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“Nobody’s job is safe with all these servicemen crowding in.”

Struggles of All Types for Post-War Veterans

The end of World War II brought a wave of veterans back to American society and an array of challenges as they tried to reintegrate and reconnect with family, friends, jobs and a society that struggled to fully understand their war experience. William Wyler’s 1946 multiple Oscar winner “The Best Years of Our Lives” tackles this subject with grace, nuance and warmth through the stories of three veterans returning to the fictional town of Boone City. Join us – Pete Wright and Andy Nelson – for an in-depth conversation about this magnificent film that details the post-war life of a trio of servicemen - each a different rank and from varied socioeconomic backgrounds - as they try to reestablish their lives and rediscover purpose with loved ones as we continue our 1947 Academy Award Best Writing Screenplay nominee series with a look at Wyler’s 1946 classic The Best Years of Our Lives.

Here’s a hint at what we talk about:

The film begins with our three protagonists – Fred, Al and Homer – meeting by chance on a flight home, immediately establishing the camaraderie and connection that comes from shared experience. However, their stories quickly diverge as each tries to reintegrate into society and reconnect with jobs, family and partners with varying degrees of success.

Fred was a captain and bomber pilot but now finds himself unable to get a job despite his officer status. Al is a married sergeant and banker struggling with alcoholism and a family dynamic that shifted in his absence. Homer, who lost his hands in combat, worries that his girl won’t still love him with prosthetic hooks.

The performances are extraordinary, led by Best Actor winner Fredric March along with Dana Andrews and real veteran and double Oscar winner Harold Russell in his film debut. The women – Myrna Loy, Teresa Wright, Cathy O’Donnell, and Virginia Mayo – each play their roles with nuance, rounding out the principal cast.

Beyond the acting, William Wyler’s direction is exquisite, with cinematographer Gregg Toland delivering long, deep focus shots that enhance storytelling and emotion. It's a searing, humanistic look at the complexities of war's aftermath and the resilience of the human spirit.

We unpack this layered, resonant story and Wyler’s masterful direction. It remains painfully relevant today and delivers a complex, poignant punch. 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
• Watch Diary of a Sergeant featuring Harold Russell
• Script Options
• Theatrical trailer
• Poster artwork
• Flickchart
• Letterboxd
• (00:00) - Welcome to The Next Reel • The Best Years of Our Lives
• (01:55) - Initial Thoughts
• (04:59) - Harold Russell
• (10:09) - Homer's Story
• (18:16) - Al's Story
• (32:11) - Fred's Story
• (37:48) - Hoagy Carmichael
• (38:28) - The Women
• (46:30) - Gregg Toland's Cinematography
• (51:53) - Airplane Graveyard
• (55:03) - The Title
• (58:40) - William Wyler
• (59:30) - Getting It Made
• (01:02:23) - Credits
• (01:04:09) - Other Adaptations
• (01:05:16) - Awards
• (01:08:23) - The Box Office
• (01:10:05) - Last Thoughts
• (01:10:32) - Coming Next Week • Brief Encounter
• (01:12:51) - Letterboxd

• (01:14:35) - Wrap Up

• Learn more about the WGA strike here.

• Learn more about the SAG-AFTRA strike here.

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“That king certainly hasn’t very good manners.”The Less-Singing, More Burnings VersionAudiences 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 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 * Flickers In Time’s review * Theatrical trailer * Poster artwork * Flickchart * Letterboxd * (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

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“Any vampires around these parts, Pa?”Talking About The Reflecting Skin with our guest, storyboard and concept artist Anson JewThere’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 SundriesLearn 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 * (00:00) - Welcome to Movies We Like • The Reflecting Skin * (02:37) - Meet Anson Jew * (18:54) - The Reflecting Skin

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“Any vampires around these parts, Pa?”Talking About The Reflecting Skin with our guest, storyboard and concept artist Anson JewThere’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 SundriesLearn 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

Learn more about the WGA strike here.
Learn more about the SAG-AFTRA strike here.

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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 * 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) * (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

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”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 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 * Transcript * Theatrical trailer * Poster artwork * Flickchart * Letterboxd * (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

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“I remember about the rabbits, George.”Capturing Steinbeck and Americana on the Big ScreenHaving 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

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“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

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“When you get inside my head, see if you can find any sense in it.”Bette Davis Dealing with and Dying From GliomaThere’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 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 * 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

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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 RiegeWhile 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 * (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

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"Toto, I’ve a feeling we’re not in Kansas anymore!"REBROADCASTStill a ClassicVictor 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 ConversationWe 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

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"We’re the victims of a foul disease called social prejudice, my child."REBROADCASTFord Delivers A Classic WesternWhen 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 ConversationWe 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

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“I should hate to see our country endangered by my underwear."REBROADCASTGreta 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 DiscussWe 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 * (00:00) - 1940 Academy Awards • Best Picture Intro * (01:11) - Welcome to The Next Reel • Ninotchka * (47:15) - Wrap Up

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“The world is changing. Truth is vanishing.”Ethan Hunt and Co. Are BackFor 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 SundriesLearn 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

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“You’re not a Senator, you’re an honorary stooge."REBROADCASTCapra’s Film Stands As Strong As EverIt’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 AboutWe 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

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"Give a boy a sense of humor and a sense of proportion and he’ll stand up to anything."REBROADCASTLearning Lessons That Last a Lifetime With Mr. ChipsRobert 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 AboutWe 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

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See the list for our entire lineup for SEASON 13 on our Letterboxd page!
“Frankly, my dear, I don’t give a damn."

REBROADCASTFinding Rhett and Scarlet Less RelevantConsidering 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 AboutWe 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 * (00:00) - 1940 Academy Awards • Best Picture Intro * (01:53) - Welcome to The Next Reel • Gone With the Wind * (01:20:49) - Wrap Up

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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... ReallyIt’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 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 • 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

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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 NationChristopher 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 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 * Theatrical trailer * Poster artwork * Flickchart * 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

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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 GrooveBrad 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 * Poster artwork * Flickchart * Letterboxd * (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

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“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 LewisMike 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. * Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! * 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 * Flickchart * 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

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“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 * Poster artwork * Flickchart * Letterboxd * (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

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“Well, this is not ‘mission: difficult’, Mr. Hunt. This is ‘mission: impossible.’ ‘Difficult’ should be a walk in the park for you.”Hunt’s Back for Love, Doves, and Viruses!Returning for a sequel to their hit, Tom Cruise and Paula Wagner decided to explore the franchise with a different director – something they’d continue doing for the first five films. For this, they went with Hong Kong action filmmaker John Woo. Known for his over-the-top action set pieces, his use of slow motion, and his use of doves, it may seem a bit of a surprise that what Woo really wanted to inject this sequel with was romance. But is that where the film goes wrong? Or did it have issues even without the love story? Join us – Pete Wright and Andy Nelson – as we continue our ‘Mission: Impossible’ series with a conversation about Woo’s 2000 film Mission: Impossible 2.
Here’s a hint at what we talk about.While it may seem natural to hire John Woo to direct a Mission: Impossible movie, it’s quite a surprise that this is the worst of the franchise. Woo’s filmmaking style doesn’t seem to fit. It feels like it’s a different universe than where the rest of the franchise takes place. But is that strictly Woo’s fault? Was it partially the story put together by Ronald D. Moore and Brannon Braga? Or the final script written by Robert Towne? It’s hard to say, but the romance Woo wanted to inject into the story certainly doesn’t help.
And that’s one of our primary complaints. Nya, as played by Thandiwe Newton, could be an interesting expert thief character but they drop that angle instantly and restrict her to love interest and pawn. Plus, by the time we get to the end of the film, they completely bail on Nya as a potential threat to humanity with the virus she’s carrying. No wonder Newton had such a miserable time making this movie.
But there’s also the angle of the virus and antidote. It seems very James Bond villain-esque, but even there it’s less about threatening the world and more about making a little money. Maybe it’s because we struggle with Dougray Scott as the villain, or the fact that his relationship with Newton’s Nya seems less likely than a possible gay relationship with his right hand man played by Richard Roxburgh.
Cruise does start his crazy stunts here with the wire work as he’s doing the free solo climb. His later stunts and action set pieces aren’t too bad, but they never feel great. It has its moments, but this film just never feels like it’s doing what it needs to be doing. Still, it makes for a fantastic conversation. 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 • Mission: Impossible 2 * (01:11) - Initial Thoughts * (03:07) - Less Espionage Thriller, More Stunts & Action * (05:07) - Bringing John Woo on Board * (06:58) - Director Shifts * (08:37) - The Romance * (14:24) - Less Exciting Action * (16:33) - Driving Scene * (17:27) - GoldenEye Comparisons * (18:51) - Limp * (19:21) - Sleazy, Not Sexy * (20:34) - Other Issues With Bathtub Scene * (22:48) - Dated Elements * (23:55) - The Team * (26:16) - Villains, Masks, and Tech * (31:21) - Brendan Gleeson * (32:47) - William Mapother * (34:14) - New Wolverine * (35:06) - The Break-In to Biocyte * (36:49) - Knife Blade * (38:25) - Feels Like TV * (41:22) - Losing Track of Nya * (43:05) - Braga and Moore * (44:52) - Robert Towne's Involvement * (45:26) - Credits * (46:20) - Awards * (48:08) - The Box Office * (49:14) - Last Thoughts * (50:19) - Woo-isms * (51:24) - Coming Next Week • Mission: Impossible III * (52:53) - Letterboxd * (55:37) - Wrap Up

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“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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“A day may come when the courage of men fails, when we foresake our friends and break all bonds of fellowship, but it is not this day!”There and Back AgainWith the success of Jackson’s Lord of the Rings trilogy in 2003, he proved that epic fantasy storytelling could not only work, but that it could be worth the risk to film them all at once. It could be argued that the biggest downside to this production method – filming all three movies at once then releasing them separately over the course of three years – is that many awards voters didn’t feel each film deserved to be recognized individually. This film won all 11 Oscars for which it was nominated, but should the previous efforts also fared better? Regardless, Jackson delivers an epic trilogy, and this film’s extended edition certainly gives us a lot to enjoy. Join us – Pete Wright and Andy Nelson – as we wrap up our conversations about the Lord of the Rings trilogy with a conversation about Jackson’s 2003 film The Lord of the Rings: The Return of the King.
Here’s a hint at what we talk about.The opening’s fantastic, but why does Smeagol talk the way he does when he’s morphed into Gollum? Andy has a bit of a quibble with that. We look at a number of the added scenes in the extended edition, focusing on the death of Saruman, the mouth of Sauron, and the relationship between Faramir and Eowen. How does the mad steward Denethor work for us? What about the massive armies and the battle at the end? Does it go a bit too far? We talk about a few of our favorite sequences – the lighting of the beacons, Shelob’s lair and Sam rescuing Frodo from the Orc tower, Sam picking Frodo up to carry him up Mount Doom. We continue looking at the roles of women in the films and how Jackson and his writing team handled expanding their roles. And then, of course, we ponder the plight of the cave trolls. The olyphaunts aren’t treated very well either, but we’ve seen cave troll abuse from the start.
No matter how many points we have to poke at in this film, it’s an easy one to love. 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 Return of the King * (03:14) - Initial Thoughts * (05:18) - Smeagol's Voice * (07:51) - Extended Edition * (16:11) - Crazy Denethor * (21:30) - Gollum * (24:54) - Digital Bits in Big Battle * (33:13) - Little Moments * (33:57) - Too Many Endings? * (37:47) - Roles for Women * (40:59) - Cave Trolls and Oliphaunts * (42:09) - Jackson-isms * (44:17) - Favorite Moments * (49:01) - Songs * (50:38) - Credits * (51:51) - Sequels, Etc. * (54:13) - Awards * (56:55) - The Box Office * (58:02) - Last Thoughts * (59:03) - Coming Next Week • Train to Busan * (01:00:48) - Letterboxd * (01:02:20) - 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

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“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

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“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

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“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

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“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

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“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

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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!

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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!

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“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

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“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!
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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 * 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

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“So be addicted. Be addicted to something else.”Checking in 20 Years Later with Renton, Spud, Sick Boy, and BegbyThat’s right, it’s time to talk about Danny Boyle’s legacy sequel T2 Trainspotting. It was a long time coming, and that’s even after author Irvine Welsh wrote a 10-years-later sequel called “Porno” to his original novel “Trainspotting.” Join us – Pete Wright and Andy Nelson – as we wrap up our conversations about the Trainspotting series with a look at Boyle’s 2017 film T2 Trainspotting.
Here’s a hint at what we talk about.First off, what’s up with that dumb title? We chat about it a bit and the reasons they named it that, but it doesn’t change our opinions that it doesn’t work that well. We were a little concerned about a return to this world, but in the end, we felt it worked. That’s largely because the people behind it were passionate about it and kept it honest and in line with where the first film ended. That doesn’t mean we don’t have issues with some of the character arcs. Could Begbie perhaps have learned something in prison and not come out 20 years later feeling like the same character? Could we have spent a bit more time dealing with Renton’s health issues? Why did Kelly Macdonald have to be included in what feels just like a cameo?
Still, the story largely works. We like the journeys the characters go on even with some of the issues. We’re glad that Boyle and Ewan McGregor were able to work past their problems to find a way into this one. And it’s great to see Boyle still finding ways to play with his production style, even if sometimes it doesn’t quite feel as fresh as it did the first time around.
All in all, it’s a surprisingly good return to 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 • T2 Trainspotting * (01:18) - Title * (04:15) - Porno and Origins * (05:52) - Initial Thoughts * (07:31) - Rating and Announcements * (07:53) - Returning 20 Years Later * (08:37) - Legacy Sequel and Interest * (10:49) - Struggle with Begby's Story * (17:24) - Renton's Health Issues * (23:43) - Final Scene and Change * (27:36) - Spud * (30:58) - Childhood Friendships * (32:58) - Jonny Lee Miller * (34:52) - Reconciliation * (36:12) - Kelly Macdonald * (37:47) - Boyle and McGregor * (39:29) - Time and Healing * (41:51) - Forgery * (42:56) - The Look * (46:36) - Sick Boy's Blackmailing * (47:45) - Soundtrack * (49:02) - Credits * (49:54) - Sequels & More * (51:58) - Awards * (53:54) - The Box Office * (55:03) - Last Thoughts * (55:48) - Coming Next Week • John Wick * (58:18) - Letterboxd * (59:58) - Wrap Up

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“Living like this is a full-time business.”

Choose Life. Choose a job. Choose Trainspotting.
Danny Boyle had directed before making Trainspotting, but it’s this film that really seemed to stamp him as a director to notice. This film follows a rowdy group of twenty-somethings, several of whom are heroin addicts. It not only pushed Boyle into the conversation, but Ewan McGregor as well, who stands out as the protagonist of our film. His journey as an addict who works to break free from the life only to (possibly) settle in a ‘normal’ life is the story, but it’s the comedy and energy through the film that makes it work so well. Join us – Pete Wright and Andy Nelson – as we kick off our Trainspotting series with Boyle’s 1996 film Trainspotting.
Here’s a hint at what we talk about.What is it about Boyle’s filmmaking style that captures our attention? What do we think of the key performers in this film – Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Robert Carlyle, Kevin McKidd and Kelly McDonald? The soundtrack is fantastic. How much does that infuse Boyle’s style? Or is it his style infusing his music selection? And editing? Or it it all just part of the way he sees his films? The comedy seems to capture the essence of the the lives of this group of twenty-somethings. It also allows the darker moments to hit that much harder.
All in all, this film’s a great ride and gut punch at the same time. Plus, it makes us never want to do heroin! 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 • Trainspotting * (01:08) - Danny Boyle and His Films * (03:10) - Revisiting This Movie * (04:01) - Rating and Announcements * (04:37) - The Toilet * (08:03) - Playful vs. Impactful * (10:47) - Principal Hooligans * (13:12) - Tommy's Journey * (15:22) - Taking the Money * (17:33) - Ewan McGregor * (21:26) - Ewen Bremner * (23:07) - Scatological Humor * (25:02) - Relationships and Parents * (27:20) - Tone * (28:02) - Jonny Lee Miller * (29:45) - Robert Carlyle * (33:22) - Kelly McDonald * (36:30) - Boyle's Style * (46:31) - Alien Love Triangle * (48:10) - The Look * (50:21) - Voiceover * (52:33) - Last Act * (54:41) - HIV/AIDs * (55:59) - Credits * (56:54) - Awards * (01:00:08) - John Hodge * (01:01:09) - The Box Office * (01:02:34) - Last Thoughts * (01:03:18) - Coming Next Week • T2 Trainspotting * (01:05:20) - Letterboxd * (01:07:28) - Wrap Up

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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

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“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

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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?

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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!

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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!
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 • 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

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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!

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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?

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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!

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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!

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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!

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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.

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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.’

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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!

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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!

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We continue our struggle with Bella’s decision – will she choose Jacob or will she stick with Edward? We’re here for it. Join us as we continue our journey through the film adaptations of Stephanie Meyer’s series in our conversation about Chris Weitz’s 2009 film “The Twilight Saga: New Moon.”

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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.’

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We wrap up our look at Gareth Evans’ series of Indonesian action films with a conversation about ‘The Raid 2: Berandal.’ It’s intense, it’s epic, it’s bloody, it’s operatic. We have a great time chatting about it.

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Pete Wright heads up Kyle Olson and Tommy Metz for a chat through Saturdays and Matinées, the works of William Gibson, kitcheny and mystery trailers, The Diabolical, and lists of movies we'll never watch again.

Andor is over and Kyle has things to say, like, we're still trying to convince Tommy that he should actually watch it. In the mean time, Tommy has been watching Barbarian and is both completely convinced that the script was unsalable to studios while also being a fantastic finished film. Pete waxes lovingly about William Gibson's work as a lead-in to a conversation on Amazon's adaptation of The Peripheral, which is, so far, so good.

We've got a game of The Diabolical that has the gents doing... accents(?). But first up, Trailers!

• Tommy’s Trailer: 1-800-HOT-NITE
• Kyle’s Trailer: Glass Onion: A Knives Out Mystery
• Pete’s Trailer: High Heat

THE LIST!

Movies we've seen once and will never watch again.

Tommy’s List

1. Marley & Me
2. Salö
3. Uncut Gems

Kyle’s List

1. Black Hawk Down
2. The Rules of Attraction
3. Schindler's List

Pete’s List

1. 17 Filles
2. Kimi
3. Dear Evan Hansen
4. 00:00 - Welcome to Saturday Matinée • 2022-11-12
5. 00:46 - The Watchlist
6. 00:52 - We're still watching AND LOVING Andor
7. 05:56 - Barbarian
8. 08:36 - The Peripheral
9. 15:28 - Let's Do Trailers
10. 15:42 - 1-800-HOT-NITE
11. 21:18 - Glass Onion: A Knives Out Mystery
12. 28:08 - High Heat
13. 34:58 - The Diabolical
14. 01:06:14 - The List: Movies you've seen once but will never see again.
15. 01:22:14 - Coming Attractions: Scenes of Hope

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We kick off our new series looking at Gareth Evans Indonesian action saga starting with his 2011 film “The Raid”, or “The Raid: Redemption” as it was released in the States. Just another action movie or something that feels like it’s excelling and adding something to the landscape of action cinema? Tune in!

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Kyle Olson leads Ray DeLancey and Krissy Lenz on a tour through halloween haunts with Halloween Ends. Friday the 13th the Series is for real and going big.

• Krissy’s Trailer: M3GAN
• Ray’s Trailer: MK Ultra
• Kyle’s Trailer: Avatar: The Way of Water

THE LIST!

It's not scary, but does it make you anxious? Then it belongs on our list this week!

Krissy’s List

1. Misery
2. Bill & Ted's Bogus Journey
3. The Transformers: The Movie

Ray’s List

1. Requiem for a Dream
2. Anne Frank: The Whole Story
3. Halloween II

Kyle’s List

1. The Descent
2. Open Water
3. Die Hard

What Else Do We Love Today?

• Royal Ocean Film Society
• The Murdaugh Murders Podcast
• Refind: Get Smarter Every Day
• 00:00 - Welcome to Saturday Matinée • 2022-11-05
• 00:54 - The Watchlist
• 01:03 - Halloween Ends
• 05:17 - Friday the 13th Gets a Show
• 11:05 - Let's Do Trailers!
• 11:14 - M3GAN
• 16:58 - MKUltra
• 22:16 - Avatar: The Way of the Water
• 29:42 - Games! The Sequel Elimination Bracket
• 45:54 - Elsewhere, on podcasts…
• 47:59 - The List! Anxiety, but not scary?
• 01:04:40 - Coming Attractions…

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We’re wrapping up our 18-year journey with Jesse and Céline as we close our conversations about Richard Linklater’s Before Trilogy. In this episode, we’re talking about the 2013 film “Before Midnight.” It’s quite the disagreement about the film and the journeys of our characters. Tune in!

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Tommy Metz III leads Krissy Lenz and Mandy Kaplan on a matinée tour of movies and television magic that ends in a recast-a-thon of movies that definitely should be musicals.

But first, the watchlist. Tommy and Mandy finished The Patient and loved it. Smile is middling fare according to Krissy, but she's an island on who's seen it on the panel just yet. We have a significant detour around Don't Worry Darling which you might even classify as "gossip corner."

• Mandy’s Trailer: The White Lotus — Season 2
• Tommy’s Trailer: Next Exit
• Krissy’s Trailer: Poker Face

THE LIST!

This week the team brings a list of movies which really and truly should be adapted into musicals. But they have a twist! They were challenged not only to bring the movie, but to bring a principal cast member and the first song. Which, of course, they overdid. It's awesome.

Mandy’s List

1. Practical Magic - Zoe Kravitz & Zendaya - “How Do You Spell Sister?”
2. Steel Magnolia - "Drink Your Juice” - Jane Kracowzki, Taraji P. Henson, Melissa McCarthy
3. The Princess Bride - “Not Grandpa” - Zendaya & Harry Styles

Tommy’s List

1. Whiplash - JK Simmons & Miles Teller - “Cymbal Face”
2. Forrest Gump - “Chocolates and Shrimp” - Will Ferrell
3. Stand By Me - “Do You Want To See A Body” - Jacob Tremblay

Krissy’s List

1. The Shining - Jensen Ackles - “Welcome to the Overlook”
2. What We Do In The Shadows - Cast of Stranger THings - “So Much Blood!”
3. Labyrinth - Maya Hawke & Lady Gaga & Lil Nas Ex - “It’s not fair!”
4. 00:00 - Welcome to Saturday Matinée • YYYY-MM-DD
5. 01:20 - The Watchlist!
6. 01:26 - The Patient
7. 02:27 - Smile
8. 04:36 - Don't Worry Darling Gossip Corner
9. 07:06 - Bodies Bodies Bodies & Barbarian
10. 07:55 - Trailer Buffalo!
11. 08:23 - The White Lotus Season 2
12. 13:40 - Next Exit
13. 19:22 - Poker Face
14. 25:24 - Games!
15. 38:16 - The Support Stuff!
16. 39:43 - The List! Movies that Should Be Musicals!
17. 58:26 - Coming Attractions

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We continue our time with Jesse and Céline, this time in Paris nine years after they first met. That’s right – in this episode, we’re digging into Richard Linklater’s 2004 film “Before Sunset,” the second film in his Before trilogy starring Ethan Hawke and Julie Delpy.

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We’re jumping into Richard Linkater’s world of Jesse and Céline – the Before trilogy. We kick things off exploring Vienna with Ethan Hawke and Julie Delpy. How well does this minimalist conversational film with two Gen-Xers work for us? Tune in!

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We wrap up our aca-conversation about the Bellas. Now they're performing with the USO tour as they sing their way across Europe. How does it play? Is it better than the second film or worse? And did we need the action antics brought with the inclusion of Fat Amy’s dad? We certainly have some thoughts. Tune in!

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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!

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We aca-kick off our a cappella love with the Treblemakers, the Bellas, and more as we start our Pitch Perfect trilogy series with Jason Moore’s 2012 film PITCH PERFECT. So much singing and we’re 100% here for it.

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We wrap up our return to the Back to the Future trilogy with Robert Zemeckis’ finale from 1990: BACK TO THE FUTURE PART III. What do we think of the western direction they took? Does it hold up better than the second film? And why do all of their relatives look exactly the same? Tune in!

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We continue our journey backward and forward in time with Marty McFly and Doc Brown, this time in the 1989 sequel BACK TO THE FUTURE PART II. How does it stand up as the middle film in a trilogy? Does it get too convoluted? How about the wackiness running rampant? And what’s this business with Marty reacting so strongly when called a ‘chicken’? Tune in for that and more!

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We kick off our look at Robert Zemeckis’ time traveling trilogy with one of our favorites – BACK TO THE FUTURE. It’s always a joy to revisit as it never gets old. Join us as we kick off this series with this 1985 classic!

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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!

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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.

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Pete Wright, Mandy Kaplan, and Tommy Metz are back with big screen and small screen takes, a blockbuster round of the movie game, terrorizing trailers, and a list of much-panned movies that we love anyway!

First things first, Tommy gives permission to love The Sandman. Mandy does the same for Blackbird and The Most Hated Man on the Internet. Pete has lower praise for Surface but saves his powder for Luck, a film that tries so hard to be kind it makes you hate yourself for not loving it.

Trailers

• Mandy’s Trailer: She-Hulk: Attorney at Law
• Pete’s Trailer: The Greatest Beer Run Ever (And along the way, Pabst Blue Ribbon did a documentary short on the true story so you can check out all these guys telling their story, made in 2015: Pabst Blue Ribbon Presents: The Greatest Beer Run Ever)
• Tommy’s Trailer: Fall

THE LIST!

This week’s list is a parade of misguided movie disdain. We were handed the task of uncovering movies that are widely panned but that we like anyway, and Mandy and Pete delivered. Tommy... was present, but struggled to reach the very bottom of the barrel.

Mandy’s List

1. Paul Blart: Mall Cop

2. Grease 2

3. Miss Congeniality 2: Armed and Fabulous

Pete’s List

1. The Whole Ten Yards

2. McHale’s Navy

3. Speed 2: Cruise Control

Tommy’s List

1. Poseidon

2. Hot Rod

3. Exam

4. 00:00 - Welcome to Saturday Matinée • 2022-08-20

5. 00:50 - Tom gives permission to love The Sandman
6. 04:41 - Mandy loves Blackbird
7. 05:51 - Don't read about The Most Hated Man on the Interned before you watch it
8. 07:22 - Surface is Fine
9. 08:09 - You won't get lucky with Luck... are YOU a quitter?
10. 12:31 - Let's Do Trailers!
11. 32:21 - Games! Head-to-Head Blockbuster Movie Game!
12. 42:03 - The List: Movies that are panned, but we like them anyway
13. 59:06 - Coming Attractions

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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!

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Kyle Olson leads Rob Kubasko and Ray Delancey in the first episode of our new SatMat Season!

• 00:00 - Welcome to Saturday Matinée • 2022-08-13
• 00:39 - Impressed/Depressed
• 01:09 - Shut up, Bevis
• 02:33 - Ray's Horror Challenge
• 04:26 - Rob's cheers for Ms Marvel, Evil, and Paramount+
• 07:05 - Lightyear, The Grey Man, and Netflix
• 09:36 - Prey!
• 11:05 - Let's Do Trailers!
• 34:36 - Games! Hack Attack!
• 53:37 - The List! Movies that you've changed your opinion on
• 01:16:48 - Coming Attractions

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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!

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Talking About John Cassavetes’ 1974 film ‘A Woman Under the Influence with our guest Tami Reiker

In this episode of The Speakeasy, we’re joined by award-winning cinematographer Tami Reiker to talk about one of her favorite movies, John Cassavetes’ 1974 film A Woman Under the Influence. This is a film Tami has often shown to directors she’s worked with as they discuss the projects that influence them and what they want to pull from it to bring in as influences on the project. It’s a powerful film that’s full of incredible moments brought by both leads – Gena Rowlands and Peter Falk – not to mention fascinating direction by Cassavetes himself. How has it influenced Tami over her career and what does she pull from it?

Tami’s Current Project Surface on Apple TV+

We also talk about the new series she’s worked on with director Sam Miller and star Gugu Mbatha-Raw, Surface. For the episodes she worked on, Tami and Miller wanted to use swing shift lenses to amplify the disconnection Mbatha-Raw’s character has from the world due to post-accident amnesia. It’s a powerful tool and connects directly with their authorial voice.

There’s a lot to talk about with Tami about both A Woman Under the Influence and Surface on The Speakeasy. Tune in!

Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

About Tami

Award-winning cinematographer Tami Reiker, ASC, made history by becoming the first woman to win an American Society of Cinematographers award. She took home the ASC Outstanding Achievement in Cinematography Award for her work on the HBO pilot, Carnivalé.

Reiker recently worked on the highly anticipated new Apple TV+ series Surface starring Gugu Mbatha-Raw and created by Veronica West, bringing together innovative technology and breathtaking visuals for the first two episodes of the psychological thriller, each with director Sam Miller. She also lensed Regina King’s directorial debut One Night In Miami, chronicling a fictional account of a real night when the lives of Cassius Clay, Sam Cooke, Jim Brown and Malcolm X are forever changed. The drama already made history at the 2020 Venice Film Festival as the first film directed by a Black woman to be selected and is also an official selection at the 2020 Toronto International Film Festival.

Previously, Reiker photographed the action epic The Old Guard for Netflix and frequent collaborator director Gina Prince-Bythewood. Based on the graphic novel series of the same name, the film follows a group of immortal soldiers who must defeat a corrupt man trying to expose their secret. The feature shattered records after its release, becoming one of the top ten most streamed films in Netflix’s history, with Prince-Bythewood becoming the first Black female director to land a spot on the list.

Reiker’s additional feature credits include: Beyond the Lights for Gina Prince-Bythewood, starring Minnie Driver, Danny Glover and Gugu Mbatha-Raw; the critically praised Pieces of Aprilfor director Peter Hedges; and High Art, a visual collaboration with director Lisa Cholodenko, which earned Reiker a Best Cinematography nomination at the Independent Spirit Awards.

For television, Reiker lensed: episode one of Woman of The Movement, directed by Gina Prince-Bythewood; HBO Max’s Delilah pilot for director James Griffiths; Marvel’s Cloak and Dagger pilot; CBS’s Charmed pilot, with director Brad Silberling; the pilot for Fox’s Shots Fired, the critically praised ten-part series chronicling the investigation of a police shooting; and HBO’s Getting On pilot for director Miguel Arteta.

After beginning her career and making a name for herself in the New York film community, Reiker moved to Los Angeles where she still lives now, with her son. She is represented worldwide by DDA.

Film Sundries

Learn more about supporting The Speakeasy and TruStory FM’s other entertainment podcasts through your own membership.

• Watch A Woman Under the Influence on Appleor Amazon, or find other places at JustWatch
• Watch Surface on Apple TV+
• Script Transcript
• Theatrical trailer
• Poster artwork
• Flickchart
• Letterboxd
• Tami’s Website
• Tami on IMDb

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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.’

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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!

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 Transcript
• Theatrical trailer
• Poster artwork
• Flickchart
• Letterboxd
• SNL Star Wars Lounge Singer
• Star Wars/Cantina Disco
• Harmy’s Despecialized Edition

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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.

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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!

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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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Tommy Metz leads an all-star cast of Krissy Lenz and Rob(by) Kubasko(z) in this SatMat Season Finale with trailers, games, and a list of movies you're too young to watch.

But first, Krissy misunderstood the assignment and saw the wrong Elvis movie. Don't worry, though, the mix-up leads to hijinx and inspiration for not one, but two new spin-off podcasts involving pineapples and exhaustive rewatches of other wrong Elvis movies.

Rob is healing, and used the time to catch up on a lot. Rob's Homework: Red Eye, No Time to Die, Stranger Things, Strange New Worlds, Obi-Wan Kenobi.

Along the way, Netflix is in trouble. They just fired another 300 people. Still, the stream screen is performing just fine, as more people are watching Stranger Things and Obi-Wan than Top Gun Maverick or Jurassic World. Netflix has responded by piloting their password-sharing crackdown. "Excellent" timing.

Meanwhile, tv+ dropped some serious cash on their Ted Lasso-esque plan to own all MLS with a ten-year ownership deal of MLS distribution with no black-outs. Says Eddy Cue (that's Apple's SVP of Services), “For the first time in the history of sports, fans will be able to access everything from a major professional sports league in one place.” In the history of sports, Mr. Cue? Wethinks you are a touch too proud. But still, cool for football hooligans.

• Krissy's Trailer: The Menu
• Rob's Trailer: Stranger Things Season 4B
• Tommy's Trailer: Smile

THE LIST! This week's list takes us back in time to the moments we were somehow allowed to see movies that were way out of our league: Movies we were too young to watch.

Krissy's List 1. Pulp Fiction 2. The Accused 3. The Silence of the Lambs

Rob's List 1. The Right Stuff 2. Burnt Offerings 3. Halloween

Tommy's List 1. Robocop 2. Fatal Attraction 3. Poltergeist

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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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Ocean Murff and Krissy Lenz have been to infinity and beyond in Pixar’s latest in the Toy Story Cinematic Multiverse, “Lightyear.”

Chris Evans dons the dome as our titular space ranger. How well does his take on non-toy-Tim-Taylor fit as a parallel-prequel to the beloved Toy Story films? The film has hit the box office with mixed reception in spite of it’s pedigree and voice cast, including Keke Palmer, Peter Sohn, James Brolin, Bill Hader, and Taika Waititi.

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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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Pete, Kyle, and Tommy are in the Saturday Matinée this week for vamps on planes, VHS nostalgia, and a watchlist of movies about fans and fanatics!

Pete and Kyle did their homework and have a report on their watch of Blood Red Sky. Even more, Kyle watched Always and reports it might have been better had there been vampires on those planes. Tommy's been Benjamin Buttoning his rewatch of Mission: Impossible and just wrapped up his watch of "Under the Banner of Heaven."

We have no game this week, and in its stead, Kyle brings a walk down memory lane with a grueling inquiry into our film history.

• Kyle’s Trailer: The Sandman
• Tommy’s Trailer: Blackbird
• Pete’s Trailer: Don't Make Me Go

THE LIST! The list this week takes us into the world of fandom with films about fans and fanatics.

Kyle's List 1. The Banger Sisters 2. Fanboys 3. Galaxy Quest

Tommy's List 1. Mother! 2. Misery 3. Moneyball

Pete’s List 1. The People vs. George Lucas 2. Director's Cut 3. Big Fan

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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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Ocean Murff, Pete Wright, and Krissy Lenz strap in and fly the canyon run to attack the station — station which is now fully-operational — in Top Gun: Maverick. So let’s get ready to bull’s eye some womp rats with the new crew of bests of the best!

The gang is all here! Mav, his romantic flirty foil, several cantankerous military authority figures to disrespect, a constant friend on the tarmac, a dozen better-than-you pilots, and the notorious black-clad fifth gen enemy! What do we love? And do we love it all enough to sit through it while we’re just waiting to get back into the air? We’ll just have to see if this relic of an aviator find it’s time to hang up his Aviators.

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It's the Star Wars Celebration Special! Rob and Kyle went to Anaheim last week and are back to report on their experience during their four days celebrating all things Star Wars.

But first, we dig into Stranger Things, Death on the Nile, Kenobi, and a Trailer Reckoning.

• Pete's Trailer: Vengeance
• Rob's Trailer: The Princess
• Kyle's Trailer: Mission Impossible Dead Reckoning Part One

THE LIST! Our list this week begs us to talk of our favorite films set on planes. Turns out, the horizon is wide open on this one.

Pete's List 1. Air Force One 2. Red Eye 3. Air America

Rob's List 1. Always 2. Executive Decision 3. ⭐ Memphis Belle

Kyle's List 1. Turbulence 2. Flight of the Phoenix 3. Blood Red Sky

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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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Today Mandy Fabian takes us through all the planning that has to happen before a shoot. From shotlists and storyboards, finding out which songs you can use and even what brands you’re allowed to show, she’ll tells me what she’s learned. Plus, we’ll talk about working with actors, including how she directed an actor in a very intimate moment.

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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

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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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The time has come to assemble the crew! Mandy Fabian takes us through the process of picking her elite team to make her movie. From assistant director to wardrobe, casting, sound, and the rest. And the most important question: how are you going to feed them all?

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Ocean Murff heads a trio of Krissy Lenz and Pete Wright in what is ultimately an episode heavy with Top Gun: Maverick enthusiasm. They dig into Tom Cruise's stunt mania, dragging the cast into the cockpits to film the thing, while Krissy cements her position as a Top Gun Flat Earther.

Elsewhere, Margo Robbie is taking the lead on a European Ocean's Eleven movie set in the 60's. Kids in the Hall are back on Amazon Prime, Ocean wants more Wonder Twins because he can't have them, and Pete sings the praises of Star Trek: Strange New Worlds sitting atop Slow Horses.

• Ocean’s Trailer: Crimes of the Future
• Krissy’s Trailer: Spiderhead
• Pete’s Trailer: She-Hulk: Attorney at Law

THE LIST! The crew was presented with an either/or this week in an effort to determine favorite films in which a sequel or remake improved the franchise over the original, or made it worse. At least this round is full of steals.

Ocean's List 1. Miami Vice 2. The Longest Yard 3. Point Break

Krissy's List 1. ⭐ Bram Stoker's Dracula 2. Romeo + Juliette 3. ⭐ The Mummy

Pete’s List 1. Casino Royale 2. Chicago 3. The Thing

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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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You’ve got the script, you’ve got the money, but you can’t make a movie without actors and locations. Mandy Fabian is going to give us the inside track on the casting process. And how exactly do you find the right actor during a pandemic? And we’ll get into the joys of location scouting and how bad timing can end up being a good thing. Plus, will she follow the Quentin Tarantino path and cast herself in her movie?

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Ray DeLancey, Kyle Olson, and Rob Kubasko are on the big show this week and they bring the fantasy.

First, apparently Sonic 2 is fun. If you have a family to serve as an excuse that keeps you from having to watch it by yourself, you should see it. We're still watching Moon Knight, Picard, and Strange New Worlds, and this weekend we're doing a little Tatum with the Paramount+ drop of The Lost City.

And, did you hear? Walken is joining Dune.

We've got a little Star Wars stuff coming with the impending release of Kenobi, and you heard it here first: The new Lego Star Wars game slaps.

• Ray's Trailer: Unhuman
• Kyle's Trailer: Resident Evil
• Rob's Trailer: Avatar: The Way of Water

THE LIST! Last week, Ocean, Krissy, and Tommy fought off sadness by paying forward a list of movies in which you end up rooting for the bad guy, or unhappy ending. And you know what? It turns out we're real downers who love movies like this.

Ray's List 1. X-Men: Days of Future Past 2. King Kong (1933) 3. The Last Temptation of Christ

Kyle's List 1. Black Panther 2. The Rock 3. Ghostbusters

Rob's List 1. Cast Away 2. Walk Hard: The Dewey Cox Story 3. Star Wars: The Rise of Skywalker

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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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It’s no secret that’s it’s nearly impossible to get a movie made. In today’s chapter, Mandy Fabian is going to give us the strange, twisting path that she followed to be able to make her first movie. From close calls with big name actors to watching a hot script go cold, only to see a cold script get hot, what was the magical sequence that finally got her movie the fabled green light? Plus we’ll go deep into the table read. How? Where? Who? And what do you get from it?

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Doctor Strange gets all magicky with Wanda in this multiversal leveling up to the MCU. There’s a lot going on here, and Ocean Murff, Krissy Lenz, and Tommy Metz III do their best to unravel the timey-wimey spaghetti of this Raimi entry to the universe.

Speaking of Raimi, just how Raimi is it? Too much? Too little? Hands tied by fancy MCU Earch 838 handcuffs? Maybe, but he still got a zombie in here, and Bruce Campbell, and don’t forget all the jokes! So many jokes.

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Ocean Murff navigates Krissy Lenz and Tommy Metz III through pirate-infested waters to lands where crimes take place in LDS land and Andrew Garfield just tries to solve everything while being awesome in every way. Plus there’s plenty of Anatomy of a Scandal to discuss. We talk trailers – most of which Tommy stole like the pirate he is – and play a Cinco de Mayo game! Plus, there’s the list with the weirdest love scenes.

• Tommy’s Trailer: Don’t Worry Darling
• Krissy’s Trailer: Weird: The Al Yankovic Story
• Ocean’s Trailer: Top Gun: Maverick

THE LIST! This week's list, we’re looking at the weirdest love scenes.

Tommy’s List 1. Mother! 2. Munich 3. The Cabin in the Woods

Krissy’s List 1. The Naked Gun 2. Demolition Man 3. My Own Private Idaho

Ocean’s List 1. Scary Movie 2 2. Species 3. Team America: World Police

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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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In our latest chat, Mandy Fabian and I decided that we’d just talk about writing and let the chat go wherever it led. We’ll discuss our processes, outlines, getting strange ideas that weren’t meant for us, and how to take your family’s drama and make a movie out of it. But first, we venture into the strange shared brainspace that happens when you have a co-writer.

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Kyle Olson leads Mandy Kaplan and Pete Wright through a parade in praise of understudies, Severance, a game of Double-Cross, and a list of great violence in film!

In spite of the fact that no one else on the show has seen 'Severance' on tv+, Pete shows of his super-obscure merch. Who is really to blame for not being able to catch up on the show? The Emmys, that's who. They're to blame by the crazy over-abundance of stuff to watch, so says Variety.

• Mandy's Trailer: I Love that For You
• Pete's Trailer: Jurassic World Dominion Trailer 2
• Pete’s Trailer: Good Luck to You, Leo Grande

THE LIST! This week's list invites an exploration of not the most surprising deaths in film, but the craziest deaths in film.

Mandy’s List 1. Creepshow 2. Indiana Jones and the Temple of Doom 3. A Nightmare on Elm Street

Pete’s List 1. The Wicker Man 2. Final Destination 3 3. Deep Blue Sea 3

Kyle’s List 1. Ghost Ship 2. Kingsman: The Secret Service 3. The Suicide Squad

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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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On today’s chat, Mandy Fabian will talk about her time as a shadow, that is, when she got a chance to shadow direct on a couple of big time television shows. We’ll talk about the differences between directing actors on television, movies and on stage. But first, she’ll talk about crossing paths with a future Oscar winner.

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Mandy Kaplan leads Ocean Murff and Ray DeLancey in this week's Saturday Matinée, and they begin with Netflix's Russia problem. Yes, the company lost subscribers in spite of promising gains last quarter, and sure, there's likely a password sharing problem. But could it be, possibly, and we're just spit-balling here: they are spending too much money on bad movies making the good movies hard to find? I guess we'll never know.

Spider-verse II is getting a delay. We're hopeful they are just tightening things around the edges and it doesn't have anything to do with that weird trailer cut-scene they released a while back.

Affleck and Damon are coming together for a Nike/Jordan film. Don't worry, as far as we've heard, there is no de-aged Michael Jordan in it.

• Ocean's Trailer: Alice
• Ray's Trailer: Thor: Love & Thunder
• Mandy's Trailer: Flight Attendant Season 2

THE LIST! Ok, look. If we're honest, some of these aren't exactly sequels, rather reboots. But since we don't want to get in a big fight about it in show notes, we're going to let it be: Sequels better than their predecessors ahoy!

Ocean's List 1. Predators 2. Fast Five 3. Batman Begins

Ray's List 1. Halloween Kills 2. American Reunion 3. The Bride of Frankenstein

Mandy's List 1. Star Wars: The Empire Strikes Back 2. Vacation 3. Grease 2 🤦‍♂️

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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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Let’s take this show on the road! Mandy Fabian discusses the fun and adventure that comes along with taking your short film on the festival circuits. We’ll talk about the joys and networking and the gut-wrenching terror of a Q&A when there aren’t any Q’s. But first, we’ll discuss the downside side of binge culture.

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Happy US Tax Day everyone! Ok, it was yesteday as we share our Saturdays with you but makes us think about tax movies all the same. This week, Pete Wright hosts Kyle Olson and Tommy Metz III and we kick things off with Tommy’s strong feelings about The Secret and parking your car.

The publisher of EW has announced that April 2022 will be the last print edition of the magazine as they double-down on digital. We talk about business units, which is why this podcast has chapters that you can skip through.

Kyle wants to talk about Nimona and the long and winding road the film has taken to find its way from Disney's fear of LGBTQ+ and over to Netflix. A relief for what looks to be a cool property. Go read the book.

Tommy has seen Ambulance and shares his love for drone cinematography. Here's the studio video on it. But here's Potato Jet's vlog on it in which he interviews the drone camera operators, Bay, and cast. It's bananas.

• Tommy’s Trailer: Russian Doll Season 2
• Kyle’s Trailer: Stranger Things Season 4
• Pete’s Trailer: We Own This City

THE LIST! OK, so, we might have fallen off the modifier train as some of these aren't exactly notorious, but we do offer a handful of great slaps in film!

Tommy’s List 1. The Abyss 2. Whiplash 3. Airplane!

Kyle’s List 1. A Goofy Movie 2. Jackass 3 3. The Naked Gun

Pete’s List 1. Clue 2. Tombstone 3. There Will Be Blood

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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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And: action! On today’s episode, we’ll be discussing the first time Mandy Fabian ever sat in the director’s chair. We’ll talk about the learning curve that comes with making your first short film, dealing with actors and crew who have way more experience than you. Plus she tells me about the worst direction she ever gave an actor. But as today’s chat starts, directing is the last thing she ever wanted to do.

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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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Chapter Five of my conversation with Mandy Fabian takes us into the hallowed halls of 30 Rockefeller Plaza. Then we’re back into the word mines to discuss dialogue, adapting existing properties, and creating a series for the web using stars from TV.

We’re going to be diving deep into the world of a writer, but before we get there, Mandy Fabian tells us of her time at 30 Rockefeller Plaza. Then we’ll talk about the ideas that haunt us, co-writing, the joys of dialogue, and the ups and downs of adaptation. Plus we’ll find out which of the Friends Mandy has worked with.

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The team had twenty extra months to muscle Morbius into full release shape thanks to pandemic delays. What did they do with all that time? Well, judging by what we just witnessed, they cut it. A lot. The question that remains: is what’s left much of a movie?

Welcome to the Sony Spider-Man Universe! We’re setting sail on the Sinister Sea with Dr. Morbius and friends. Ocean Murff is at the con with Krissy Lenz and Pete Wright as they embark on a journey of discovery in this new, wild world of (Sony) Marvel Horror Rogues.

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Andy Nelson wishes you all a fine top of YOUR mornings in the big chair with Tommy Metz III and an about-time-finally return to our very own Ray DeLancey this week.

We remember Poitier, but only as an entry into a conversation about the “bizarre and terrible” Oscar ceremony as we pose the question: will the Oscars ever find a way to fix themselves? Ray has a great idea: Let Frank Dreben do it.

Eggers is heading North and has so. much. to. say about making movies with difficult people. Speaking of things that rhyme with “people”, our favorite clown is getting an “IT-quel” from HBOMax! Finally, if you haven’t seen the deleted scene from The Batman, check it out for Joker goodness.

• Tommy's Trailer: Gaslit
• Andy's Trailer: Silverton Siege
• Ray's Trailer: The Staircase

THE LIST! The list this week? They didn't understand the assignment. Much like our trio...

Tommy's List 1. Dodgeball: A True Underdog Story 2. Legally Blonde 3. Bridget Jones's Diary

Andy's List 1. Summer School 2. Karate Kid 3. Dead Poet's Society

Ray's List 1. ‌Burn After Reading 2. Monty Python and the Holy Grail 3. Texas Chainsaw Massacre: The Next Generation

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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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We’ve reached the fourth part of our conversation, so that means it’s time to party. In today’s chat, you’ll hear Mandy Fabian tell us about what a Hollywood party is really like, including an Emmy party. Then we’ll get into more of the writing process as we discuss spec scripts and the joys of the note process.

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Pete's in the big chair with Krissy and Kyle in tow to talk trailers, catchphrases, and a list of great performances in not-so-great movies!

But we start with 'Halo', the latest live action take on the epic video game franchise. It's a high-dollar operation aiming to make a mark in a history of false starts. Master Chief looks great. Will it hold up?

'Our Flag Means Death' is still worth watching if you're in to that sort of thing. 'Carson' is getting a series order with a trio of names worth keeping an eye on. Nic Cage has been working the last three years to get out of debt. We like him even more now. Oh, and Hans Zimmer gives us a tease of the Dune score performed live.

• Pete’s Trailer: Men
• Krissy’s Trailer: Where the Crawdads Sing
• Kyle’s Trailer: Waterman

THE LIST! The understood the assignment! Great performances in not-so-great films.

Pete's List 1. S1M0NE 2. The Circle 3. Patient Zero

Krissy's List 1. Bill & Ted Face The Music 2. Deep Blue Sea 3. The Twilight Saga: Breaking Dawn Part 2

Kyle's List 1. Constantine 2. The Girl Next Door 3. Jupiter Ascending

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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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Our chat with Mandy Fabian now takes us to Hollywood, where she gives us a look at what pilot season is like from the inside. We’ll also discuss agents and managers, voice-over sessions, the painful process of auditions, and more.

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The Fearless Kyle Olson is in the big chair with Mandcave’s Mandy Kaplan and Krissy Lenz of The Most Excellent 80’s Movies Podcast.

It's Bruce Willis's birthday! We open with the 300 movies he's contributed to over the last three years. Happy Birthday, Bruce.

Krissy has been watching Our Flag Means Death. It's pirates. Funny pirates. Mandy's been watching The Dropout, but really loves Turning Red. Kyle caught The Adam Project and found it meh. But Winning Time? That's a win. Sadly, Will Ferrell and Adam McCay broke up over it.

• Mandy’s Trailer: Ms. Marvel
• Krissy’s Trailer: Chip 'n' Dale: Rescue Rangers
• Kyle’s Trailer: The Bubble

THE LIST! Split Personalities. More than just a neurological condition, it's also a state of movie.

Mandy's List 1. Primal Fear 2. Sybil 3. Split

Krissy's List 1. Sky High 2. Twins 3. Malignant

Kyle's List 1. Starship Troopers 2. 300 3. Serenity (2019)

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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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My conversation with Mandy Fabian continues as we move from Texas to Boston to the city so nice they named it twice: New York. We’ll get into the hustle of trying to start a career; paying the bills, getting an audition, scoring your first commercial and her brush with the Great White Way.

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Tommy Metz III, self-described king of diminishing returns, hosts Ocean Murff and Krissy Lenz in building your weekend watchlist, a game of Happy Endings, and a list that will help you find your best place to work 2022!

Krissy makes up 'Father Brown' and gets a hard lock on the cozy British mystery. Ocean finds work/life separation with 'Severance' on Apple TV+.

Theaters are introducing variable pricing and ... no one seems to care?

• Tommy's Trailer: You Won't Be Alone
• Ocean’s Trailer: Deep Water
• Krissy's Trailer: The Girl from Plainville

THE LIST! The crew is handed a real job hunt this week: movies that define your favorite place to work!

Tommy's List 1. Escape Room 2. John Wick 3. The Game

Ocean's List 1. Wall Street 2. Point Break 3. Any Given Sunday

Krissy's List 1. The Cabin in the Woods 2. Harry Potter and the Prisoner of Azkaban 3. U.H.F.

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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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We’re shifting gears here at the Codex and trying something new. As a curious person, I’ve always wondered what directing a movie is really like. And I was lucky enough to meet someone who has not only directed a film, but was willing to chat with me at length about the process: actress, director and fellow podcaster Mandy Fabian. But what began as a simple chat became a much more elaborate conversation about the Business of Show, acting, agents, New York vs. Los Angeles and more. So join me as I learn about the ins and outs of the business from someone who has worked their way up through the ranks to get to the director’s chair.

Chapter One: The Big Bright Stars In Her Eyes

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Fans of Nolan’s Bat-entries will probably understand our reticence walking into Matt Reeves's latest film, “The Batman.” Christian Bale already did a turn as a Darker Knight, right? Why on earth would we need another one? Another universe, another actor, another take on principle villains?

And so it is that Ocean Murff, Pete Wright, and Tommy Metz III walked into the 3-hour epic, hopeful, cynical, nervous, and maybe a little judgmental. Let us start with this: “The Batman” is more than we expected. For good or ill, it is more. For the rest, you have to listen in.

We talk about Robert Pattinson, naturally, and Zoë Kravitz, Paul Dano, and Colin Farrel. Oh, and did we mention John Turturo? Yeah, he was in there, too. We have thoughts on latex, rain, scary cars, and the Riddler/Batman rift as it relates to the classic Joker/Batman duo.

This is a big movie, worth the big screen and big runtime. Will it be worth big stars and big hearts? Join us!

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Pete Wright, Kyle Olson, and Rob Kubasko helm this fine Saturday Matinée. Rob’s still watching Boston Legal, but sounds like he’s about finished and can move on to another hit legal drama. Stay tuned!

Kyle has seen The Batman and has good things to say. No spoilers, but the way he talks about this thing makes us super into it. Did Pattinson really pull it off? The Film Board will be talking about it Saturday evening live.

Pete complains about Kimi some more and recognizes that he's on an island with this one, so he throws a Hail Mary and brings up the time that Scarlett Johansson turns into a USB stick. Sick burn, bro.

There's some good fuel up for trailers this week. Seriously, no scrubs here:

• Rob’s Trailer: In Search of Tomorrow
• Kyle’s Trailer: Bullet Train
• Pete’s Trailer: Umma

THE LIST! The gang last week gave us bombs that became beloved. We might not do it right.

Rob’s List 1. The Iron Giant 2. Event Horizon 3. ⭐ Hudson Hawk

Kyle’s List 1. The General 2. Clue 3. Fight Club

Pete’s List 1. Office Space 2. Clerks 3. The Shawshank Redemption

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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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Mandy Kaplan (Mandcave), Rob Kubosko (10 Random Things), and Josh Stolte (Scarlet Velocity: The Flash Podcast) are all in on Galactic Starcruiser, the new immersive hotel experience in Orlando with no windows and aliens that'll cost you a few months of your mortgage. Surprising (no)one, Mandy isn't all-in on the new Shondaland show, Inventing Anna. And the Razzies are out for 2022 and while they do seem more sinister this year, they have a solid take on the career of Bruce Willis.

• Mandy’s Trailer: Life & Beth
• Josh's Trailer: Elvis
• Rob's Trailer: ‌Under the Banner of Heaven

THE LIST! This week: Comic book movies that DON'T stem from super-heroic origins. Will our team step up?

Mandy’s List 1. Dennis the Menace 2. The Peanuts Movie 3. Garfield: The Movie

Josh's List 1. Flash Gordon 2. Tales from the Crypt 3. Richie Rich

Rob's List 1. Time Cop 2. Cowboys and Aliens 3. Dick Tracy

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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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A bombastic treasure hunt with Spider-Man and Marky Mark? Sure! We’ll watch that!

The Naughty Dog game that started it all, Uncharted: Drake’s Fortune released in 2007, was the first in a four-part smash Playstation franchise that has spawned a number of spin-offs and legitimately fun fan creations. Judging by the length of the new PlayStation Studios logo reel in front of this movie, we can likely expect Drake to kick off more big-budget interpretations of the gamer’s titles. So how does Uncharted do in laying out the path for others to follow?

It’s a mixed bag held perilously by Tom Holland who’s performance here is fun as prequel-aged Nathan Drake. From there, it’s mostly downhill, likely forgettable… but a good time, too? Ocean Murff leads Justin Jaeger and Pete Wright in our take on this big budget adaptation of the video game.

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Wanna talk about Boba Fett? We do. But also, we have to talk about ‘Peacemaker’ and ‘Reacher’.

• Jay’s Trailer: Doctor Strange and the Multiverse of Madness
• Kyle’s Trailer: Lord of the Rings: Rings of Power
• Ocean’s Trailer: Nope

THE LIST! It’s Olympic season! Ok, so it’s the end of Olympic season, but still: this week we’re talking about movies that contain activities that should be adopted as Olympic events in future years. Get ready to hit the gym.

Jay’s List 1. Inglorious Basterds 2. Pirates of the Caribbean: Dead Man’s Chest 3. The A-Team

Kyle’s List 1. Die Hard 2. The Running Man 3. Dances With Wolves

Ocean’s List 1. Role Models 2. Over the Top 3. Rollerball

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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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The Oscar nominations are out and this year more than others past, are the nominees more accessible to you where you live?

Analysts are starting to talk more feverishly about the value of small screens in getting small movies seen. Julia Alexander and Jason Snell poke at that particular dragon in the latest episode of Downstream with a nod to this piece from Parrot Analytics. Both are interesting and point to a place down the road where we see greater importance in home viewership for anything that doesn’t wear tights or blow stuff up.

New voices on the show this week! We’re thrilled to welcome Jay Shepard and Josh Stolte to the TNR rotation. They join us from their voluminous podcastery on the Retrozap podcast network including the Superhero Suite, Scarlet Velocity: A Flash Podcast, and ENJOY STUFF!

Trailers Jay brings a spiritual follow-up to Free Guy, Josh to Buzz, and Pete brings dinos. Weaponized Nostagia, anyone?

• Jay’s Trailer: The Adam Project
• Josh’s Trailer: Lightyear
• Pete’s Trailer: Jurassic World: Dominion

THE LIST! Last week’s crew gave us the task of coming up with terrible places for a weekend getaway. Pretty broad topic, that. Most of these are films that offer a treat of anxiety that lives on decades since we first saw the films.

Jay’s List 1. Forbidden Planet 2. Westworld 3. Chopping Mall

Josh’s List 1. The Silence of the Lambs 2. Back to the Future Part II 3. What About Bob?

Pete’s List 1. The Blair Witch Project 2. Salem’s Lot 3. The Descent

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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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From Ghostbusters Afterlife to Matrix Resurrections, filmmakers are making sequels that look at the original films, and how they were received by the audience, in very different ways. Some are building chapels, while others are burning down the houses they built. From dinosaur-sized remakes to awakening the force, in this episode of the Curiosity Codex, we’re going to chat about this new phenomenon in film sequels.

Our guests are Rob Kubasko and Pete Wright.

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One week in the world of Lucy and Desi leading to a live taping of “I Love Lucy” in 1953, “Being the Ricardos” covers their rocky relationship as husband and wife, the accusations of Ball’s participation in the communist party, all wrapped up with a bow that leads to a commitment to have a baby on national television. All in a week’s work, sure.

But it comes with baggage. From casting to family to J. Edgar Hoover, Sorkin weaves fact and fantasy in ‘Ricardos’ and, because it’s Sorkin, we should see that coming. Pete and JJ aren’t ‘Lucy’ fans, but find the movie a satisfying story about more than the woman, than the comedienne, than the family or the show. This is a movie about all those things, and is greater than the sum of those parts.

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Kyle Olson heads up the crew of Mandy Kaplan and Krissy Lenz in a celebration of the Afterparty. And you guys... it's so good.

Kristin Bell leads a fun romp in The Woman in the House Across the Street from the Girl in the Window. Big swings? Hilarious tone? Uncertain parody? Genuine suspense? Might just be a bit of everything... for everyone?

Krissy checked out Wold Like Me in a follow-up to her trailer pick from a few weeks back and turns out, it finished before she did, and that's a good thing.

Kyle is watching Laugh In! like a cultural Indiana Jones.

• Mandy’s Trailer: I Want You Back
• Steve’s Trailer: Last Survivors
• Pete’s Trailer: The Offer

THE LIST! In a follow-up to our murderous creatures, we bring you a list of murderous objects!

Mandy's List 1. Child’s Play 2. Christine 3. ‌Beauty and the Beast

Krissy's List 1. Jumanji 2. The Lord of the Rings: The Return of the King 3. Harry Potter and the Deathly Hallows Part 2

Kyle's List 1. ‌The Quest 2. ‌Runaway 3. ‌Rubber

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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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In this episode, we answer an outside question: what do I need to watch to be able to understand WandaVision if I’ve never seen anything from the MCU? Our discussion kicks off from there, looping into Falcon & Winter Soldier and Loki’s TV series. Plus a bonus chat about which films can be ignored entirely.

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Ah, yes, another Saturday Matinée is upon us. This week, Tommy Metz purportedly hosts Pete Wright and Rob Kubasko in a rousing round of list-making and brain-breaking trivia connections.

Did you know they made a reboot of Mad About You? We didn't either. Not until Rob found it on Amazon Prime... along with the rest of the classic Helen Hunt/Paul Reiser sitcom.

Tommy's been watching Cheer so he can find a way to get on mat. It's a rough season for the teams what with COVID and bone-breaking and all that hullabaloo.

We're pretty gung-ho about Peacemaker over on HBOMax, but we're REALLY obsessed with the show's opening credits. If you want to dig a little deeper, check out this Billboard piece on the nearly-washed-out Norwegian metal band, Wig Wam, and how James Gunn fixed everything by picking 'Do You Wanna Taste It' as the show's iconic theme.

• Rob's Trailer: Murderville
• Tommy's Trailer: The Black Phone
• Pete’s Trailer: Ted K

True story: Tommy was supposed to be directing a big fancy movie this weekend but just hours before we sat down to record, it all fell apart because COVID. So, tell him sorry when you get a chance and if you have a fancy mansion location that isn't just oozing pathogen and happens to be in L.A., hit him up. He'll be over in a few hours, bonded, crewed, and camera-ready.

Also, we play the movie game. Three rounds. They are painful because we're not very good at it. Enjoy yelling at your podcast device for about fifteen minutes.

THE LIST!

The knuckleheads last week handed us a list mystery: find movies in which rock stars play themselves in movies. Don't worry: Tommy got Prince on here. The list was therefore considered complete in round one.

Rob’s List

1. The Love Guru
2. Half-Baked
3. American Pie

Tommy’s List

1. Zoolander
2. Spice World
3. ⭐ Purple Rain

Pete’s List

1. Idle Hands
2. Empire Records
3. The Postman

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Join Mandy Kaplan, Steve Sarmento, and Pete Wright for today’s award season SatMat!

That’s right, the SAG awards have dropped and we have some opinions. But then we get lost in dishing on Leto’s performance in that Gucci thing and things come off the rails. Don’t worry though, we do manage to bring it back around to aging on film thanks to Carrie Bradshaw and crew vis the Golden Girls. Don’t worry, we’re not the only one’s talking about it. The Today Show is, too. Finally, Apple TV+ is moving into Kong with a series follow-up to the last Kong film and it’s a mixed bag.

• Pete’s Trailer: X
• Mandy’s Trailer: Inventing Anna
• Steve’s Trailer: Studio 666

THE LIST!

Of course, we’re hobbled in our journey through movies with the best monsters since Rob, of course, made sure that our creatures had to be anti-sapien. Alas, we bring Best Non-Human Animal/Creature.

Pete’s List

1. Creepshow 2
2. Life
3. War of the Worlds

Mandy’s List

1. Big Hero 6
2. Mitchells Vs The Machine
3. Home

Steve’s List

1. Grizzly Man
2. Magnolia
3. Beetlejuice

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We're taking an unexpected short break but we'll be back before you know it!

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It’s time to Scream again! Ocean Murff is joined by our very own Tommy Metz III to discuss the fifth film in the Scream franchise, Scream. But why isn’t it called Scream 5? Is that part of the meta-nature of the film? What do Tommy and Ocean think about the return of Dewey, Gale, and Sidney in their inevitable return? What about that first kill, something that’s been such a key part of the franchise? Or the final reveal of the actual killer? Or killers? This is the Scream franchise after all.

The killings are more violent. The meta jokes are constant. Does it all work? Tune in to this Film Board episode to hear Ocean’s and Tommy’s fun and funny conversation about Matt Bettinelli-Olpin’s and Tyler Gillett’s entry into Wes Craven’s franchise that broke the mold, Scream.

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Rob Kubasko, Kyle Olson, and Krissy Lenz of Neighborhood Comedy Theater and The Most Excellent 80s Movies Podcast get together to talk movies, clearing watchlists, Marvel TV, Boba Fett, Witcher, Trailers and Rob’s Excellent 80s Movie Matchups Game!

• Rob’s Trailer: Bob’s Burgers
• Kyle’s Trailer: The Legend of Vox Machina
• Krissy’s Trailer: Wolf Like Me

THE LIST!

Bringing back Mandy’s inspired list from last week, the crew brings you a list of Funny Old Broads in film!

Krissy’s List

1. 9 to 5
2. Death Becomes Her
3. I Love You To Death

Rob’s List

1. Lucky Grandma
2. Grumpier Old Men
3. Guarding Tess

Kyle’s List

1. Spider-Man: Into The Spider-verse
2. Red 2
3. The Women

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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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Mandy Kaplan, Steve Sarmento, and Tommy Metz take over the Saturday Matinée this week. What’s on deck? Tommy loves Search Party and Yellow Jackets. So there.

Is The Matrix Resurrections laughably bad or some sort of genius? Some people clearly think the former. As for us...?

Don’t Look Up. Hrm... Uh... Yeah...

Betty Davis? Peter Bogdanovich? And the news broke after we recorded, but Sidney Poitier too? What an awful start to 2022.

Trailers * Steve’s Trailer: Memoria * Mandy’s Trailer: Cyrano * Tommy’s Trailer: The Woman In The House Across the Street From The Girl in the Window

THE LIST! We’re talking career-renewing performances!

Steve’s List 1. Tom Hanks in Philadelphia 2. Liam Neeson in Taken 3. Burt Reynolds in Striptease and Boogie Nights

Mandy’s List 1. Debbie Reynolds in Mother 2. Leslie Nielsen in Airplane! 3. Betty White in The Proposal

Tommy’s List 1. Matthew McConaughey in Dallas Buyers Club & Killer Joe 2. Michael Keaton in Birdman or (The Unexpected Virtue of Ignorance) 3. Robert Downey, Jr. in Kiss Kiss Bang Bang

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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

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Ring in the New Year with Kyle Olson and Rob Kubasko!

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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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They stuffed a lot of movie into two and a half hours with Spider-Man: No Way Home. Villans and Spiders-Men from multiple movies across the franchise hit the screen and while most of the rumors predicted such, there’s little room to deny that what the team pulled off here is truly epic.

So, it’s the movie we got. But is it the movie we wanted? Is it the story we needed? To hash it all out this week, Ocean Murff is joined by Marvel Movie Minute hosts of present and past: Matthew Fox, Kyle Olson, and Rob Kubasko. All, unabashed comic book fans, pull apart the action, the logic, and even the ethics of this web-slinging wonder.

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Pete Wright, Ocean Murff, and Tommy Metz head up the Saturday Matinée for our penultimate episode of 2021. What’s on deck? Ocean and Tommy make an able plea that we all watch Succession and now’s just the right time during a season break. Along the way, we talk about the latest Vulture piece suggesting that HBOMax won the year with their day-date Warner Bros strategy, directors be damned.

The latest Potterverse entry trailer — Fantastic Beasts: The Secrets of Dumbledorehas dropped fresh with recasting and a distinctly Azkaban feel. Will it live up to the original series third ep?

Pete’s mad about retreads. Do we really need to know how you met your father?

We try to talk about Mike Flanagan, because Tom loves him. But it’s a pretty anemic effort. We get there… eventually.

Here’s Keanu Reaves and Carrie-Anne Moss talking about making The Matrix Awakens feature for Epic Games, and crapping on NFTs.

Trailers * Pete’s Trailer: Everything, Everywhere All At Once * Tommy’s Trailer: The Unbearable Weight of Massive Talent * Ocean’s Trailer: The Lost City

THE LIST! It turns out, most Christmas movies are happy. This is our discovery upon inheriting the list topic The Saddest Christmas from last week’s hosts.

Pete’s List 1. Jack Frost 2. Fatman 3. Last Christmas

Tommy’s List 1. Edward Scissorhands 2. The Ice Storm 3. Jacob’s Ladder

Ocean’s List 1. Rocky IV • Rocky IV: Rocky vs. Drago: The Ultimate Director’s Cut 2. Batman Returns 3. Trading Places

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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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Is there a problem with ABC’s efforts to amp the nostalgia in “Live In Front of a Studio Audience”? You take the good, you take the bad, am I right?

Trailers this week surprise us all as Mandy gets her pick in first with Spidey, Kyle brings a trailer only our Brit friends will be able to watch, and Rob brings Ritchie and a prayer.

• Mandy’s Trailer: SPIDER-MAN: Into the Spider Verse 2
• Kyle’s Trailer: Last Train to Christmas
• Rob’s Trailer: Operation Fortune: Ruse De Guerre

THE LIST! Action in the Snow! What does that mean, you ask? Great question! Might be funny. Might be horrific. Might be … you know … an acorn. Also, there is some strange Christmas Story antagonism in this segment. You have been warned.

Mandy’s List 1. Ice Age 2. A Christmas Story 3. Dumb and Dumber

Kyle’s List 1. Die Hard 2: Die Harder 2. Cliffhanger 3. The Long Kiss Goodnight

Rob’s List 1. Spies Like Us 2. Stripes 3. Planes, Trains and Automobiles

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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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Rob and Pete review the week with news, some confusing trailer selections, a not-so-mysterious game of Step-Up, and picks the celebrate over-indulgent performances in film.

In the News The Expanse is coming back for season six on December 10 and, in what can only be called a true Belter Holiday Miracle, the ninth book was just released too! Tatum is back with Soderbergh and we have some ideas for titles. Red Notice is the most watched thing on the ‘Flix. Reviews of West Side Story are starting to come in and it turns out things are looking pretty darned good. Cara Delevingne is moving into the Building for Season 2. And, Rob delivers a special message to Kyle about Tom Holland.

Let’s Do Trailers * Rob’s Trailer: And Just Like That… * Pete’s Trailer: Reacher

THE LIST! Over-the-Top Performances — bonus if it’s a western

Rob’s List 1. Waterworld 2. Speed 3. Super Mario Brothers

Pete’s List 1. Bad Lieutenant: Port of Call New Orleans 2. Django Unchained 3. The Hateful Eight

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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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JJ and Steve wrap up this season of Trailer Rewind with a powerful film. This is one of the few films that JJ doesn’t want to spoil. He and Steve both agree that you should avoid this trailer until after you have watched the film. Antebellum takes its time to tell its story, but JJ and Steve agree that the payoff is worth the wait.

Why all the secrecy about a film that doesn’t have great reviews on Letterboxd or IMdB? Did Antebellum suffer from not having a theatrical release? How do you categorize and recommend a film that you can't say much about for fear of spoiling it? These are the questions they hope to answer on this season finale episode.

Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling.

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It’s a big week. Yes, we’re watching some stuff. The Harder They Fall is on the watchlist, along with Ghostbusters: Afterlife, Carnage, and Shang-Chi. Even Red Notice gets a shout-out.

But it’s really all about the Disney+ Marvel slate Kyle does an able job of leading Ocean and Pete through the massive announcements from Marvel on their small-screen slate coming in 2022 and 2023. Moon Night. Zombies. Echo. Ironheart. Secret Invasion. Hawkeye. Agatha. She-Hulk. More, and more, and more.

Let’s Do Trailers * Kyle’s Trailer: Spider-Man: No Way Home * Ocean’s Trailer: Try Harder * Pete’s Trailer: Pam & Tommy

THE LIST! Movies with games that have complicated rules? Plenty of ways to approach this one, and it’s fair to say we have a bit of everything on the list.

Kyle’s List 1. War Games 2. Die Hard With A Vengeance 3. Labyrinth

Ocean’s List 1. The Game 2. Ender’s Game 3. Escape Room

Pete’s List 1. Cube 2. Circle 3. California Split

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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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Happy Birthday! Ok, not your birthday, unless your birthday is on November 11, and you just hit 10 years old. Cause WE did, just the other day! And now we’re going to wax a bit poetic about a history of talking about movies together.

A Sampling of the Original Crew Pete Wright, Andy Nelson, Steve Sarmento, and Tommy Metz III join the crew this week to share a peek into the wayback machine. We talk about those first rocky Movies We Like episodes, the first Film Boards, and the community that has come up around this show. But don’t worry, it’s not all about the good ol’ days.

Steve brings news of this weekend’s launch of the IMAX aspect ration on select Marvel movies on Disney+. Twenty-six percent more pixels! We lost Dean Stockwell so we take a podcast knee in his memory. And the first Rust lawsuits are filed, shedding a little more light on the conditions that led to the shooting death of cinematographer Halyna Hutchins.

Four trailers this week run the table from horror to comedy to cowboys, and also the one Steve brought.

• Steve’s Trailer: *C’mon C’mon
• Tommy’s Trailer: The Power of the Dog
• Pete’s Trailer: Silent Night
• Andy’s Trailer: 8-Bit Christmas

THE LIST! It’s the list pick that couldn’t be stopped! Questionable accents has been picked twice before but never delivered… well, not until now. The twist: hosts had to demonstrate their picks in the appropriate accents.

Steve’s List 1. snatch. 2. The Highlander 3. The Dark Knight Rises

Tommy’s List 1. Django Unchained 2. Thirteen Days 3. Rounders

Pete’s List 1. Blood Diamond 2. Varsity Blues 3. Captain Corelli’s Mandolin

Andy’s List 1. The Dark Knight 2. X-Men 3. The Beguiled

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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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It would be a disservice to the film to just say that JJ and Steve are just checking a box with “If Beale Street Could Talk”. While both of them had it on their list of films to see in 2018 neither of them ever got around to seeing it until now. They can now check that box, but both of them agree that its a film not to be missed.

This is a gorgeous film to look at. Its beauty combined with a simple and straightforward story makes this a deceptive film. Its relevant and topical without being confrontational. It’s a film you will want to watch with a friend because you may have a strong desire to talk about it.

It’s a film that should be seen by more people. Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling.

Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

Film Sundries Learn more about supporting Trailer Rewind and TruStory FM’s family of film podcasts through your own membership — visit TruStory FM.

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Eternals introduces us to a whole new era in the Marvel Cinematic Universe. New heroes, new villains, new locations and technologies. It’s hard to say the company faces any true risks anymore given their Celestial girth in the entertainment space, but this is a big movie with a lot of moving parts helmed by a director demonstrably adept at intimacy. How well does Chloé Zhao translate her brand of storytelling to the big budget, big hero screen?

Ocean Murff is joined by Pete Wright and Justin Jaeger to take a closer look at the film.

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We know, this is the show you've all been waiting for. The Unicorn episode that lights up the night sky as Ocean Murff and Mandy Kaplan once again share a podcast stage to discover if there is, indeed, anything on which they agree.

Friends, this is that episodes.

What starts as a romp down Succession Lane, and Foundation Court takes us into a whole neighborhood of our trio's love of reality television.

• Steve’s Trailer: The Beach
• Mandy’s Trailer: The Unforgivable
• Ocean’s Trailer: House of Gucci

THE LIST! This week the crew was tasked with coming up with a list of films featuring angelic visitations. No, that's not ghosts.

Steve's List 1. Wings of Desire 2. The Adjustment Bureau 3. A Life Less Ordinary

Mandy's List 1. Two of a Kind 2. Michael 3. Grease

Ocean's List 1. Dogma 2. Fallen 3. Heaven Can Wait

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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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Tommy Metz is back in the big chair this week with Rob Kubasko and Kyle Olson. Kicking off our weekend festivities, Rob leads a rousing celebration of the new DJI Ronin 4D. Seriously, it’s an amazing camera in if you’re at all excited about gear, this thing is bonkers.

Arcade 1up has a new cabinet that GenX gamers will likely appreciate: the T2: Judgment Day machine. Yes, it’s a classic arcade cabinet. But think about it this way. If you own it, NO QUARTERS.

Got $400+ to burn? Check out the Ghostbusters HasLab Plasma Series Spengler’s Proton Pack. Or, at least go look at it and realize that your family would have issues with you spending the money but leave the tab open in your browser, longingly checking it every few days, wondering what it would be like to call yourself a collector, changing your identity accordingly, and still coming to the same, sad, conclusion: $400 is crazy to pay for a proton pack that doesn’t actually include the Ghostbusters Plasma Series Spengler’s Neutrona Wand in the box.

Oh, and surprising everyone, Tom saw Dune… and liked it.

The team brings trailers that are, now surprising no one, on brand.

• Rob’s Trailer: Lightyear
• Kyle’s Trailer: Cowboy Bebop
• Tommy’s Trailer: The Card Counter

THE LIST! The list this week comes courtesy of last week’s hosts, a celebration of movies including actors who are too old to be sincerely playing high school students.

Rob’s List 1. Harry Potter and the Chamber of Secrets 2. Sense and Sensability 3. Yentl

Kyle’s List 1. Like Crazy & Breathe In 2. Mean Girls 3. Behind the Candelabra

Rob’s List 1. Carrie & Grease 2. Catch Me If You Can 3. Grease (again, but with Stockard Channing)

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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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JJ and Steve launch into the final trio of films for this season with 2018’s Skin.

This is a tough film to recommend because it’s not entertainment, and it doesn’t feel right to call this story enjoyable. However, both JJ and Steve agree that there is something to be learned from stories like this. It is a film that is likely to start great conversations with friends. What draws young, lost boys to organizations like the Vinlanders Social Club? How can a sense of belonging to a family lead people to hateful acts of violence? Is it possible for people to ever leave their past behind them?

While wrestling with reasons to recommend Skin JJ and Steve coin a new phrase to describe films like it. In retrospect it’s a category that fits many films they have discussed.

Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling.

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We’re off-world this week as we head into Denis Villeneuve’s Dune with Ocean Murff, Matthew Fox, Steve Sarmento, and Pete Wright.

This is a property with some baggage and we come carrying a lot of it. Loved the book? Loved the Lynch film? Loved the SyFy remake? We’re a mixed back on the show this week and one of us hasn’t seen a single dune-y thing until this very film.

This, of course, gives us the opportunity to talk about how well the movie sets up the universe of Dune without the knowledge of the story and where our hero ultimately goes in the sequel. How well does the political intrigue land? Where is Zendaya in this thing? Why is there a guy named Duncan Idaho in the year 10000?

It’s a complicated story and we set out to explore how well this version communicates its themes in our search for Chani and the worm riders.

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Steve Sarmento is in the big chair this week with Mandy Kaplan and Pete Wright. It’s Dune weekend, so of course we’re talking about theaters, box office, and shooting big. There’s a Breakfast Club reboot brewing… just kidding, there isn’t, but we talk about it anyway.

The streamers are trying to make us feel guilty about churning and returning but it turns out we’re doing it anyway. The bigger news this week is over at Netflix as the company deals with a walkout and controversy relating for its handling around the Dave Chapelle special.

Steve and Mandy Freaky Friday’d this week when it comes to trailers. No idea how it happened, but Mandy picked Cena.

• Mandy’s Trailer: Peacemaker
• Steve’s Trailer: The Lost Daughter
• Pete’s Trailer: Being the Ricardos

THE LIST! This week’s list is all about movies in other movies. Whether we see a movie in production or characters watching a movie in the movie, it’s up for grabs this week.

Mandy’s List 1. The Last Exorcism 2. Singin’ in the Rain 3. For Your Consideration

Steve’s List 1. Hail, Caesar! 2. State and Main 3. The Last Shot

Pete’s List 1. Hooper 2. Scott Pilgrim vs. The World 3. Last Action Hero

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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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Film Sundries * Watch this on Apple or Amazon, or find other places at JustWatch * Theatrical trailer * Poster artwork * Flickchart * Letterboxd

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James Bond is a brand. That’s Ocean’s opening salvo in this week’s discussion on the twenty-fifth Bond outing. And with brand status comes responsibility. How has Daniel Craig’s outing as Bond changed the franchise, and has it changed forever?

This is an emotional movie for our hosts but not the emotion that you might expect.

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Film Sundries Learn more about supporting Trailer Rewind and TruStory FM’s family of film podcasts through your own membership — visit TruStory FM.

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Well what do you know? Kyle leads Rob and Pete through a discussion of Bones and Cougar Town, which leads to a big show for Rob. A big show.

We chat through a tease of Bond, a little Fandome, some Ted Lasso and Murder… there’s a lot up front before we get to trailers that break us, each in their own very special way.

• Rob’s Trailer: The Tender Bar
• Steve’s Trailer: Hawkeye
• Pete’s Trailer: Scream 5

THE LIST! Movies about people employed as dancers? What could possibly go wrong!

Rob’s List 1. Step Up 2. Step Up 2: The Streets 3. Step Up 3D

Kyle’s List 1. Breakin’ Two: Electric Boogaloo 2. Hairspray 3. Strictly Ballroom

Pete’s List 1. Shall We Dance 2. Hustlers 3. Honey

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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.

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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!

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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!

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 — visit TruStory FM.

Film Sundries * Find out where you can watch this at JustWatch * Theatrical trailer * Poster artwork * Flickchart * Letterboxd

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To close out the series of war films, Tommy joins JJ and Steve to discuss The Kill Team. Will this finally be a war film that is about war?

The Kill Team is written and directed by Dan Krauss, who also directed the 2013 documentary The Kill Team, which is the basis for the 2019 film. JJ and Steve watched the documentary and bring their insights to the discussion. Both films tackle dark and disturbing subject matter and the gray ethical area that these films confront demand debate and discussion.

While they won’t land on answers as to what is right, just, or good, JJ, Steve, and Tommy do have an engaging discussion. Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling.

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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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Rob Kubasko leads our entry into our third century with Mandy Fabian and the apparently-satisfying Kyle Olson.

Mandy's crushing on The Other Two, which is eerily similar-not-similar to Kyle's current fascination, Y: the Last Man. Rob is here to represent a walk through the CBS crime shows of the CBS television network.

Of the more serious news, ScarJo got paid. The Disney-Scarlett Johansson settlement should quiet the media battle as the two sides come to terms on compensation for Black Widow at its streaming/theatrical release earnings.

The BBC is preparing for what they're calling an "explosive" 20th Anniversary of Doctor Who in 2023: Russell T Davies — the producer at the wheel from 2005-2009 — will be coming back for the celebration episode and beyond.

And, near the end of the show, Kyle drops a gem in the form of a podcast: Batman: The Audio Adventures. It's an HBOMax thing, and they team there seems to think you can only get it if you're a subscriber. But then why did they release it as a podcast? We'll never know. But seriously, this cast is a who's who of comedy aces and Jeffry Wright under the cowl? Can't lose.

Let's Do Trailers Rob's the only one who knows anything about Kurt Warner. Mandy's trailer proves that doesn't matter a bit because even if we don't love sports, we loves us some sports movies. Rob offers snark by way of Hollywood tropes and handsome Rob Lowe. And Kyle brings a trailer that he's actually picked before, but before you turn off the show, don't worry because they've changed it up enough that it appears the filmmakers were preparing for this week and tried to make it a new movie altogether.

• Mandy’s Trailer: American Underdog
• Rob’s Trailer: Attack of the Hollywood Clichés
• Kyle’s Trailer: The Harder They Fall

Games! Rob's Ultimate Movie Monster Show-Down Bracket "Well, you make a compelling argument."

Rob brings an epic tour of movie monster history in a bracket that ends with a shocking Final Four Match-up between Draculas, Mummies, Frankensteins, and Werewolves.

THE LIST: Annoying Children No, it's not a great week for the kids. It turns out our trio has strong feelings about the worst children in movies... even if those children weren't out to be the worst. Sometimes, they just can't help it.

Mandy’s List 1. Weird Science 2. Willie Wonka and the Chocolate Factory 3. The Toy

Kyle’s List 1. Jerry Maguire 2. Jurassic World 3. ⭐ Superman Returns

Rob’s List 1. Clifford 2. The Lost World 3. The Mummy Returns

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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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During their seasons on Trailer Rewind JJ and Steve have seen a lot. But will it prepare them for The Yellow Birds? Have years of viewing violence numbed them to the atrocities and dehumanizing experience of war? Will they be the same when they come back from watching The Yellow Birds? Is the talented cast of Alden Ehrenreich, Tye Sheridan, Toni Collette, Jennifer Aniston, Jason Patric and Jack Huston able to hold this film together?

Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling.

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It's episode 200 of the Saturday Matinée! A fine how-do-you-do to that. Thanks to everyone who has made our weekend romp so much fun these past four years!

We start with Mandy mad at Steve about Martin. Steve attempt to retaliate by defending his position on 'Below Decks' to a woman who counts among her many interests, 'The Housewives'. It goes about as well as you can imagine.

Trailers this week run the gamut: Our A24 entry puts Denzel in the middle of The Scottish Play adapted and directed by mono-Coen. Pete brings a nightmare circus staring the subject of his very one-sided friendship, Bradly Cooper. And did you forget Spielberg is don't that one Sondheim thing? He is. But you'd be forgiven if you did.

• Steve’s Trailer: The Tragedy of Macbeth
• Pete’s Trailer: Nightmare Alley
• Mandy’s Trailer: West Side Story

Game! Name That Crew! In keeping with our big 200th show, we're digging through the history of other shows that crossed that 200-episode boundary. Pete starts a bidding war cataloging how many principle characters Mandy and Steve can remember from past US prime time hits.

THE LIST: Save the Cat! Blake Snyder was a screenwriter who wrote Stop or My Mom will Shoot and Blank Check in the 90s. He also wrote the book Save the Cat: The Last Book on Screenwriting You'll Ever Need in which he coined the phrase that describes the decisive moment the protagonist demonstrates that they are worth rooting for, the moment in which they save the proverbial cat.

It's a controversial concept that has grown in popularity to the point that the Save the Cat 15 beat structure has shaped many Hollywood blockbusters of an age. And, since we have a perfect Save the Cat moment in Ana Lily Amirpour's 2014 film, A Girl Walks Home Alone at Night, members voted that we talk all about the same moments in other films.

But we're cheeky, so this list is largely full of saving actual cats, not metaphorical cats, and also we pet a dog.

Steve’s List 1. Casablanca 2. Bright 3. Alien

Pete’s List 1. Thor 2. Keanu 3. Superman

Mandy’s List 1. Oliver! 2. Pretty Woman 3. Sixteen Candles

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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!

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 — visit TruStory FM.

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Tommy Metz leads the crew of Steve Sarmento and Rob Kubasko this week in his very first hosting gig. In a follow up to last week, the team is pretty excited about the news of Only Murderers in the Building leading to one massive question: will anyone want to still live in the building?

Apple's September announcements bring word of a new "Cinematic Mode" in the upcoming iPhones 13 & 13 Pro, leading to more questions of how the device might be used in future film-making. It's cool and all, and you should probably watch the demo video, but there are performance limitations that make it tricky for major motion picture use in that particular mode. Katheryn Bigelow and cinematographer Greig Fraser were hired to do some on-set work with the phones (check out the behind the scenes here) and demonstrated some interesting work. So, if you're looking for a pocket tool that can get the job done, this might be the one for you. Also, your home movies will be pretty sweet.

Rob reports that Arnie and Danny are coming back with Ivan Reitman to do a https://geektyrant.com/news/twins-sequel-triplets-in-the-works-with-arnold-schwarzenegger-and-danny-devito-returning-and-tracy-morgan-signed-on-to-co-star, now with Tracy Morgan.

Let's Do Trailers On the trailer front, Tommy brings a chamber piece, Rob has the next Marvel/Disney+ joint, and Steve follows Leo into the bathroom for an end-of-the-world panic attack. Remember that time Hawkeye disappointed the Avengers?

• Tommy’s Trailer: Mass
• Rob's Trailer: Hawkeye
• Steve’s Trailer: Don't Look Up

Games! What Line Is That Anyway? The rules are simple. Tommy created quotes from movies on AFI's Top 100 Films list by taking one line each from two movies, and jamming them together. For example, "Are you looking at me looking at you, kid?"

To earn points, you must be able to name the two movies the quotes are from, and the characters or actors that delivered them. So, Taxi Driver, Casablanca, Travis Bickle (De Niro), and Rick Blaine (Bogart). See that? I would have crushed this game.

The complexity comes in rounds two and three when the lines start coming from three movies or, dare we do it, six!

As a bonus, Steve has promised to develop a recipe for the Dirty Maguire in honor of this game.

THE LIST! This week, The Next Reel is talking about Goodnight Mommy and the community voted that we talk about "dead animals or pets". So, thanks everybody.

Tommy’s List 1. ⭐ John Wick 2. Midsommar 3. Old Boy

Rob’s List 1. Dances with Wolves 2. The Lost World: Jurassic Park 3. Eight Below

Steve’s List 1. John Wick 2. Gates of Heaven 3. Lean on Pete

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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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John Cena and Aaron Taylor-Johnson are stuck at the wall, and together with Laith Nakli’s voice we have a film about relationships and the power of words — and weapons — to navigate war in The Wall. It’s an intimate film from director Doug Liman and writer Dwain Worrell that trucks in confusion, suspense, and facing a threat on the ground in a time of political uncertainty around the globe.

Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling.

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Happy Saturday, Movie Lovers! Pete, Kyle, and Tommy are here to ring in the week's end with talk of movies and TV on the offing. First and foremost, Malignant is coming, and some of us are leaving here and heading right over to the Film Board to talk about it.

Tom and Kyle have thoughts on the Nightmare on Elm Street franchise and which films are worthy (hint: the ones with Craven's involvement). Plus, recommendations to check out 'The Other Two' and 'Only Murderers in the Building'.

Kyle's been watching 'Black Sails'. Seriously you all... did you know this was a Treasure Island prequel? Yeah, we probably would have caught up with it in a more timely fashion had we known that three seasons ago.

Apparently, Tommy picked his trailer many moons ago so, in spite of new drops like those Kyle and Pete picked, he stuck to his guns and brought something ... well, actually it looks to be something pretty special:

• Tommy’s Trailer: Come From Away
• Kyle’s Trailer: Last Night in Soho
• Pete’s Trailer: The Matrix Resurrections

The Game: Poster Pals! Pete came up with this ridiculous game in which he sends a movie poster to one player, who then has to describe it to the other player and get them to guess the movie. Now, he should have been more specific about the things you can — and cannot — say to cue the guesses. This will be resolved in version two. But it was fun anyway!

THE LIST! Getting Caught in a Cult OK, not the friendlies of topics this Saturday Matinée, but the team rallied and offers a list of some fun films to get you indoctrinated into the world of cults, just like the cult we explored this week on The Next Reel. We've kicked off our series on Horror Debuts with Messiah of Evil where we visit Pointe Dune and see all the fun beach-going cultists at work and play!

Tommy’s List 1. The Mist 2. The Invitation 3. Bad Times at El Royale

Kyle’s List 1. Manos: The Hands of Fate 2. Lord of Illusions 3. Ready or Not

Pete’s List 1. The Devil’s Rain 2. Mandy 3. Martha Marcy May Marlene

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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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Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

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People say they grow tired of superhero origin stories, but when Marvel delivers a knockout like Shang-Chi and the Legend of the Ten Rings, they change their mind. Perhaps that’s because the story Marvel delivers here, under the direction of Destin Daniel Cretton, allows for the story to take precedence, regardless of the fact that it’s the twenty-fifth film in the MCU franchise. It doesn’t feel like they’re trying to find a way to shoehorn it in. It’s its own story, and is one about family first.

Ocean Murff, now at the head of the table, convenes The Film Board to discuss Cretton’s film. Joined by Justin Jaeger, the Board’s conversation covers the story, the performances, the camerawork, the effects, and how the film is proof that Kevin Feige and the team at Marvel have a strong plan with how they continue forward.

Shang-Chi: A Wuxia Film With Family at Its Core Ocean and JJ talk about the family theme at the center of this story and how that feels like such a strong way for us to meet Shang-Chi. The flashback structure gives us a chance to meet Wenwu and see his lust for glory, but also to see him give it all up for the love of Li. This romance ends up being the heart of the film, and we find a lot to unpack here.

We also have side characters like Katy and Xialing. How do they work? Were they in the comics and how have they changed? Clearly, they’re here for the long haul. And they both end up providing some great elements to various fight sequences.

Speaking of Fight Sequences: Shang-Chi Shines Here Cinematographer Bill Pope working with Cretton helped craft some beautiful and innovative fight scenes well worth watching and discussing. JJ even compares them to Crouching Tiger, Hidden Dragon. The bus scene is great, but how about the gliding camera when Wenwu and Li first meet and battle? The CG dragon/super soulsucker fight may be a bit, well, CG, but it still looks amazing.

And then there’s Simu Liu. He deserves more roles because we want to see him in everything. And just like the importance of Black Panther providing a black superhero for African American audiences to identify with, Liu excels in the title role of Shang-Chi, giving him incredible conflict over his past and future decisions and creating a complex and powerful character for Asian audiences to connect with. But really, let’s be honest – everyone will be able to connect to this character and to Liu. He helped push this film into the upper echelon of our MCU favorites. It’s that good.

So join us at the big table this month on The Film Board. It’s a great chat about Shang-Chi and the Legend of the Ten Rings. Let us know what you thought!

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Mandy Kaplan leads Mandy Fabian and Pete Wright on a matinée journey this morning as we talk news, trailers, games, and a list of terrific movies celebrating our older performers.

But we start where all good SatMats start, with a discussion of major stars who have turned down Marvel roles for one reason or another. Tom Cruise? Emily Blunt? Yup, they're on the list, along with some other surprises. Why would you turn down such a role? Fabian has some thoughts.

The oddball charmer 'Dickinson' is coming back for just one more season, but they're going out with a bang on new casting news. Top Gun: Maverick, MI7, and more are all moving their theatrical slate. 'Tis the season after all. And Mike Richards is out of the Jeopardy host box. And Mike Richards is out of the Jeopardy host box.

Trailers! We're hoping for more than we got with Thunder Force as Kaplan brings Melissa McCarthy's latest dramatic turn, The Starling for her trailer pick. We largely missed the cultural import of Diana and the Royals because we're all TOO YOUNG. Did you hear that? We're too young to understand it. But that's not stopping us from talking about Fabian's pick, Spencer. And Pete, proving how comically hardcore he is now with horror movies — oh, you hadn't heard? He loves them now — we talk about James Wan's latest, Malignant... staring James Wan.

Games! Kaplan's game is a speed round of 80's classic movie line trivia. It's a straight forward brainbreaker, but Pete and Fabian hold their own. You'll want to remember this one, because if Tommy has his way, you'll be crying through his first hosting duty coming in two weeks with a variation on this theme.

THE LIST! The Next Reel just wrapped up their first series of this year with Look Who's Talking. This earned us the honor of talking about "Cute and Cantankerous Senior Citizens in Film" based on the wonderful Abe Vigoda's performance in the film. (What's that? You would like to vote on upcoming lists? Great! Head here to learn how.)

Kaplan’s List 1. Steel Magnolias 2. The Princess Bride 3. Jumanji: The Next Level

Fabian’s List 1. Postcards From The Edge 2. Driving Miss Daisy 3. Up

Pete’s List 1. The Man Who Killed Hitler and then The Big Foot 2. Wrestling Ernest Hemingway 3. On Golden Pond

Next week, The Next Reel kicks off the "Horror Debuts" Series with Messiah of Evil. That vote has already taken place so Kyle, Tommy, and Pete will be taking on movies about getting caught in a cult!

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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 Book of Henry is not the film any of us expected. This is a film that splits audiences - including JJ, Steve and Tommy. JJ says it is at least 3 or 4 films. Special guest Tommy doesn’t rate it as much of a film. And Steve was thoroughly enjoying this YA story about a precocious 12 year old . . and then it took a turn.

Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling.

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Happy Saturday, movie lovers. Let's get started.

Ocean is here and he doesn't care about James Bond. And so, we're going to spend about seven minutes talking about it as news hits that in fact, casting for the double-O is up in the air again and it seems like rumors of a woman in the lead are being dashed.

In our weekly Ted Lasso check-in, Tommy reports there's a backlash of sorts because Ted isn't facing enough of an uphill battle this season? Whatever. Ted is and will always be fine. He has to prove nothing... to nobody... no how.

And then, in what can only be described as conversational chaos, Steve leads the team on a journey through white person resorts in White Lotus with Nine Perfect Strangers adding a dose of regret for Mare of East Town and ending in pre-sorrow on the distant planet, Arrakis.

But he makes up for it all with his trailer, a take on mermaid lore we've never seen. Tommy likes documentaries that push some capital-"S" serious buttons. And Ocean gives the people what they want: No story, just web-slinging.

• Steve’s Trailer: https://youtu.be/Da1l9xMq8Hw
• Tommy’s Trailer: The Big Scary “S” Word
• Ocean’s Trailer: Spider-man: No Way Home

The Game: Spit It Out! This week's game comes to us courtesy of long time listener and friend of the show Ben Lott. Spit It Out is a game of simple movie trivia with a twist: thanks to a role of the dice, random questions might just trigger an embolism in the player. It's furious fun as Steve forces Tommy and Ocean to Spit It Out.

THE LIST! We're talking about Real Genius on The Next Reel this week as part of our series on the 80s Comedy of Coolidge and Heckerling and the community voted that we talk about secret rooms this week to celebrate. Let's go, Lazlo.

Steve’s List 1. National Treasure 2. Being John Malkovich 3. Young Frankenstein

Tommy’s List 1. Jeepers Creepers 2. The Girl With The Dragon Tattoo (2009) 3. Room

Ocean’s List 1. The Matrix Reloaded 2. Mr. and Mrs. Smith 3. The Emperor’s New Groove

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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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Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

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• I Heart Toxic Waste t-shirt
• Surf Nicaragua t-shirt
• Roy Rogers Olympic Games 1984 t-shirt
• Toxic Summer Games 1984
• International Order for Gorillas
• Mythbusters episode Car vs. Rain

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It's National Senior Citizens Day! To all of our elder listeners, we salute you.

Rob leads the charge in a love fest of the Ted Lasso Holiday episode. Pete has some follow-up enthusiasm including this EW video in which Brendan Hunt covers the off-side rule with Brett Goldstein, and this Variety video in which we learn that Juno Temple is a tiny cucumber with anxiety along side the incredible Hanna Waddingham. Oh yeah, and if you want to check out a dose of Brett Goldstein's early stand-up, why don't you check out this video from his performance at Richard Sandling's Perfect Movie? And did you know he has a podcast? A MOVIE podcast? It's called "Films to be Buried With" and it's worth checking out.

Pete loves CODA. He likes Beckett. Kyle watched Vivo with his kiddo and found his new favorite Miranda tune.

We also have a bit of news following up on the South Park deal and how Trey Parker and Matt Stone just made $900 million. And yes, they did buy Casa Bonia.

We did a bit deeper on the Ayer cut of Suicide Squad, and the value of dropping additional cuts of existing movies. Is the Snyder Cut reproduceable? Should every big film get a do-over?

• Kyle’s Trailer: Copshop
• Rob’s Trailer: Eternals
• Pete’s Trailer: East of the Mountains

THE LIST! We're celebrating Johnny Dangerously this week on The Next Reel with it's great visuals. For pairing, we offer a list of movies with great running or visual gags that are our favorites in hopes you might find the fun in them yourself.

Kyle’s List 1. Top Secret 2. Scott Pilgrim Versus the World 3. The Muppet Movie (1979)

Rob’s List 1. Wrongfully Accused 2. The Naked Gun 3. Airplane

Pete’s List 1. Best In Show 2. The Other Guys 3. A Fish Called Wanda

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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!

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 — visit TruStory FM.

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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!)

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Joanna Hogg’s 2019 film The Souvenir is based on her own experiences as a student filmmaker in the 1980s. This leads JJ and Steve to again ponder the question of whether such a personal story can be fully accessible to an audience. They are sharply divided on their ratings, but agree that this isn’t a film for everyone. Listen in to the episode to find out who they think this film is for.

Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

Film Sundries * Watch this film: iTunes • Amazon • JustWatch * Original theatrical trailer * Original poster artwork * Flickchart * Letterboxd

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Tommy loves White Lotus. It's all he can talk about. Of course, if you're a Mike White fan, you might share his fascination with it. I might have to crank a little Chuck & Buck just cause I'm thinking about it.

Andy isn't watching enough. But he is digging Marvel's What If? and does his part to lobby for more Agent Carter.

Mandy is cracking through Schmigadoon, which apparently some people don't love. Did we mention Cecily Strong has killer pipes? AND she's funny? I mean, we already knew the last bit, but now we want her to come round the house, tell some classic jokes, and then sing us off to sleep.

Let's Do Trailers! For trailers, Mandy's up for a fairy tale re-telling, Tommy brings what appears to be a rip of La Femme Nikita, and Andy spit in the wind and it landed on another new Nicholas Cage film, this one reported to be the craziest thing he's ever done... reported by him.

• Mandy’s Trailer: Cinderella
• Tommy’s Trailer:The Protégé
• Andy’s Trailer: Prisoners of the Ghostland

The Game! Mandy serves up a does of connective trivia that'll have you shouting at your phone in public. 1999 with Carol Channing in the Library? That's right, it'll be just like a rousing game of CLUE but you won't end up hating your nephew at the end of it.

The List: Hanging at the Mall On The Next Reel we're working through Valley Girl this week and have asked the crew for a set of films that represent some of their favorites showcasing hanging at the mall. Dawn of the Dead is off limits, but it turns there are other, less zombie-ful films in malls.](#)

Mandy’s List 1. Clueless 2. Mean Girls 3. The Prom

Tommy’s List 1. Back to the Future 2. Eighth Grade 3. Jackie Brown

Andy’s List 1. Bad Santa 2. Never Been Kissed 3. Bill & Ted’s Excellent Adventure

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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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We're back from our long July slumber with a new game, news, trailers, and a list of movies celebrating teachers who are just... the... worst.

Steve has a report on 'No Way Home' — have you heard the rumors he's been unable to substantiate? Apparently, according to Kevin Feige, there's trailer news about the new Spider-Man entry that might point to a shift in how these big budget tent poles are marketed.

The Scarlett Johansson-Disney-Black Widow lawsuit is gaining traction. We advocate for restraint. Yes, this is absolutely a situation of big companies behaving badly. Yes, there is absolutely a corporate privilege and exploitation angle as all parties position for future litigation. But these sorts of disputes are — let's remember — why the legal system exists. It will be hard to watch, but it will be resolved with new contracts and new ways to adapt. We weigh in just a bit this week.

For a fantastic tie-in to our list this week, did you hear the news? Mr. Hand is getting more movies! A LOT more movies! The South Park team is gearing up for a deal to bring more seasons of the show and a number of feature length projects that you just have to hear to believe. If you liked that one South Park movie, prepare to be overjoyed.

As for trailers, looking for your next stop-motion-from-found-objects fetish? Look no further than Steve's entry this week. Ridley Scott is in Andy's House, and Pete is all-in with Kate. And, as a bonus, we drop in the trailer for Val now streaming on Amazon Prime as pre-work for our show on Real Genius in a few weeks — a tough but heart-warming trip down memory lane with Val Kilmer and his son, Jack.

In an unprecedented move even we didn't see coming, this week's game is a trip down production company music history in which Steve and Andy attempt to pair company, composer, and decade to logo scores. Oh, what's unprecedented about that? It's a listener submission! This comes courtesy of listener Adam Underwood who did a massive amount of work preparing clips and trivia that surely Pete is unable to properly perform to expectation. Thanks, and apologies if we broke your game, Adam. It was great fun!

This Week's Trailers! * Steve’s Trailer: Mad God * Andy’s Trailer: House of Gucci * Pete’s Trailer: Kate * Bonus: Val

THE LIST! The movie this week was Fast Times at Ridgemont High and while the community had a whole slew of options, they seemed to key in on our favorite teacher, Mr. Hand, as portrayed by the late, great, Ray Walston. Is he really a bad teacher? Is he really a guy who deserves to serve as anchor to such a list? Sure, maybe at some point he was gracious, generous, and understanding in his instruction on the Platt Amendment. But after our time with him in Fast Times, we just aren't sure that he likes people anymore. And so we say Aloha, Mr. Hand. Thanks for the inspiration as we explore teachers who are JUST THE WORST.

Steve’s List 1. Real Genius 2. Whiplash 3. Luce

Andy’s List 1. Hamlet 2 2. Picnic at Hanging Rock 3. Pink Floyd's The Wall

Pete’s List 1. The Substitute 2. Notes on a Scandal 3. The Faculty

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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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Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

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JJ and Steve travel back to 1995. That time when landlines were ubiquitous and had yet surrendered to the internet, cell phones and texting. Although Landline is from 2017, it feels like a close relative to the mid-90s indie film scene that was bursting onto the festival circuit at the time.

Landline has an amazing cast: Jenny Slate, Jay Duplass, John Turturro, Edie Falco, and a true standout performance from Abby Quinn. Unfortunately they are given a script that fails to commit to fully being a comedy or a tragedy. Instead it straddles the fence and never fully commits to either side and exists in that painful and awkward space between. JJ and Steve discuss the awkwardness of not knowing whether to grin or cringe, because laughing or crying would be too strong a reaction.

Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling.

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The Roads Not Taken is the third in a trio of films about taking care of an adult relative. JJ really struggled with it, in part due to his own experiences with similar situations. Steve, on the other hand, found his own way to make connections and sense out of it. Both agree that it’s a challenging film to watch. Writer/director Sally Potter put together a film that is very clearly a personal one. The question is whether it is intended to be oblique or if it is such a personal film that audiences aren’t expected to fully access the intent and meaning behind it.

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The Film Board finds itself in the Red Room as we discuss Cate Shortland’s new entry into the MCU, Black Widow. It’s a full house on this episode as Andy Nelson is joined by Kyle Olson from Marvel Movie Minute, Matthew Fox from the Superhero Ethics podcast, Craig Price from Matinee Heroes, as well as CJ Lindsey and Jordan Petersen. The conversation ranges all over the place. How popular was blue hair in the 90s? How great is our family of Natasha, Yelena, Alexei and Melina as played by Scarlett Johansson, Florence Pugh, David Harbour, and Rachel Weisz? What do we think about how Marvel dealt with the darkness of the Red Room and Natasha Romanov’s backstory, not to mention the opening credits depicting essentially an abduction trade of young girls? What did we think of the changes from the comics with Taskmaster and the Red Room? How great is Ray Winstone as the villain, even when his accent’s a bit off? What do we think of the red dust solution? And with F9 having just opened, what’s with all these storylines right now that are all about family?

It’s a fun film to talk about and a worthy entry into the MCU, even if delayed due to COVID (not to mention feeling long overdue). Join us in the board room on this episode as we have a great, spoiler-filled conversation!

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The Endless treads into some creepy territory, so JJ brought in some backup. We are pleased to have Tommy join us for our discussion of this story of two brothers that escaped from a weird death cult. Is it a cult, or just a commune of people that like being off the grid? Is this a horror film or a sci-fi film? Can it be both?

The Endless had a very limited and short theatrical run, so it’s likely that you haven’t even heard of it. It has bounced around on different streaming services over the past few years. It’s not always easy to find on a service that you are subscribed to, but JJ, Steve, and Tommy agree that this mindbending and weird story is one worth finding and watching.

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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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Justin Lin is back in the driver’s seat for the latest in the Fast Saga, F9. Despite people’s excitement to have him returning to the helm, the film’s had mixed reviews. For this episode of The Film Board Podcast, Andy’s joined by Next Reel regular Ocean Murff, a big fan of the franchise, to talk about the film and its place in the saga. Are the reviews mixed here as well? How do we feel about the action sequences? And are we getting sick yet of the constant mention of family? You’ll just have to tune in to find out!

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Soooo... Shyamalan still doesn't know how 'Old' will end. Anne Rice's vampires are coming back to screens. Plus three trailers heavy with the Elba, a game that requires some familiarity with lightening rounds, and finally, a list that we hope you don't forget, but you probably will.

• Mandy's Trailer: The Shrink Next Door
• Rob's Trailer: The Suicide Squad (NEW!)
• Kyle's Trailer: The Harder They Fall

THE LIST! Amnesia!

Mandy's List 1. Overboard 2. Regarding Henry 3. The Vow

Rob's List 1. The Long Kiss Goodnight 2. Dead Again 3. Trance

Kyle's List 1. 50 First Dates 2. Anastasia 3. Dark City

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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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When is a film that has scenes with Kirk and Spock not a Star Trek movie? Well . . . when it’s a film about a young woman writing an epic screenplay for a Star Trek contest. A lack of knowledge about or love for Star Trek shouldn’t be a barrier to watching Please Stand By.

This is the second film adapted from a play on this season of Trailer Rewind. It’s also the second film this season to feature an atypical main character. The result is another enjoyable gem.

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Fatherhood is a fairly loose adaptation from Matthew Logelin’s memoir, but unfortunately it feels loose in all the wrong ways. It seems like there’s an interesting story there, but it never clicks. Andy Nelson is joined in the board room for this episode by Ocean Murff and Steve Sarmento to celebrate Father’s Day with this latest Netflix release, but they’re all left scratching their heads in frustration with this film. Kevin Hart and DeWanda Wise make a great couple but they’d much rather see them in a different romantic comedy. The rest of the performers deliver strong performances too, but unfortunately it’s in a film that just doesn’t warrant it. So is there anything to like here? Bits and pieces. Bits and pieces.

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The War of Rohirrim is coming back, this time more animated. We watched Lavalantula and lived to tell the tale. Fear Street gets an R rating. And, Beatty is meddling with the primal forces of nature. Plus, our national nightmare is over — we do some re-ranking! Then three trailers that almost all have Megan Fox in them and a list of movies all about unusual inheritances!

• Steve's Trailer: Midnight In The Switchgrass
• Pete's Trailer: Till Death
• Andy’s Trailer: A Classic Horror Story

THE LIST! Unusual inheritances!

Steve's List 1. Saturday the 14th 2. Rain Man 3. Brewster's Millions

Pete's List 1. Major League 2. Little Big League 3. The Grand Budapest Hotel

Andy's List 1. 13 Ghosts 2. Larger Than Life 3. Mr. Popper's Penguins

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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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Is the magic in the new film In the Heights from Jon M. Chu’s direction or from Lin-Manuel Miranda’s original Broadway show? We definitely think it’s Chu working wonders here to bring this show to vibrant life. Andy Nelson is joined in The Film Board this week by Mandy Kaplan and Justin Jaeger along with special guest Brian Rowe from the Film at Fifty Podcast to form our own artistic opinions of this film. The story doesn’t wow any of us as much as we were hoping, but Chu creates a film that just oozes personality. He also casts the film with people that feel authentic and we love them all – Anthony Ramos, Melissa Barrera, Leslie Grace, Corey Hawkins, Daphne Rubin-Vega, Olga Merediz, Gregory Diaz IV, and Jimmy Smits. That’s right, Jimmy Smits holds his own here with the singing and dancing! This is definitely one we recommend seeing on the big screen because Christopher Scott’s choreography, the production design, and the rest of Chu’s team made something epic. We have a lively conversation about it, so check out the movie and join us!

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• Broadway’s Back!

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We dish on Mare of Easttown, Dream House, Charles Dickens adaptations, The Underground Railroad, and troubled productions. Plus, surprise games master Andy Nelson joins to play his favorite game with us in reverse. We've got three great trailers and a list of films with breaking and entering involved!

• Pete's Trailer: No Sudden Move
• Tommy’s Trailer: Escape Room: Tournament of Champions
• Mandy’s Trailer: Hotel Transylvania 4: Transformania

THE LIST! Breaking and Entering!

Pete's List 1. Pacific Heights 2. Manhunter 3. The Ref

Tommy's List 1. Glengarry Glen Ross 2. The Invisible Man (2020) 3. Panic Room

Mandy's List 1. Horrible Bosses 2. Cape Fear 3. A Clockwork Orange

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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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Steve has a 15-minute rule. You have got to give a film 15 minutes to prove itself. If after 15 minutes you can easily walk away, then do it. Don’t waste your time on a movie, if after 15 minutes you haven’t connected with the characters, or the story hasn’t drawn you in.

Don’t worry. The Peanut Butter Falcon is not a bad movie. JJ and Steve agree that the beginning may not draw everyone in. Give it time. By the time the paths of our two main characters cross you will likely be invested in them enough to want to watch the rest of their journey.

Is there magical realism woven into the end of this film? Possibly. Will kids want to carve watermelon helmets after watching this? Maybe. Is this a film that the whole family can watch together and enjoy? Steve and JJ disagree. Listen in to find out why.

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Ed and Lorraine Warren have their ghost-fighting hats back on in The Conjuring: The Devil Made Me Do It, the third film in the Conjuring films and eighth in The Conjuring Universe. Andy Nelson’s here to discuss it with Pete Wright, Tommy Metz III, and guest Justin Harlan from Cinapse and The Farsighted. Does this entry fit well into the franchise? Why did James Wan not direct it but turn it over to Michael Chaves instead? And what do we think of that decision? How do we feel about them taking the story out of a haunted house to focus on a possessed person instead? What about the integration of CG effects with the practical effects? And is our villain the creep we needed? Tune in to join the conversation!

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We're watching some things, we definitely talk about that. Edgar Wright's latest headlines our trailer bit, we've got a list of LGBTQ Hamlets, and a list made up of movies shot and set in the US Pacific Northwest! Bring the RAIN!

• Kyle's Trailer: Last Night In Soho
• Rob's Trailer: The Tomorrow War
• Steve's Trailer: Reminiscence

THE LIST! Movies set in the Pacific Northwest!

Kyle's List 1. The Hunted 2. Safety Not Guaranteed 3. Horns

Rob's List List 1. Body of Evidence 2. Mr. Holland's Opus 3. Animal House

Steve's List 1. First Cow 2. Drugstore Cowboy 3. Leave No Trace

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The last course in our Trek through the Stars, we end with our very first dish, the top of the menu, the choice that brought our little food stand up from nothing. Some say it hasn’t aged well, while others think it’s never tasted better. Either way, it’s important to know where you came from before you can know where you’re going.

Part Five: The Beginning Is The End Is The Beginning

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In Part Four of our Trek through the Stars, we now place in front of you the most popular dish on our menu. But there’s a reason that it’s regarded as a classic. With timeless flavors, enhanced aesthetics and a slew of awards, you can’t go wrong with this selection. Or can you?

Part Four: If You Give Off Signals That You Don’t Want To Belong…

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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)

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Our third menu option is for those of a more modern palette, who are willing to take a bit more risk to try and reap the taste rewards. But the cook can be unstable and we’re not sure how the whole meal is going to turn out, but it’s the freshest thing we’ve got on offer.

Part Three: Objects In The Rear View Mirror May Appear Closer Than They Are

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Our Trek through the Stars continues here in Part Two, and so does our restaurant metaphor. If our first option wasn’t to your liking, perhaps you’d like to try something a bit more daring, more exotic, something with an intergalactic flair.

Part Two: What If We Stayed In One Place?

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The Codex is back and this time, we’re headed for the stars! With over 800 stories, Star Trek is one of the most dominant sci fi franchises in pop culture history. But that also makes it nearly impossible for an outsider to know where to begin. Until now. We’re laying out 5 possible options for starting your journey into the Final Frontier.

Part One: Watch Your Head In The Captain’s Cabin

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Ocean's Invincible. Pete's melancholy. Mandy's all up into zombies. If you haven't heard, we're entering the time of AmaMGM. Plus, for those coming of sitcom age in the late 90's, some Friends are reuniting. Plus, a game of impossible connections and a list of awkward love triangles!

• Mandy's Trailer: Here Today • Billy Crystal and Tiffany Haddish — CBS Sunday Morning
• Pete's Trailer: Gunpowder Milkshake
• Ocean's Trailer: The Hitman’s Wife’s Bodyguard

THE LIST! Awkward Love Triangles!

Mandy's List 1. The Talented Mr. Ripley 2. Kissing Jessica Stein 3. Keeping the Faith

Pete's List 1. Vicky Christina Barcelona 2. Sex, Lies and Videotape 3. Y Tu Mama También

Ocean's List 1. Legends of the Fall 2. Chasing Amy 3. The Departed

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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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JJ and Steve are joined by Tommy to make sense of the puzzle that is The Goldfinch. It’s not that the story is complex or difficult to decipher. It’s not that there’s a mystery to solve. It’s just that it is very challenging to describe why this film doesn’t work. Why does a Pulitzer Prize winning novel not translate to the big screen? Is there not enough, or is it too much? Is “beautiful disaster” the most appropriate description?

Join JJ, Steve, and Tommy on their quest to solve this mystery because misery loves company.

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The Film Board convenes! We’re back on the Zack Snyder train with the first entry in what promises to be a big, nasty, zombie universe in the Netflix film “Army of the Dead.” Board the container with Pete Wright, Jordan Petersen, and Ocean Murff and let’s go to Vegas.

Coming on the heels of Snyder’s re-take on ‘Justice League,’ and with his zombie credibility on lock thanks to his ‘Dawn of the Dead’ pedigree, it’s fair to say we came into this film with high hopes. It’s a blockbuster, to be sure, and every single one of those sweet, sweet Netflix dollars is up on screen in running, crouching, shambling zombies. How well does the team create the world of Dead Vegas? What do we think of Snyder’s eye behind the camera? How much do we want to wear one of those fancy motion capture suits? So, so much.

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QUIBI CORNER. Besides Pete, who’s asking for more Jack Reacher? Leverage is coming back, briefly, without Timothy Hutton. There’s a deleted scene from Mitchell’s vs. The Machines that is as great as the movie. Editing is hard. Is it too soon for a Ted Lasso copy cat? What it if includes Ryan Reynolds and Rob McElhenney? Plus a list of great bromances and a game of confusing Americanism!

• Pete’s Trailer: Dear Evan Hansen
• Steve’s Trailer: Fear Street
• Tommy’s Trailer: The Sparks Brothers

THE LIST! Bromances in Film

Pete’s List 1. Sideways 2. Tag 3. One Night in Miami

Steve’s List 1. Stand By Me 2. The Outsiders 3. Swingers

Tommy’s List 1. Fight Club 2. A Beautiful Mind 3. Once Upon a Time in Hollywood

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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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• Watch this film: JustWatch
• Script Transcript
• Original theatrical trailer
• Original poster artwork
• Flickchart
• Letterboxd
• Dan Savage’s Hump Film Festival

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We have a reaction to Black Superman. Tom Clancy properties and the Rainbow Cinematic Universe. NBC axes the 2022 Globes. Knives Out 2 cast is shaping up nicely thank you very much. Plus a game of forgotten villain (names) and a list of films based on books that didn't stick the ending!

• Ocean's Trailer: Luca
• Kyle's Trailer: Lisey’s Story
• Pete’s Trailer: Stillwater

THE LIST! Adaptations where they change the ending!

Ocean's List 1. Edge of Tomorrow 2. First Blood 3. Watchmen

Kyle's List 1. Captain America: Civil War 2. Watchers 3. Ten Little Indians (1989)

Pete’s List 1. The Golden Compass 2. Stardust 3. The Secret of NIMH

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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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For some reason this film about building a 1000 mile underground fiber optic connection was also buried underground. In this story about an attempt to set a speed record in round trip communications JJ and Steve find that it’s the back half of the story where this film reveals its true intent.

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Guy Ritchie steps out of his usual type of filmmaking and focuses on a gritty, dark crime story with his new film Wrath of Man. Sure, it’s got a lot of his usual traits and it has Jason Statham, returning to work with him after 16 years, but does this style work for him? Andy’s joined by Charlie Juhl and Hannah Buchdahl from The Cinema Clash Podcast as well as Jordan Petersen to talk through what works and what doesn’t with this new action thriller currently in theatres. It’s big and action-packed, but is it any good? Check out the movie then tune in!

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• Watch this film: JustWatch
• Original theatrical trailer
• Original poster artwork
• Original Material
• Flickchart
• Letterboxd
• The Cinema Clash Podcast
• The Cinema Clash on Twitter
• Jordan Petersen on Twitter
• Andy on Twitter

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Must See TV — The Continental is ready to open. So Many Marvel Dates! Game of Thrones spinoffs galore! Plus three new trailers and a list of films with misguided bookend flashbacks!

• Andy’s Trailer: Georgetown
• Steve’s Trailer: Awake
• Kyle's Trailer: Stranger Things Season 4

THE LIST! Misguided Bookend Flashbacks!

Andy’s List 1. Carlito’s Way 2. The United States vs. Billie Holiday 3. The Legend of Bagger Vance

Steve’s List 1. Lolita (1962) 2. D.O.A. (1988) 3. Little Big Man

Kyle's List 1. The Lone Ranger 2. Young Guns 2 3. Jennifer’s Body

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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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• Watch this film: JustWatch
• Script Transcript
• Original theatrical trailer
• Original poster artwork
• The Green Mile: The Complete Serial Novel by Stephen King
• Flickchart
• Letterboxd
• I Really Like You • Carly Raw Jepsen

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An animated film about one family trying to stop a robot invasion from taking over the world doesn’t seem like the sort of movie that’s going to elicit tears, but that’s what The Mitchells vs the Machines did here. In this episode, Andy Nelson is joined in the board room by Mandy Kaplan from the Mandemic Mondays podcast, Pete Wright from The Next Reel Film Podcast, and Steve Sarmento from Trailer Rewind to talk about Michael Rianda’s new animated film produced by Lord & Miller. Needless to say, we all loved it. But what do we pull out of the themes as the titular Mitchell family works to come together as they fight off this deadly tech? What were the biggest laughs for us? And how stunning did we find the animation? Tune in to this week’s show to find out.

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We're watching some stuff, and we talk about it. But mostly we talk about the Oscars as the Soderbergh hang time and what it would have been like had they actually included ... you know... clips. We've got trailers we're all moderately excited about, a game of celebrated movie moms, and a list of iconic movie pin-ups!

• Tommy’s Trailer: The Conjuring: The Devil Made Me Do It
• Ray’s Trailer: American Badger
• Pete’s Trailer: Siberia

THE LIST! Iconic Movie Pin-ups!

Tommy’s List 1. Saturday Night Fever 2. Boogie Nights 3. Bend It Like Beckham

Ray’s List 1. National Lampoon’s Christmas Vacation 2. Forrest Gump 3. Moulin Rouge (1953)

Pete’s List 1. Weird Science 2. The Circus 3. The Woman in Red

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As he began watching some Oscar nominated short films, their themes grabbed Steve’s attention. These films speak to something that is strongly connected to America. Perhaps the lens we are viewing films through lately is one that comes from our nation's attempt to define — or some would say redefine — who we are. The art a nation creates reflects the conflicts within it. Welcome to America: Article 2.

Links & Notes * If Anything Happens I Love You * Two Distant Strangers * A Love Song for Latasha

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Batffleck may be riding the wave of popularity now, but almost 20 years ago Ben Affleck had such a bad response to a superhero role he swore he’d never don tights again. That’s right, for this episode Ray and Ocean are joined by Kyle Olsen of Marvel Movie Minute to discuss the red-headed stepchild of the Fox/Marvel movie-verse: Daredevil! Does the Director’s Cut make much of a difference? Should we demand #TheOceanCut? Can there possibly be anything redeeming about this movie? For answers to these questions and more, tune in!

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• Original theatrical trailer
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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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• Watch this film: JustWatch
• 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

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One of Mark Twain’s famous aphorisms is: “A classic is something that everybody wants to have read and nobody wants to read.” For JJ and Steve the 1973 film Papillon very much fulfills that definition. Neither of them have seen the version starring Steve McQueen and Dustin Hoffman, so don’t expect comparisons to that classic film. Instead JJ and Steve focus on their struggle with the 2017 version starring Charlie Hunnam and Rami Malek.

When is a movie that features characters trying to break out of prison not a prison break movie? How can you watch a man earn his freedom and not feel elated? These are just a few of the questions that JJ and Steve dig into during their conversation about Papillon (2017).

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• Watch this film: JustWatch
• Script Transcript
• Original theatrical trailer
• Original poster artwork
• Papillon (1973)
• Flickchart
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Science fiction is used often as a way to explore aspects of social mores, painting pictures for what’s working and what’s not in our societies. These stories often are thrilling, horrifying, or full of action as a part of the nature of scifi. It’s not too often we end up in a science fiction story that’s a dramatic morality tale. Joe Penna’s second film Stowaway explores the complex and painful decisions a trio of astronauts has to make when a stowaway on their ship throws the life support systems out of whack. Andy Nelson is joined this month on The Film Board by Tommy Metz III and Jordan Petersen to dig into this film, now streaming on Netflix. It’s a story worth watching and certainly worth talking about. Check it out then tune in!

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Trio of directors announced for SpiderMan Into The Spiderverse sequel. Tig Notoro digitally added to Army Of The Dead. Legend has two different musical scores? Amazon just made history with new LOTR show. Plus, Kyle's Build-a-Festival and a list of films with hair styles that became iconic in pop culture!

• Andy’s Trailer: Profile
• Kyle's Trailer: Shang-Chi and the Legend of the Ten Rings
• Mandy's Trailer: 15 Things You Didn’t Know About Bigfoot

THE LIST! Films with hair styles that became iconic in pop culture

Andy’s List 1. Rosemary’s Baby 2. A View to a Kill 3. Sullivan’s Travels

Kyle's List 1. Scott Pilgrim vs. The World 2. The Fifth Element 3. Deadpool 2

Mandy's List 1. Star Wars 2. Foxy Brown 3. Grease 2

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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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• Watch this film: JustWatch
• Script Transcript
• Original theatrical trailer
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• Flickchart
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Disney's Launchpad gearing up for six films from underrepresented voices. Pete's watching Invincible. The Mandys take on Thunder Force and give us a preview after that underwhelming trailer a few months back. Plus, Misquoted and a list of movies based on controversial books!

• Pete's Trailer: Mainstream
• Mandy's Trailer: Together Together
• Steve’s Trailer: Flashback

THE LIST! Movies based on controversial books

Pete's List 1. 1984 2. Fight Club 3. Slaughterhouse Five

Mandy's List 1. Less Than Zero 2. Fifty Shades of Grey 3. Everything You Always Wanted To Know About Sex * But Were Afraid To Ask

Pete’s List 1. Lolita 2. The Perks of Being a Wallflower 3. The Color Purple

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Ocean introduces Ray to one of 2010’s worst flops: Repo Men. Our hosts cannot believe the critic scores for this one! How can it be? Join them on this episode as they work to destroy claims that this movie is “too gory” and has a “wasted premise.” It’s time to expose the silver lining on this one!

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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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• Watch this film: JustWatch
• Script Transcript
• Original theatrical trailer
• Original poster artwork
• Original Material
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• Funny or Die: Huey Lewis & “Weird” Al Yankovic

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This week JJ and Steve are joined by Ocean, from TNR’s Silver Linings podcast, to discuss Julius Onah’s 2019 film Luce. Adapted by JC Lee from his own play, this smartly written story that blends elements of a thriller, family drama, social commentary, and character study gives them plenty to discuss. This is also a film full of familiar faces and strong performances. Unfortunately its limited release prevented it from reaching audiences.

It’s not easy to delve into this story without setting off some spoilers, so listen to the first few minutes of this episode to find out if this is a film for you.

BONUS - parenting tips for teens included in this episode!

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• Watch this film: JustWatch
• Original theatrical trailer
• Original poster artwork
• Luce by J.C. Lee
• Flickchart
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Comcast considering making streaming Universal films only available on Peacock. Netflix nabs streaming rights to Sony films. Plus a submarine movie vacation bracket and a list of movies that also happen to be complete sentences, with a dash of weird love for Down Periscope.

• Ray's Trailer: Space Jam: A New Legacy
• Kyle's Trailer: Street Gang: How We Got To Sesame Street
• Tommy's Trailer: Those Who Wish Me Dead

THE LIST! Complete Sentence Movie Titles!

Ray's List 1. It Happened One Night 2. I Confess 3. My Name is Julia Ross

Kyle's List 1. What Planet Are You From? 2. Mom and Dad Save The World 3. You Don’t Mess With The Zohan

Tommy's List 1. We Need to Talk About Kevin 2. Don’t Tell Mom the Babysitter’s Dead 3. Good Night, and Good Luck

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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
• Watch this film: JustWatch
• Original theatrical trailer
• Original poster artwork
• My Face for the World to See: The Diaries, Letters, and Drawings of Candy Darling, Andy Warhol Superstar
• Flickchart
• Letterboxd

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William Shatner makes Jor-El type recording to preserve legacy. So Many Reboots! Thanksgiving ComiCon. Best Pandemic Opening Yet: Kongzilla!

• Steve's Trailer: @Zola ... and here's the story behind the trailer as capture in screen grabs
• Pete's Trailer: The Suicide Squad
• Mandy's Trailer: Peter Rabbit 2

THE LIST! 180-degree life choices!

Steve’s List 1. Joe Versus The Volcano 2. Doctor Strange 3. Last Holiday

Pete's List 1. Doctor Zhivago 2. American History X 3. The Lord of the Rings: The Return of the King

Mandy's List 1. Overboard 2. Yes Day 3. 28 Days

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Twenty-twenty will be remembered for many things for us here at The Next Reel. It will be the year that theaters closed and movie release dates were pushed back. Productions were shut down. Studios experimented with new distribution strategies. What none of us could have anticipated was the diversity and quality of films that would be nominated for best picture by the Academy of Motion Picture Arts & Sciences.

There are three contenders that I want to talk to you about today in this special episode of Three of a Kind: This Is America.

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Can classic monsters be resurrected? Is this movie more spectacle than substance? Are horror remakes always doomed to fail? Ocean and Ray try to answer these questions, while also talking about aspects of The Wolfman that some wouldn’t stop to think about. A realistic examination of families with scarred pasts? Check. Breaking the traditional monster movie formula? Check. Why YOU should consider/re-consider watching this movie? Double check! Load up your silver bullets, or bring your favorite silver-handled cane as we take a look at Joe Johnston’s misunderstood 2010 remake The Wolfman.

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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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• Watch this film: JustWatch
• Script Part 1 & Part 2
• Original theatrical trailer
• Original poster artwork
• Original Material
• Flickchart
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The fact that Steve and JJ both enjoyed Michael Almereyda’s 2015 film Experimenter would lead you to believe that they would be inclined to enjoy his 2020 film TESLA. But anachronisms abound! Edison scrolling on a smartphone? Tesla karaoke? Just what is going on in this film?

Steve and JJ debate the type of film this is. Is it a narrative? Is it a documentary? Is it a docu-narrative? Does a narrator telling us that an event we see portrayed in the film is “pretty surely not how it happened” allow us to question the veracity of everything we see? Who is singing karaoke, Nikola Tesla or Ethan Hawke? They may not agree on the answers, but what they do agree on is that this is a film that takes risks, even if trips over itself, stumbles, and struggles to tell a coherent story.

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• Watch this film: JustWatch
• Original theatrical trailer
• Original poster artwork
• Flickchart
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Oscar nominations are out for 2020. Evan Peters to play Dahmer in new series. Black Widow/Cruella/Luca get updated streaming and release dates. Plus three new trailers and a list of great movie monologues!

Documentary shorts: Colette, A Concerto Is a Conversation, Do Not Split, Hunger Ward, A Love Song for Latasha

• Andy’s Trailer: Sasquatch
• Ray's Trailer: Alice Fades Away
• Tommy’s Trailer: Enforcement

THE LIST! Great Movie Monologues.

Andy’s List 1. Malice (1983) 2. Tootsie 3. There Will Be Blood

Ray's List 1. Big Trouble in Little China 2. The Great Dictator (1940) 3. JFK

Tommy's List 1. Heathers 2. The Goonies 3. Glengarry Glen Ross

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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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• Watch this film: JustWatch
• Script Transcript
• Original theatrical trailer
• Original poster artwork
• ‘Talk Radio’ Stage Play by Eric Bogosian
• Talked to Death: The Life and Murder of Alan Berg by Stephen Singular
• Flickchart
• Letterboxd

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The Mandy's take on the Kyle! The staple Mandy Kaplan is joined by her best friend and sparring partner Mandy Fabian to talk movies, play games and make a great list of stock market movies you can binge this weekend!

Hear the Mandy's on their show, Mandemic Mondays, every Monday on TruStory.FM and wherever you find your podcasts.

• Mandy K's Trailer: Them
• Kyle's Trailer: In The Heights
• Mandy F's Trailer: Concrete Cowboys

THE LIST! Stock market movies!

Mandy K's List 1. The Other Guys 2. The Big Short 3. Trading Places

Kyle's List 1. A Good Year (2006) 2. Quicksilver (1986) 3. Limitless (2011)

Mandy F's List 1. Working Girl 2. The Wizard of Lies 3. The Hudsucker Proxy

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“The Riddle of the Snyder Cut”

In our first chapter, we’re preparing for the release of Zach Snyder’s Justice League, a four-hour superhero movie that we were once told was not real and would never exist. But how did we get here? And what do you need to know before you start the stream?

We’re going to look into the history of DCEU and try to provide you with what you need to know as we approach this magnum opus. If you’re a fan of these movies or if you’ve never seen a DCEU movie but want to know what’s the big deal, the Codex is for anyone who is curious.

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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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• Original theatrical trailer
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Disney+ Reaches Major Milestone. How many subscribers??? We know your aunt doesn’t have 300 nephews: Netflix finally cracking down on password sharing? LA Theaters open next week, following NYC last week. WB looking to expand Harry Potter Franchise. Steven Spielberg Set to Direct Film Loosely Based on His Childhood. Plus a game of Movie Merch Madness and a list of films celebrating great Scars!

• Andy’s Trailer: The Tunnel
• Rob's Trailer: Honeydew
• Pete’s Trailer: Old

THE LIST! "Facial Scars"

Andy’s List 1. The Hidden Fortress 2. Unforgiven 3. The Debt

Rob's List 1. Admission 2. Motherless Brooklyn 3. Taxi

Pete’s List 1. Alien Nation 2. Can't Stop the Music 3. Eight Legged Freaks

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Is it the ball bearings? Is it the Travolta widow's peak? Is it the straight-up hacking? These questions might make you ask yourself, "hey... what IS good about the movie Swordfish?" We're going to find out this week on Silver Linings.

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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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• Original theatrical trailer
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• Flickchart
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"Sometimes, you just have to take the first step.” The Film Board convenes in a the land of Kumandra to discuss Disney’s new animated feature Raya and the Last Dragon. The voice cast is amazing – Kelly Marie Tran, Awkwafina, Gemma Chan, Daniel Dae Kim, Sandra Oh, Benedict Wong, and more – but how well does the story work? How much more impressive is the animation? And has Disney hit a point yet where any of their directors really gets to let their style shine through? Andy, Rob, and Kyle meet in the board room to talk about the film, now in theatres and available on Disney Plus for a premium access price of $30, and what they thought of it. Tune in!

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• Watch this film: DisneyPlus
• Original theatrical trailer
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Remember the Alamo... Drafthouse. Galaxy Quest 2 update? At this rate, we're never going to see F9. Dr. Brain coming to Apple TV+. The WandaVision time hole.

• Kyle’s Trailer: Kid 90
• Pete’s Trailer: Thunder Force
• Rob's Trailer: The Spongebob Movie: Sponge not the Run

THE LIST! Weird eating locations

Kyle's List 1. ‌Atlantis: The Lost Empire 2. ‌Return To Oz 3. Pirates of the Caribbean: Curse of the Black Pearl

Pete's List 1. Eating Raoul 2. Somos lo que Hay 3. The Green Inferno

Rob's List 1. Jackie Brown 2. ‌Naked Gun 33 1/3 3. ‌Wayne’s World

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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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What’s this? … Scott Bakula coming back as Cap Archer? Are we thrilled for Paramount+ yet? Emma Watson is retiring? Didn’t that happen already? Plus, a trio of trailers and a list of harrowing border crossing movies!

• Mandy’s Trailer: The Courier
• Steve’s Trailer: Doors
• Ray’s Trailer: Army of the Dead

THE LIST! Harrowing Border-Crossing Movies!

Mandy’s List 1. Maria Full of Grace 2. The In-Laws 3. Vacation (1983)

Steve’s List 1. Monsters 2. Sicario 3. Bridge of Spies

Ray’s List 1. The Terminal 2. Terminator: Dark Fate 3. From Dusk Till Dawn

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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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The Film Board is on the road with Frances McDormand in Chloé Zhao’s new film Nomadland. Do McDormand and Zhao deliver the goods and is the film worth all the awards it’s already raking in? Short answer: they definitely do and it definitely is. Andy, Steve, and Tommy meet in the board room to talk about the film, now streaming on Hulu, and what they thought of it. Tune in!

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• Watch this film on Hulu
• Original screenplay
• Original theatrical trailer
• Original poster artwork
• Original Material
• Flickchart
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The Indulgent Cut is coming. Should ‘Black Widow’ get the HBOMax treatment? Faces/Offs. Cube Japan! Scorcese is back, this time on streaming.

• Ocean’s Trailer: F9
• Pete’s Trailer: Cruella
• Steve’s Trailer: Lucky

THE LIST!

Living spaces with Killer Views!

Ocean’s List

1. The Godfather Part II
2. Brightburn
3. Saving Private Ryan

Pete’s List List

1. The Wolf of Wall Street
2. Nights in Rodanthe
3. Crazy Stupid Love

Steve’s List

1. Body Double
2. Panic Room
3. The Exorcist

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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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• Original theatrical trailer
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• Flickchart
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Shaka King delivers a strong second film with Judas and the Black Messiah, his new film that follows FBI informant Bill O’Neal as he infiltrates Chicago’s Black Panther party to get close to Chairman Fred Hampton. Is this the political biopic we need right now? How brilliant are Lakeith Stanfield and Daniel Kaluuya in the lead roles? And does the film hold up as more than just a history lesson? The Film Board convenes to talk through the film and give you their verdict!

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A brief binge update. Good-bye, Blue Sky. Florence is the Machine (and let me say for the record, I can’t believe no one actually made that joke on the show). Marvel’s ‘Blade’ update. Fred and Ethel are home in ‘Ricardos’. Plus three terrific trailers and a list of movies introducing small friends that is far more successful than any of us ever intended.

• Ray’s Trailer: Cosmic Sin
• Ocean’s Trailer: The Obituary of Tunde Johnson
• Kyle’s Trailer: Happily

THE LIST!

Small friend introductions!

Ray’s List

1. Jane Austen’s Mafia!
2. Shark Tale
3. Kick Ass

Ocean’s List

1. The Man with the Golden Gun
2. Going Ape!
3. Willy Wonka and the Chocolate Factory (1971)

Kyle’s List

1. Top Secret!
2. Willow
3. Total Recall

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Ahhh ‘Brightburn’ ... who would have thought that a film penned by the Gunn brothers would end up a film worthy of the Silver Linings treatment? This was supposed to be an absolute slam dunk of a super-horror-fest! Our experience with ‘Guardians of the Galaxy’ set us up right proper for the initial run of this movie. Reviews were deeply mixed, but many of them said the premise was full of potential that ultimately didn’t deliver. It’s time to find some silver linings.

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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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The Golden Globes are here. Mandy “can’t wait” for a Buck Rogers reboot. Here comes a show about talking boobs. The box office is still shrinking. Plus three great new trailers, Rob’s musings on the cosmic importance of ‘Groundhog Day’, and a list of films about punching animals!

• Mandy’s Trailer: Son of the South
• Steve’s Trailer: Moxie
• Rob’s Trailer: Coming 2 America

THE LIST!

Punching Animals!

Mandy’s List

1. Kung Fu Panda
2. Madagascar: Escape 2 Africa
3. The Princess Bride

Steve’s List

1. The Shaggy D.A.
2. Hard Target
3. Blazing Saddles

Rob’s List

1. The Campaign
2. Batman (1966)
3. Semi-Pro

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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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• Watch this film: JustWatch
• Script Transcript
• Original theatrical trailer
• Original poster artwork
• Original Material
• Flickchart
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• Conan The Barbarian Game Evolution 1984-2019

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Updates on In & Of Itself and The Expanse. Donnie Againko. James to get new tech? Harry Potter and the Controversial Series Order. Plus a controversial set of trailers, Pete's mash-up-rules-movie-game, and a terrible, horrible, no-good list of films with misguided sound effects.

• Pete's Trailer: Godzilla Vs. Kong
• Tommy's Trailer: Apollo 11 Quarantine
• Ray's Trailer: Adverse

THE LIST!

Inappropriate Sound Effects!

Pete's List

1. Meet Joe Black
2. WarGames
3. Ghost

Tommy's List

1. Jurassic Park III
2. The Mask of Zorro
3. Matrix Reloaded

Ray's List

1. City Lights
2. Terminator 2: Judgement Day
3. Halloween 5: Revenge of Michael Myers

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The Film Board convenes to discuss Fisher Stevens’ new film Palmer starring Justin Timberlake, Juno Temple, Alicia Wainwright, and Ryder Allen. Does it deliver the emotional punch it sets out to deliver, or does it end up feeling more like a well made Lifetime movie? And does the film do its job in delivering something the family can use to talk about gender nonconformity? Andy, Mandy, and Tommy meet in the board room to talk about the film, now streaming on Apple TV Plus, and what they thought of it. Tune in!

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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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• Watch this film: JustWatch
• Original theatrical trailer
• Original poster artwork
• The Lizard's Tail by Marc Brandell
• Flickchart
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The Film Board convenes to talk about Ramin Bahrani’s new Netflix film The White Tiger as our first film discussion of 2021. What does the film have to say about India’s caste system and does it relate universally to the haves and have nots? The performances are great, particularly from Adarsh Gourav as the lead, but the structure is a bit of a stumbling block for us. But is it enough of a stumble to keep us from enjoying it? Andy, Ocean, and Kyle meet in the board room to talk about the film and what they thought of it. Tune in!

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All seasons of the Muppet Show to air on Disney+. Freaks and Geeks coming to Hulu. Casting Nicole Kidman as Lucy in Sorkin’s new film. Godzilla Vs. Kong release moved up (trailer drops Sunday).

• Tommy's Trailer: STRAY
• Kyle's Trailer: In and Of Itself
• Pete’s Trailer: Boss Level

THE LIST!

Peculiar communities in film!

Tommy's List

1. ‌Midsommar
2. Identity
3. ‌IT / IT 2

Kyle's List

1. ‌The Village
2. Star Trek Insurrection
3. Fanboys

Steve's List

1. THX 1138
2. City of Ember
3. Safe

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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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• Watch this film: YouTube
• Original theatrical trailer
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Sex and the City Reboot. Bruce Willis in Die Hard 6. Many Saints of Newark Delayed to Fall 2021. Netflix’s next move in the streaming wars. Plus, a trio of tempting trailers and a list of luscious liquids!

• Ocean’s Trailer: Bliss
• Mandy’s Trailer: Barb & Star go to Vista Del Mar
• Rob’s Trailer: Cherry

THE LIST!

Don’t fall into that liquid!

Ocean’s List

1. Predator
2. Unbreakable
3. Batman Begins

Mandy’s List

1. The Empire Strikes Back
2. Batman (1989)
3. Old School

Rob’s List

1. The Toxic Avenger
2. The X-Files: Fight the Future (1998)
3. The Stuff (1985)

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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!

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 — visit TruStory FM.

• Watch this film: Amazon • YouTube
• Original theatrical trailer
• Original poster artwork
• Flickchart
• Letterboxd

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Paramount gets the rights to Spamalot. A film festival for one. Damien Chazelle’s next film gets a new release date. Silver Linings debuts this week on The Next Reel. Plus, a rundown of some of the latest trailers, the IMDB game, and a list of films of beings disguised as humans!

• Andy’s Trailer: Locked Down
• Ray’s Trailer: Savage State
• Kyle’s Trailer: Outside The Wire

THE LIST!

Other beings disguised as humans, plus a bonus pick of mountain hotels!

Andy’s List

1. Under the Skin
2. Constantine
3. Blade Runner

Bonus: The Invisible Guest (Contratiempo)

Ray’s List

1. Harry Potter and the Deathly Hallows, Pt. 1
2. Mars Attacks!
3. Kiss Meets the Phantom of the Park

Bonus: The Lady Vanishes (1938)

Kyle’s List

1. Spider-Man: Far From Home
2. Meet Dave
3. The Gate

Bonus: Avalanche

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The rules are really beginning to annoy us. We stand with Snake. Anyone want to join us for a trip to the island of Los Angeles for a game of "Bangkok Rules"? Welcome to episode one of Silver Linings from The Next Reel family of Film Podcasts.

Just what is Silver Linings? Have you ever liked — maybe even loved — a movie that everyone else seems to hate? You're not alone! We look at movies that are often panned to see if their hate is warranted. Sure, we'll talk about what might be broken, but more important: we talk about what really works in these films with the hope that we change some minds along the way... maybe even yours. So sit back, relax, and let's take the guilt out of guilty pleasures.

Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

• Watch this film: JustWatch
• Script Transcript
• Original theatrical trailer
• Original poster artwork
• Flickchart
• Letterboxd

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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!

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 — visit TruStory FM.

• Watch this film: YouTube
• Original theatrical trailer
• Original poster artwork
• Inspector Glebsky’s Puzzle by Arkady and Boris Strugatsky
• Flickchart
• Letterboxd

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Netflix is doing well with Clooney… we guess. Richard Donner, who is 90, says he’s coming back for LW5. Shadow in the Clouds and other YA stuff, plus a digression on the works of Leigh Bardugo. The Human Voice. Letterboxd Year-In-Review. Plus three trailers, Flickchart re-ranking, and a list of films that center on missing spouses!

Happy new year, everyone!

And, if you’ve ever thought about joining us for all our Letterboxd list fun, make sure to check out thenextreel.com/letterboxd. There you can sign up for a pro or patron account for 20% off! Thanks to the folks at Letterboxd and to all of you for supporting us by supporting them!

• Steve’s Trailer: The Little Things
• Andy’s Trailer: Coming 2 America
• Pete’s Trailer: The White Tiger

THE LIST!

Missing Spouses!

Steve’s List

1. Gone Girl
2. ⭐ The Vanishing
3. Breakdown

Andy’s List

1. The Impossible
2. Missing
3. Cast Away

Pete’s List

1. Annihilation
2. The Big Sleep
3. 🌟 Frantic

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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!

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 — visit TruStory FM.

• Watch this film: iTunes • Amazon• YouTube
• Script Transcript
• Original theatrical trailer
• Original poster artwork
• Flickchart
• Letterboxd

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Believe it or not, we’re hitting 100! That’s right, our episode today is the 100th film we’ve discussed on The Film Board. It’s been nearly a year full of digital releases and Wonder Woman 1984 broke the seal on Warner's year of day and date releases, giving us the return of Gal Gadot in full armor, and Mando out of his.

So how has WW84 set the stage? Is it fine watching it at home or did we miss the big screen feel? Did it hold up to the quality the first film surprised everyone with? Or does it feel like so many other films in the DCEU — clunky and ineptly handled?

Andy Nelson hosts, joined by Ray DeLancey, Mandy Kaplan, and Ocean Murff who share their thoughts on this movie so we can share them with all of you.

Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

Film Sundries * Watch this film: HBOMax * Original theatrical trailer * Original poster artwork * Flickchart * Letterboxd

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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!

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 — visit TruStory FM.

• Watch this film: iTunes • Amazon • YouTube
• Script Transcript
• Original theatrical trailer
• Original poster artwork
• Flickchart
• Letterboxd

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Tom Cruise screams at crew over COVID. Theaters considering slashing WB’s ticket prices. Shifting talent deals due to the pandemic. Plus three great trailers and a list of movies capitalizing on fake history!

• Mandy’s Trailer: Bridgerton
• Andy’s Trailer: Nomadland
• Tommy’s Trailer: Palmer

THE LIST!

Fake History!

Mandy’s List

1. Dick
2. Once Upon a Time ... In Hollywood
3. History of the World, Part I

Andy’s List

1. Sky Captain and the World of Tomorrow
2. Alien Nation
3. Punishment Park