers, we begin our series on the Bourne movies, starting here with Doug Liman's 2002 film, The Bourne Identity. Born from Robert Ludlum's classic spy thriller, this movie came out a time when the spy film genre was feeling a little... overstuffed. This film, as well as the two that followed it, proved that a spy film could be more than just action scenes loosely strung together with threads of a weak story. Join us—Pete Wright and Andy Nelson—as we build to the upcoming The Bourne Legacy with this week's episode of Rash Pixel's Movies We Like. We chat about the Bourne series and Robert Ludlum who created it. We discuss the theory of the modern action filmmaking style, Chaos Cinema, and how it plays into the series. We also touch on this film as compared to the James Bond film of the same year, Die Another Day. It's a fun film and well worth watching. Join us as we begin digging into the empty pockets of Jason Bourne's mind!
"What a time we had, Rosie. What a time we had." This week on Rash Pixel's "Movies We Like," we're finishing up our far-too-short series on cinematographer Jack Cardiff with the wonderful 1951 film, "The African Queen". John Huston co-wrote and directed it, choosing to shoot as much as he possibly could in Africa. While many said it couldn't be done -- shooting a story on location about two characters typically considered much too old for a love story -- John Huston proved them wrong. His choice of Jack Cardiff as cinematographer goes a long way in showing all of the reasons why shooting in Africa was right for the story, and his decision to cast Humphrey Bogart and Katharine Hepburn as Charlie Allnut and Rose Sayer allowed the story to be played authentically by actors who knew what they were doing and made it real. The film went on to earn buckets of money, critical praise, and award recognition. It's truly a film that has stood the test of time as well, and we -- Pete Wright and Andy Nelson -- have a great time talking about it. Join us as we talk about Jack Cardiff's role in making cinematography what it is today. We chat about the rough time everyone had on the production, not to mention the pre-production. We discuss the story and the wonderful actors in it, and we talk about why it still works so well. It's a fantastic film and we love talking about it. Listen in!
"You cannot have it both ways. A dancer who relies upon the doubtful comforts of human love can never be a great dancer. Never." And thus sums up the battle within Michael Powell's and Emeric Pressburger's 1948 film, "The Red Shoes" -- the battle between love and art. Can the two exist together? Or will one always win out and destroy the other? It's a fascinating question posed in a beautiful and sumptuous film that we -- Pete Wright and Andy Nelson -- talk about this week on Rash Pixel's "Movies We Like." Join us as we talk about the movie and what it's come to mean in the world of film. We talk about the fans of this film, particularly Martin Scorsese, and how they came together to restore this film into the mindbogglingly gorgeous version we have today. We chat about the amazing performances led by Anton Walbrook as the dark and controlling ballet impresario and Moira Shearer as the prima ballerina torn between love and dance. We discuss the amazing look of the film, focusing primarily on Jack Cardiff's stunning 3-strip technicolor cinematography. We talk about the realism and how it turns almost magical after the ballet of the Red Shoes midway through the film leading us to the inevitable and heartbreaking conclusion. And we talk about the nature of Hans Christian Andersen's original fairy tale and how it enhances and defines this film. It's an amazing film to watch. Join us this week as we catch up on this classic!
"We are here to make limbo tolerable, to ferry wounded souls across the river of dread, and to point where hope is dimly visible. And then we stop the boat, shove them in the water and make them swim." This week, ladies and gentlemen, we -- Pete Wright and Andy Nelson -- talk about Jason Reitman's third, and arguably best, film: 2009's Up in the Air. It's an amazing film that deals in a heavy issue of our time -- the economic downturn and widespread downsizing. What's even more amazing is how the film ends up, for the most part, leaving you with a feeling of hope. Sure, there are tragic elements, but overall, it's the message of connection with others that resounds by the film's end. Join us this week as we chat about all the great performances in the film led by George Clooney, Vera Farmiga, and Anna Kendrick, as well as the amazing technical hands working behind the scenes. We talk about the unique decision to cast all those let go in the film with real-world people who had, in fact, recently been let go. And we cover the themes of the story and what Reitman and before him Walter Kirn, upon whose 2001 novel the film is based, are getting across in the film. It's a beautiful film, well deserving of all the accolades it received upon its release. Connect with us this week as we talk about it!
"Michael Jordan plays ball. Charles Mason kills people. I talk. Everyone has a talent." It's a movie about spin and the spin doctors who spin it -- Jason Reitman's fantastic 2006 satire Thank You for Smoking. Join us -- Pete Wright and Andy Nelson -- as we talk about it this week on Rash Pixel's Movies We Like. It's a fantastic film and we both love it. We chat about how the film was received and what people likely thought when comparing it to the book it was based on -- the 1994 novel of the same name by Christopher Buckley. We talk about the nature of satire and the nature of spin. We chat about the role the son plays in this film and the direction -- if any -- that Nick Naylor grows as protagonist (or is he an antihero?). And we chat about how Jason Reitman, Ivan's son, managed to get this -- his first -- film made. It's an absolutely fabulous film, especially as a first film, and we have a great time talking about it this week. Join us!
"Big things have small beginnings."
Well, not when envisioned by Ridley Scott and written by Jon Spaihts and Damon Lindelof. "Prometheus," the non-prequel to "Alien" is anything but a small beginning to this universe and, while ambitious, leaves us with a lot of unanswered questions and problems that shouldn't have been there in the first place. It's a frustrating film to talk about, movie lovers, but one that we have a great time discussing. Join us -- Pete Wright and Andy Nelson -- in this week's episode of Rash Pixel's "Movies We Like" as we really dig into this film and discuss everything about it, from the stunning visuals to the problematic script. We talk about the team who put together these visuals and who rightfully should all receive numerous accolades. We talk about the cast, particularly the stand-out performance of Michael Fassbender as David. We also look at his relationship with the other androids in the Alien anthology. We chat about the fundamental script problems in this film and the trickle-down effect they have on the rest of the film. We also talk about how, despite those problems, the script and the film still pose some fascinating questions that are worth talking about long after the film's been watched. It's a fascinating film, albeit problematic, and one worth discussion -- preferably over a slice of pie -- so join us this week on "Movies We Like" to listen in!
It's the end of our conversation about the Alien anthology, ladies and gentlemen, and this week, we discuss Alien: Resurrection, a tough film to watch and an unfortunate end to the anthology (that took a further unfortunate turn by leading the franchise into the Alien Vs. Predator films). And while it's a hard to film to categorize as a movie we like, we still have a great conversation about what worked, what didn't, and a great many other things tangentially (or not) related to the franchise. Join us -- Pete Wright and Andy Nelson -- on this week's episode of Rash Pixel's "Movies We Like" as we chat about the great actors, the director, the writer, and others on the crew who we love but who somehow ended up tied into this mess. We chat about our overall thoughts of the anthology, how we think it ties into Prometheus and the nature of making films that take place in the same universe but don't tie together necessarily (Marvel, anyone?). Finally, we touch on some fun bits of trivia from the franchise. It's a fun conversation about a movie that doesn't really work but that had a lot going for it. Listen in!
"When they first heard about this thing, it was 'Crew Expendable'. The next time, they sent in marines. They were expendable too. What makes you think they're gonna care about a bunch of lifers who found God at the ass-end of space?" The third time may not be a charm for the Alien anthology, movie lovers, but it turns out to be a better film than many people gave it credit for back in 1992. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" as we talk about David Fincher's first film, Alien 3 (also conveniently and belatedly finishing up our Benjamin Button-style Fincher Fest). In this episode, we talk about what we thought of the film back then versus what we think now. We chat about the immense script and production problems this film went through all along its journey to theaters, and also talk about what was cut out and eventually put back into the 2003 Assembly Cut. We talk about the troubles David Fincher had, yet contrast that with what he was still able to get up on screen. We hash through the special effects, discussing how great they were back then but how they certainly haven't aged well. We touch on the fantastic cast and debate whether there was enough new story for the Ripley character to play out in this or if she'd already run her course. We talk about the budget and how, even with all of its immense overages, the film still managed to rake in a healthy chunk of dough. We touch on Elliot Goldenthal's music, creating a haunting, eerie score that fits the film well. And are you curious as to what Meryl Streep's connection is to this film, movie lovers? Listen in to find out!
"Game over, man! Game over!" There are few sequels that can stand up to the originals as well asAliens can to its predecessor, and it's clear that we -- Pete Wright and Andy Nelson -- really like this film. Join us this week on Rash Pixel's "Movies We Like" as we talk about why we truly like this film and what it means to us. We chat about the relationship this 1986 James Cameron film has with Ridley Scott's original Alien, how Cameron got the job to do it and what his vision for the film was. We also talk about the differences between the original cut and the director's cut that came out under a decade later. We chat about the amazing cast, the incredible crew, and the ALIENS -- damn, they're impressive in this film. We talk about the lengths Cameron, Stan Winston and the rest of the team went to so that they could create what appears to be hundreds of aliens, and none of them moving like they're just a man in a costume. We talk about the nature and possible controversy of the Alien Queen, and how the addition of the character messes up the intentions of the additional footage in the Alien director's cut (if it does at all). We also talk about why this film works so well and how it fits as a partnership pairing with the first film. It's a great movie and we love talking about it this week on "Movies We Like!" Listen in!
"You still don't understand what you're dealing with, do you? A perfect organism. Its structural perfection is matched only by its hostility." This week begins our journey into the Alien franchise, dear listeners, which ends with our discussion of Prometheus on June 15th. We start with the amazing beginning of it all, 1979's Alien. Ridley Scott and his team -- from the writers Dan O'Bannon, Ron Shusett, Walter Hill and David Giler, to the incredible production design of H.R. Giger, Ron Cobb and Michael Seymour, to Jerry Goldsmith's haunting and terrifying score, to the incredible performances led by Sigourney Weaver, to the amazing sound editing by Jim Shields, to the cinematography by Derek Vanlint -- took the science fiction and the horror genres and found a way to merge them in a way that redefined both those genres as well as many cinema conventions aftrward. It's a stunning film and one we're happy to talk about with you. Join us -- Pete Wright and Andy Nelson -- on this week's episode of Rash Pixel's "Movies We Like" as we discuss the origins of the story as well as the importance of bringing H.R. Giger on board. We chat about what this film did for its two genres (and we don't even mention how much it still influences sci fi and horror films to this day -- anyone remember who did the voice of Mother in WALL-E?). We cover the amazing cast and their roles in all of the pivotal scenes that stand out still to this day. We chat about the battles between Jerry Goldsmith and Ridley Scott over the score, and more. Listen in!
It's the end of our baseball series, movie fans, and what a better way to end it than by talking about Phil Alden Robinson's fantastic fantasy film from 1989, "Field of Dreams." Considering Pete's disdain of Kevin Costner (at least in Bull Durham), it's a refreshing surprise to hear that he really likes this movie. On the other hand, it's a bit disturbing to hear Andy talk about why he loves it so much. Regardless, it's clearly a great movie with a fascinating script about a character who is a grownup on a hero's journey to becoming a man. Powerful stuff. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" as we discuss the great Oscar-nominated script by Robinson and why it has such an interesting structure, setting us up right out of the gate for this fantasy world we're in. We talk about the mythos it creates, both in the film and in the real world. And we chat about the crew, the great actors and James Earl Jones' amazing speech. It's one worth talking about, so listen in! In addition, we touch on the amazing week The Avengers has had and what it could mean for Joss Whedon. We also discuss Captain America's possible strange tie to Ronald Reagan. We discuss some pretty-bad-but-entertaining-nonetheless movies, and we talk about the possibility of maybe doing an episode in the future using Google+ hangouts. It's a great week! Come on in!
"Man, that ball got outta here in a hurry." It's time for more 80s baseball movies, ladies and gentlemen! This week, we're talking about Bull Durham, Ron Shelton's 1988 tribute to the minor leagues. If there ever was a film to compare religion to baseball to sex, this would be that film. Join us -- Pete Wright and Andy Nelson -- as we talk about what works (the script), what doesn't (the actors, at least two in particular for Pete), and why this film goes down in the pantheon of greatest sports films made. Aside from Pete's problems with Susan Sarandon in this film and Kevin Costner in most films, we discuss the great Tim Robbins and how much he's really bringing to the table as "Nuke" Laloosh. We discuss Ron Shelton, how he got to the point where he was able to make this film, and where he is now. We also chat about where this film fits as far as genre and what Shelton's really doing with this film -- it's much more a character piece than a story about a team trying to win the big game (or a romantic comedy sports movie -- romcomspofi -- as Wikipedia claims). While we're at odds about the43 acting, we both think the script is solid, and are happy to discuss it this week. Listen in!
"Juuuuust a bit outside." That's right, ladies and gentlemen -- we're switching things up a bit this week on Rash Pixel's "Movies We Like" -- instead of "Bull Durham" as promised, we're pulling a switcheroo and flipflopping that with 1989's baseball comedy classic, "Major League." Sure, it's a bit dated, but man, it's still a fun and funny film. Join us -- Pete Wright and Andy Nelson -- this week as we talk about this comedy gem from David S. Ward, Academy Award-winning writer/director. We jaw about the importance of casting actors who know how to play the game -- and how it's not just something they can "act" their way through. We chat about the backgrounds of Ward and his all-star (at the time) cast as well as discuss Ward's lifetime love of the Cleveland Indians and why he chose to write and direct this movie. We talk about the Indians and their long and sordid history (and yes, Andy even works his great-great uncle back into the conversation). And we discuss why this film still works so well, but also why some of it doesn't work, namely the music that dates it. It's a blast to reconnect with old memories and talk about this movie again. Listen in, baseball and baseball movie lovers!
Baseball. Just like apple pie, it's an intrinsic part of America. Movies about baseball, on the other hand, didn't really become popular forms of entertainment until 1984's "The Natural", which is what we're talking about this week on Rash Pixel's "Movies We Like" podcast. Join us -- Pete Wright and Andy Nelson -- as we expound on the mythos of this film and what makes it so great. Is it the amazing (and surprisingly dark) source material written by Bernard Malamud? Or the brilliant performances headed up by Robert Redford? The stunning and timeless score by Randy Newman? Or is it the nature of the game itself? It's hard to say, ladies and gentlemen, but we cover all of it. We talk about the amazing and Oscar-nominated cinematography and art direction. We talk about what makes baseball movies great -- possibly better than other sports movies as a whole (except Caddyshack). We chat about how Barry Levinson and his team came together to make this, the first film for Tri-Star Pictures, a brand new studio (until Sony swallowed it up). We touch on the history of baseball movies, and even mention Andy's tie to the history of the sport itself (even if he can't get his facts straight). It's a wonderful film about a true hero's journey that can make grown men cry. It's a great film to kick off our 80s baseball movie series. Listen in!
What does a flibbertigibbet, bubaru, a set of artificial testicles, a luggage salesman, a brain cloud, and a volcano hungry for human sacrifices have in common? They're all part of the vastly underrated and misunderstood existential comedy from 1990, Joe Versus the Volcano. A film much beloved by Pete Wright and Andy Nelson, join them as they chat about it this week on Movies We Like. They'll talk about what the film is really all about and why it may have not connected with audiences when it came out. They'll hash through the plot and all its fine points, discussing the amazing writer/director John Patrick Shanley, as well as all the wonderful performances led by Tom Hanks and Meg Ryan. They'll talk about Bo Welch's amazing production design and Georges Delerue's beautiful score (along with all the stellar songs used throughout). And they'll discuss the problems the script and film have, particularly in the 3rd act. Despite those problems, it's a standout film with a message about not sleeping through life but standing up and taking a leap of faith. Andy and Pete love it and challenge you to revisit it with a fresh mindset this week. Listen in—you may walk away with a new favorite movie!
And thus begins the twisted journey, movie fans, that Woodward and Bernstein have to take to track down the truth behind one of the biggest scandals our country has ever faced, which led to the President's resignation. This week on Rash Pixel's "Movies We Like", join us—Pete Wright and Andy Nelson—as we talk about the third film in Alan J. Pakula's unofficial paranoia trilogy.
We're neck-deep in conspiracy this week, movie lovers, as we're talking about one of the 70s great conspiracy theory thrillers -- Alan J. Pakula's The Parallax View from 1974, the second film in his unofficial paranoia trilogy. It's dark, it's full of paranoia, and it's got a crazy montage film in the middle that's possibly being used by a secret government organization that's trying to determine if you're good material for an assassin. Join us -- Pete Wright and Andy Nelson -- on this week's episode of Rash Pixel's "Movies We Like" as we rattle on about the nature of paranoia and conspiracy, and how this film so brilliantly plays into them. We'll talk about how the film was designed to put people in large environments, giving a sense that these characters have no power in this world. We'll talk about the nature of voyeurism and how the way the film is shot plays into this as well, which also plays well into the role of the Parallax Corporation in the story. And we, of course, talk about the montage in the middle of the film and what it's doing there. It's a fantastic -- and not really dated -- film that's worth talking about. Listen in!
Hey, movie lovers! We're taking a leap back to the 70s with this next series—Alan J. Pakula's paranoia trilogy. First up, 1971's "Klute," a dark and gritty character study/thriller about a small town detective trying to get information from a call girl about his missing friend. Join us this week as we talk about this fantastic film! We chat about the nature of 70s films and why they feel so dark and gritty. We talk about the amazing and dark cinematography of Gordon Willis. We discuss the nature of paranoia in the 70s and how this film plays into it, whether through the script, the acting, the directing, or the cinematography. And we talk about the performances, particularly Jane Fonda's Oscar-winning turn as Bree Daniels. She stands out in this film so much that we didn't give enough kudos to the brilliantly underplayed performance by Donald Sutherland in the title role. It's a great film that stands out as a movie we like (and tying it into previous podcasts, it's one of David Fincher's faves as well). So check out the movie and listen in!
Helllooooooo! Tonight, we're talking "Hot Fuzz", the perfect comedy homage to every cop action film ever made! The second and last film made thus far in the Three Flavours Cornetto Trilogy, this film was again written by Simon Pegg and Edgar Wright, directed by Wright and starring Pegg. Join us as we talk about the fantastic filmmaking style that Wright brings to this film, particularly the ever-so-perfect Tony Scott-style series of shots, which we aptly name the "Jiggly Monkey". We also faun over the stellar cast, particularly the Daltonator in all his 'stache glory. We chat about the intense over-the-top violence and how it works in the film. We discuss the nature of parody or spoof films vs. homage films, and we rattle off all the cliches that this film employs so perfectly. It's an action film that features the shortest car chase in film history, a cuddly monkey and a Japanese Peace Lily, with a bit of impaling thrown in for good measure. Listen in! And by the way, did you know that NASA named the Japanese Peace Lily one of the top 10 air cleaning plants? Good to know.
Hellooooooo! Time for a break from all those heavy films, movie fans. Tonight, join Pete and Andy as we discuss the first of the Three Flavours Cornetto Trilogy (despite the fact that there are only two films thus far). Yes, we're going to be chatting about Edgar Wright's hilarious ode to zombie cinema, "Shaun of the Dead," a film he co-wrote with star Simon Pegg. It's a hilarious film that also works wonderfully as an homage to every zombie convention you can imagine. We talk about why it works so well, how it came to be, the hilarious cast (particularly our fave Bill Nighy), British manners, Edgar Wright's filmmaking style, and the endlessly quotable lines. And yes, we quote them. Endlessly. Join us for a laugh. Now how's that for a slice of fried gold? Yeeeee-aaahh, bo-iiieeee!
Well, movie lovers, it's that time. We've hit the end of our Benjamin Button style Fincher Fest. This week, Pete Wright and Andy Nelson talk about David Fincher's knock-you-out-of-your-seat detective thriller Seven, or Se7en if you prefer. Join us as we talk about how we feel about this film now that we've worked backward through Fincher's oeuvre. We talk about all the wonderful performances (though we get sidetracked on Brad Pitt and don't give Morgan Freeman enough attention) and how Fincher really from the start knew how to work with his actors as well as his technical partners. We discuss the script and how it found its way to Fincher. We hash through the ending and what other endings it could have had. And we chat about the bleach bypass process that Fincher used to give the film its look. It's a stellar film that stands out as a highlight in Fincher's career and we look forward to you joining us this week as we talk about it on "Movies We Like!"
Greetings, movie lovers! This week, we continue our Fincher Fest with a discussion about "The Game," a dark and twisting tale that Pete finds he doesn't really like anymore while Andy still connects with. Join us as we chat about why this film doesn't seem to work for Pete anymore and how Blake Snyder's book "Save the Cat!" may give us the answer, particularly as it relates to the current 99% movement and possibly also to some extent previous roles Michael Douglas has portrayed. We dig into why some people bought into this elaborate hoax that the story sets up and others didn't. We discuss how this movie came to be and who was originally slated to star in it, and we really get off on some of the great language in the script. It's a gloomy ride that satisfies some and leaves other pining for later and greater Fincher efforts, but we still have a great time talking about it so join in!
Greetings, movie lovers. This week, we hit David Fincher's film "Fight Club." Is it just an anarchic, pugilistic sensation or is Fincher really working at tapping into a dark zeitgeist affecting the average person at the turn of the century? Join us as we talk about this tale of an everyman narrator struggling to find sense in his Ikea life and how his dark counterpart, Tyler Durden, helps him find himself. We hit on the brilliant performances by Edward Norton and Brad Pitt, as well as the always wonderful Helena Bonham Carter. We discuss the message Fincher is saying and how this is, possibly, the only real film that Fincher's made that is more than just a genre film of some sort. Listen in, and let us know what you think of this wild ride!
We've made it to the middle of the Fincher-Fest, movie lovers! This week, join us as we talk about his one-location movie, "Panic Room." Falling right between "Fight Club" and "Zodiac", this movie really marks a turning point for David Fincher's films -- starting here, he moves into the land of digital cinema (mostly) and finds a more controlled approach to his storytelling. Join us as we talk about the trials and tribulations that went into getting this film made -- an impending writers' strike, last minute actress and supporting actress replacements, a seemingly simple script that redefined complexity of camerawork on the set, and a six-month production schedule that had to work around not only Jodie Foster's pregnancy going from 1st to 3rd term, but also Kristin Stewart -- then not so famous for being Bella in "Twilight" -- growing from being shorter than Jodie Foster to being taller than her. This in a film that takes place over the course of one night for the most part. It's a tense, claustrophobic, well-paced thrill ride that's worth taking, and we have a blast talking about it. Listen in!
Back in 2007, David Fincher created what many consider his best film, Zodiac. Hailed by dozens of critics as one of the best films of the year, it unfortunately never found its audience and ended up a financial failure.
This week, movie lovers, join us as we delve into this meticulously crafted, haunting and sometimes scary film that details the obsession one man had in solving the Zodiac killings in the San Francisco area in the late 60s. From a script by James Vanderbilt based on Robert Graysmith's doggedly detailed books "Zodiac" and "Zodiac Unmasked", Fincher's pursuit to create as accurate a portrayal of the truth as possible give us a beautifully restrained look at how the police and newspaper reporters worked hard to try to find an answer to the killings yet never did so.
We talk about how this potentially is the reason the film didn't fare well at the box office. We also discuss the film's impeccable cast (let's all give a hand to John Carroll Lynch's unforgettably creepy portrayal of Arthur Leigh Allen!); chat about the amazing (and invisible) visual effects used to recreate the San Francisco area from 1968 to 1991 that truly take us back in time; and cover how this film was the first film to shoot with the then-new digital camera, the Viper, and what that allowed Harry Savides, the cinematographer, to do. It's a drastically underwatched film, in our opinion, and we think you ALL need to go rent it right now then listen in!
Our third stop on the Fincher Fest train brings us to David Fincher's 2008 drama, "The Curious Case of Benjamin Button." Fincher outdid himself on this film, combining all elements available to him from tried and true practical elements through state-of-the-art digital effects -- not to mention countless top-notch performances -- to create an astounding period film about an astounding person who is born old and ages backward.
We discuss the journey this F. Scott Fitzgerald story took to get to the silver screen -- a long one that at one point had Frank Oz slated to direct it and Martin Short to star as Benjamin! We chat about watching Benjamin Button, played by Brad Pitt in one of his best performances, age backward and the unreal makeup work done to pull it off, not just for him but for all the characters in the film. We talk about the themes this story is hitting upon and why it works so well, and we discuss the immense amount of money put into getting this film made and how Fincher managed to pull it all off and still turn it into a profitable film.
The film won 3 Academy Awards and was nominated for an amazing 13 Academy Awards (though it should have been 14 as Cate Blanchett, who didn't get a nomination as Best Actress, has never been better!). Join us as we dig into this gorgeous film!
Greetings and salutations, movie aficionados! Welcome to the second episode of our Benjamin Button-style David Fincher-fest! Tonight, we discuss arguably his greatest film—certainly his most critically acclaimed. It's "The Social Network," from Aaron Sorkin's script that is simply on fire.
Joining us tonight as a special guest is Chadd Stoops: actor, longtime friend of Pete and Andy, and HUGE fan of this film. In this episode, we discuss the realities of the movie's reality—was it fair for the filmmakers in telling this story to change the truths in order to make a more compelling film? We talk about the spot-on performances all around as well as the amazing magic Fincher worked to double Armie Hammer as the Winklevoss twins. We look at what this film is really saying about social networking and the people behind Facebook, and we discuss how "Fincher" this film really is. We also chime in on our opinions as to why it didn't win Best Picture at the Oscars. It's a spirited conversation about an incredibly relevant and hugely important piece of modern history. Listen in!
It's the start of the Benjamin Button-style Fincher-Fest, movie lovers! And what better way to kick it off than to take a look at David Fincher's current film, "The Girl With the Dragon Tattoo," based on Stieg Larsson's first book in his internationally best-selling "Millenium" trilogy."
It's already racking up end-of-the-year accolades and incredible buzz about Rooney Mara's knock-your-socks-off performance of Lisbeth Salander (all well-earned), even though some contingents of fans of the original Swedish films (great films in their own right that only came out last year) question why Hollywood felt it so necessary to adapt the books again so quickly after the others were made. The Swedish films certainly put Noomi Rapace and Michael Nyqvist -- who play Lisbeth Salander and Mikael Blomkvist, respectively -- on the map in international casting circles (Rapace has since appeared in Sherlock Holmes: A Game of Shadows and just wrapped in Ridley Scott's Prometheus while Nyqvist appeared in John Singleton's Abduction earlier this year and currently can be seen in Mission: Impossible -- Ghost Protocol.)
In this episode, we talk about the various iterations of this first of Larsson's stories -- did the Americans need to make their own version, what works in each version and what doesn't, what did Fincher and his team bring to the table, etc. We work to put in context what the Swedish film is to Swedish audiences by comparing similar statistics with American films. We discuss the performances -- Rooney Mara's brilliant work as well as the amazing Daniel Craig who we both feel isn't just playing James Bond in Sweden. We discuss the change in the end of the story and how we feel about it as well as all of the sequences that come after the climax. We chat about the team behind this -- Steven Zaillian who is having a great year with this and Moneyball, Jeff Cronenweth, Ren Klyce, Kirk Baxter, Angus Wall, Trent Reznor, Atticus Ross -- and that's just some of the crew! Robin Wright, Stellan Skarsgard, Julian Sands and the always amazing Christopher Plummer all give brilliant performances.
One actor we don't mention in this episode but who is worth mentioning here is Yorick van Wageningen, the poor actor stuck with playing the brutal role of Nils Bjurman. He was so traumatized after filming his pivotal rape scene with Mara that he locked himself in his hotel room for a day and cried. Obviously his choice to take the role, but it's always good to be reminded that an actor is not the character they portray. So if you haven't had a chance to read the book or watch either film version, go do so before listening in because we have some spoilers, then tune in and join us as we take on this fascinating murder mystery with one of film's most intriguing characters in years.
It's a new year, movie lovers, and in this episode, we take on an incredible film with crisp, spot-on, endlessly quotable dialogue, a cast that is absolutely perfect, and not one but two fantastic New Year's Eve scenes. That's right, we're talking about Rob Reiner's 1989 romantic comedy classic When Harry Met Sally....
We talk about how the film sprang from the real lives of Rob Reiner, his producing partner Andrew Scheinman and the Oscar-nominated writer Nora Ephron. We discuss the nature of the filmmaking process for this film and how smart it was to let the storytelling stand out front even though they could have easily brought out an arsenal of cinematic tools to use. Restraint can be a good thing! We laugh about the neverending lines from the film that are still quoted to this day. And we report on the truth of those cute old couples who pop up throughout the film to recount their own tales of falling in love. It's a magical, heartwarming tale of love, friendship, and the constant struggle between men and women to try to understand each other. Tune in and join us to start 2012 off right!
Notes & Links * Daniel Craig Interview at TimeOut London
Greetings and salutations, movie lovers! In tonight's episode, we'll wrap up 2011 and our Charlie Kaufman trilogy with 2004's Eternal Sunshine for the Spotless Mind, directed by Michel Gondry. Kaufman won the Oscar for Best Original Screenplay for this film, along with Gondry and Pierre Bismuth with whom he shares story credit, and they certainly deserved this award along with every other accolade they received for this incredible film.
We discuss how this story about relationships fits in Kaufman's canon. We talk about all of the amazing tools of filmmaking, both digital and practical, that Gondry and his team employ to create this disintegrating world within our protagonist's head as his memories of his girlfriend are erased. We cover Gondry and what he's bringing to the table. We also discuss the actors and how much they all bring to the table, whether its Kate Winslet in her Oscar-nominated performance as Clementine, Jim Carrey in one of his greatest serious performances ever, or Elijah Wood in maybe the creepiest role he's played. It's an incredible film about love, loss, destiny, memory and identity. Listen in as we end the year with a bang!
”We came here to rob them and that's what we're gonna do: beat their heads in, gouge their eyes out, slash their throats. Soon as we wash the dishes." Merry Christmas and happy holidays, movie nerds! Tonight, in the spirit of the season, we talk about Michael Curtiz's curious gem of a Christmas comedy from 1955, "We're No Angels." We look at the film's story — which certainly has charmed both of us — and how it fits in the holiday film genre, despite being a tale of criminals on the lam. We talk about the history of the studio system and how this comes during its decline. We discuss Michael Curtiz, his place within that system, and what he brought to the history of film. We also chat about the fantastic actors, and give our two cents on adding this to the annual list of Christmas movies worth watching. So put on your ugliest Santa sweater, sit back by the fire (where you're roasting chestnuts, no doubt) and join us with a hot peppermint latte as we delve into this wonderful, and to some extent forgotten, Christmas treat!
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- Original theatrical trailer
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- My Three Angels: A Comedy by Sam Spewack and Bella Spewack
- Flickchart
- Letterboxd
"I wonder who's gonna play me? Someone not too fat. I liked that Gerard Depardieu, but can he not do the accent? Anyway, it's done. And that's something."
It's the second collaboration between director Spike Jonze and screenwriter Charlie Kaufman, and it's another brilliant film to talk about. This time, it's 2002's Adaptation. Join us — Pete Wright and Andy Nelson — as we continue our Charlie Kaufman series with this cute, cliché, self-referential, meta film.
We talk about how the self-referential nature of the film works and how unique it is by creating the two sides of Kaufman's personality by not only writing himself into the novel adaption but also creating a fictional twin brother for himself. We talk about how the brilliant the performances are, from Nicolas Cage to Chris Cooper to Meryl Streep. We talk about the nature of writers writing themselves into their own works, referencing Hunter S. Thompson as one example. We talk about what the real Susan Orlean, the author of the novel on which the movie is "based," thought of how she was written into the film. And we chat about all the clichés that spring to life in the 3rd act, yet how it all works well because of the introduction of them earlier when the character Kaufman gets advice from screenwriting guru Robert McKee, played brilliantly by Brian Cox. We have a great time talking about this film. Listen in!
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- Watch this film: iTunes • Amazon
- Script (2nd draft revised, 21 Nov, 2000)
- Script (2nd draft, 24 Sept, 1999)
- Original theatrical trailer
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- Susan Orlean's thoughts on the film
- The Ebert Reviews: 2002, 2008
“There's a tiny door in my office, Maxine. It's a portal and it takes you inside John Malkovich. You see the world through John Malkovich's eyes... and then after about 15 minutes, you're spit out... into a ditch on the side of the New Jersey Turnpike." Many people consider 1999 to be one of the great years in cinema. Countless great movies released that year, and one of those was Spike Jonze's fantasy comedy about a man who discovers a portal into John Malkovich's head and the two women in his life. It's truly one of the strangest films but also one that is absolutely fantastic and introduced the world to the crazy stories by screenwriter Charlie Kaufman. Join us — Pete Wright and Andy Nelson — in our new series about Charlie Kaufman.
We talk about the quirky fantasy nature of this film and how it reflects the characters fantasies in conflict with their identities. We also talk about the obsession and control exhibited in John Cusack's character, Craig Schwartz. We discuss how the film can be construed as a feminist film, particularly when looking at the relationship between Catherine Keener's and Cameron Diaz's characters, Maxine and Lotte. And we chat about the brilliant idea to bring the real John Malkovich into the story and how it creates a real world in the film that still has plenty of crazy, as exhibited in the 7 1/2th floor in the building holding the portal. It's one heck of a wild ride and one we love chatting about. Listen in!
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- Journey 2: The Mysterious Island
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- Star Wars Episode I: The Phantom Menace 3D
"Where'd they go? Space?" "Not into space. Into the space between spaces." The ridiculousness of this line pretty much sums up our feelings for Steven Spielberg's 2008 film, Indiana Jones and the Kingdom of the Crystal Skull. It's nonsensical, silly, and surreal sci-fi mumbo jumbo that amounts to nothing. That being said, the long-awaited return to Indiana Jones and his adventures still manages to take viewers on a wild ride, even if it steers off course most of the time. Join us — Pete Wright and Andy Nelson — this week as we finish off Indiana Jones with what most people consider the worst of the series.
We talk about the addition to the cinematic lexicon that Spielberg created with nuking the fridge, something on par with jumping the shark, and how that really reflects the rest of the film quite well. We discuss how Spielberg and his cinematographer, Janusz Kaminski, had to return to an older style of filmmaking used in the previous films and how that helped and hindered this film. We chat about the challenges of making a sequel 19 years after the last entry, what struggles they had because of it, why they took so long to get around to making it, and what works in it. We laugh about the odd overuse of animals in this film and what Spielberg may be trying to say in the film. We relate this entry to "Crusade" and how they're both father/son stories, yet how this one fails where "Crusade" succeeded. And we come to terms with the fact that, as much as we (mostly) don't like this movie, it really does fit stylistically with everything going on in "Temple" and "Crusade" as far as style and humor, and how "Raiders" is the film that really stands out as the entry that doesn't quite fit.
It was a struggle to watch but, oddly, not as much as it was the last time and, even if it's not everything we wanted it to be to finish the series, it's still a lot of fun to talk about. Listen in!
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- Original theatrical trailer
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- Letterboxd
- Nuke the Fridge in the Urban Dictionary
New Words * Spielberg Spank * Dehors de la Scène
“Our situation has not improved“ Five years after Steven Spielberg and George Lucas dipped into the dark waters for the second Indiana Jones film, they brought the Man with the Hat back in a much brighter story and, as the posters announced, this time he brought his dad. Indiana Jones and the Last Crusade was, as far as most everyone thought, a return to form: a return to the fun and thrilling adventure story that was "Raiders" and decidedly not "Temple."
Released in 1989, the film gave everyone the satisfactory end to the trilogy that they wanted, right down to the heroes riding off into the sunset. Join us — Pete Wright and Andy Nelson — as we continue our Indiana Jones series.
We chat about the origins of the story and the return to a story with Nazis and a Biblical artifact and why they, perhaps, were getting away from the darker tones exhibited in their previous film in the series (even if Lucas still get to incorporate the Monkey King into the story as he's always wanted to do). We discuss the feel of the film and how it differs from the previous two, having a much glossier, more fake feel, and how that affects our feelings about it. We return to our conversation begun in our "Temple" episode about Jones' character arc and how, knowing that film was a prequel, this film's opening — as fun as it is — really doesn't make sense character-wise. We chat about which characters work for us, which don't, and how they really botched the writing job with Marcus Brody this go-around. And we deliberate on what the ending means and how, or even if, it works with the fourth entry into the franchise. It's a fun film and we have a great time talking about it. Listen in!
Film Sundries Want to join us for an episode? Support The Next Reel on Patreon to automatically be entered into our regular Listener’s Choice drawings! — http://patreon.com/thenextreel
- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- Letterboxd
"What is Sankara?" ”Fortune and glory, kid. Fortune and glory." Steven Spielberg and George Lucas both approached their 1984 follow-up to "Raiders of the Lost Ark" from a dark place while they were simultaneously going through divorces. Perhaps because of this, or perhaps because they were trying to create something different, "Indiana Jones and the Temple of Doom" has always been the ugly red-headed stepchild of the series, having a schizophrenic imbalance between goofy campiness and gruesome horror. That being said, one of us is in the minority and still really likes this movie.
Join us — Pete Wright and Andy Nelson — as we continue our Indiana Jones series with this second film. We talk about our memories of the film from our childhood and what still stands out. We walk through the project's history, from writer to writer to writer, and debate if that's from where the problems in the finished film started. We reflect on the comedy bits that work -- the opening scene and the raft is one — and the ones that don't — Willie Scott in particular. We discuss the performances from Harrison Ford, Ke Huy Quan, Kate Capshaw and Amrish Puri as well as what they bring to the table. We delve into the interesting character arc Indiana Jones has and how it really defines his character well and sets us up for "Raiders," even if the filmmakers botched it with the opening of "Crusade." And we chat about the fantastic set pieces that still hold up, regardless of whether other elements of the film don't. Hated by most but loved by Andy, it's part of an important and iconic movie series and we still have a great time talking about it. Listen in!
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- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart
- AMCTV (The Walking Dead, Breaking Bad, Mad Men)
"Throw me the idol, I throw you the whip!" Everything about Steven Spielberg's 1981 adventure film, "Raiders of the Lost Ark," is iconic. From the unforgettable lines that are so easy to quote to the brilliant characters saying them and the pitch-perfect actors playing them, to the countless scenes full of adventure and danger, to John Williams' score, to Jones' hat and whip. Join us — Pete Wright and Andy Nelson — as we start our Indiana Jones series and talk about the influence this film had on our childhoods and how it still plays an important role in our moviegoing sensibilities.
We talk about the origins of the story with George Lucas and Philip Kaufman, how it transitioned to Lawrence Kasdan, and how Spielberg joined in. We discuss the script and how well it works, particularly because of the great characters that all feel fully fleshed out, as well as how some of those characters, unfortunately, get a short shrift in the sequels. We discuss the special effects and how well they work, even if the techniques are a bit dated for today's audiences. And we chat about the interesting nature of the protagonist and antagonist, and how similar they are in this film. It's one of the greatest adventure films out there, one we've seen innumerable times, and certainly a movie we like. Listen in!
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- Watch this film: iTunes • Amazon
- Script Transcript
- Original theatrical trailer
- Original poster artwork
- Flickchart