The Next Reel Film Podcast Transistor (https://transistor.fm) https://feeds.transistor.fm/tnr_thenextreel A show about movies and how they connect. We love movies. We’ve been talking about them, one movie a week, since 2011. It’s a lot of movies, that’s true, but we’re passionate about origins and performance, directors and actors, themes and genres, and so much more. So join the community, and let’s hear about your favorite movies, too. When the movie ends, our conversation begins. TruStory FM 8e17c313-50f3-5321-95c4-be787fd86568 no Andy Nelson Pete Wright Welcome to The Next Reel! en Thu, 12 Mar 2026 03:00:09 -0700 Sat, 14 Mar 2026 22:02:47 -0700 https://thenextreel.com https://img.transistorcdn.com/YdacrKZctajyW0nqmlpw4uX_OqGWa13umwqWNnWxN-U/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9zaG93/LzMzMDg2LzE2NjAw/ODA1NTctYXJ0d29y/ay5qcGc.jpg The Next Reel Film Podcast https://thenextreel.com episodic TruStory FM A show about movies and how they connect. We love movies. We’ve been talking about them, one movie a week, since 2011. It’s a lot of movies, that’s true, but we’re passionate about origins and performance, directors and actors, themes and genres, and so much more. So join the community, and let’s hear about your favorite movies, too. When the movie ends, our conversation begins. A show about movies and how they connect. film, filmcommentary, moviereview, movies, review TruStory FM shows@trustory.fm No No Creed III 15 15 39 39 Creed III full e1faa7c8-d3be-4717-8bbd-34767d145442 https://share.transistor.fm/s/bd7a8505 “He’s telling you who he is. Believe him.”
Two childhood friends face each other across decades of silence, and only one can walk out champion. Creed III arrives as the first entry in the Rocky/Creed franchise without Sylvester Stallone's Rocky Balboa, marking Michael B. Jordan's directorial debut as he steps behind the camera while still starring as Adonis Creed. Jordan brings anime-inspired visual experimentation to the ring, using exaggerated impact shots, CG-enhanced flesh ripples, and an "ethereal realm" finale that strips away the crowd and leaves only two fighters alone in psychological space.

We dig into what the franchise gains and loses by removing the mentor archetype, how Jonathan Majors delivers a transcendent performance as Damian Anderson despite off-screen controversy, and whether the film's mechanical plotting—hidden letters, engineered confrontations, a mother's stroke—earns its emotional payoff or just shortcuts the work. We argue about Jordan's anime influences: does the stylized visual language elevate the boxing realism or pull you out of it? We also unpack the unresolved subplot about Adonis' daughter and violence, Tessa Thompson's underutilized presence, and whether the locker room reconciliation works because of the performances or in spite of the script. It's a film that divides us—Pete sees a four-star movie doing five-star stuff, while Andy wishes the craft had been matched by stronger writing.

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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]]> “He’s telling you who he is. Believe him.”
Two childhood friends face each other across decades of silence, and only one can walk out champion. Creed III arrives as the first entry in the Rocky/Creed franchise without Sylvester Stallone's Rocky Balboa, marking Michael B. Jordan's directorial debut as he steps behind the camera while still starring as Adonis Creed. Jordan brings anime-inspired visual experimentation to the ring, using exaggerated impact shots, CG-enhanced flesh ripples, and an "ethereal realm" finale that strips away the crowd and leaves only two fighters alone in psychological space.

We dig into what the franchise gains and loses by removing the mentor archetype, how Jonathan Majors delivers a transcendent performance as Damian Anderson despite off-screen controversy, and whether the film's mechanical plotting—hidden letters, engineered confrontations, a mother's stroke—earns its emotional payoff or just shortcuts the work. We argue about Jordan's anime influences: does the stylized visual language elevate the boxing realism or pull you out of it? We also unpack the unresolved subplot about Adonis' daughter and violence, Tessa Thompson's underutilized presence, and whether the locker room reconciliation works because of the performances or in spite of the script. It's a film that divides us—Pete sees a four-star movie doing five-star stuff, while Andy wishes the craft had been matched by stronger writing.

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!

Dig Into Other Shows in Our Family

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]]> Thu, 12 Mar 2026 03:00:00 -0700 TruStory FM TruStory FM 3654 “He’s telling you who he is. Believe him.”
Two childhood friends face each other across decades of silence, and only one can walk out champion. Creed III arrives as the first entry in the Rocky/Creed franchise without Sylvester Stallone's Rocky Balboa, marking Michael B. Jordan's directorial debut as he steps behind the camera while still starring as Adonis Creed. Jordan brings anime-inspired visual experimentation to the ring, using exaggerated impact shots, CG-enhanced flesh ripples, and an "ethereal realm" finale that strips away the crowd and leaves only two fighters alone in psychological space.

We dig into what the franchise gains and loses by removing the mentor archetype, how Jonathan Majors delivers a transcendent performance as Damian Anderson despite off-screen controversy, and whether the film's mechanical plotting—hidden letters, engineered confrontations, a mother's stroke—earns its emotional payoff or just shortcuts the work. We argue about Jordan's anime influences: does the stylized visual language elevate the boxing realism or pull you out of it? We also unpack the unresolved subplot about Adonis' daughter and violence, Tessa Thompson's underutilized presence, and whether the locker room reconciliation works because of the performances or in spite of the script. It's a film that divides us—Pete sees a four-star movie doing five-star stuff, while Andy wishes the craft had been matched by stronger writing.

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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]]> Rocky, Michael B. Jordan, 2023, 2020s No Andy Nelson Pete Wright Big Eyes 15 15 37 37 Big Eyes full b5b79159-7dbe-458e-bb59-411b2ab32aba https://share.transistor.fm/s/ce336070 “Sadly, people don’t buy lady art.”
A painter's work becomes the center of a husband's fraudulent claim. We close out the True Lies series with Big Eyes, Tim Burton's biographical drama about artist Margaret Keane, whose distinctive big-eyed waif paintings were claimed by her controlling husband Walter throughout the 1950s and 60s. The story unfolds against mid-century gender dynamics, when women artists faced skepticism in the commercial art world and wives' agency within marriages was culturally constrained—context that shapes Margaret's complicity in the fraud.

We argue about Burton's surprisingly bland visual approach and whether his restraint serves or undermines the material. We debate Christoph Waltz's theatrical performance choices—does he fit this grounded domestic coercion story, or is he miscast? We praise Amy Adams for carrying the film with emotional clarity even when the movie around her wavers between genuinely threatening sequences (lit matches through the keyhole) and predictable courtroom comedy. We track how the film works better as Margaret's survivor narrative than as a typical fraud story, and we explore alternative casting scenarios that might have changed the tone entirely.

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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]]> “Sadly, people don’t buy lady art.”
A painter's work becomes the center of a husband's fraudulent claim. We close out the True Lies series with Big Eyes, Tim Burton's biographical drama about artist Margaret Keane, whose distinctive big-eyed waif paintings were claimed by her controlling husband Walter throughout the 1950s and 60s. The story unfolds against mid-century gender dynamics, when women artists faced skepticism in the commercial art world and wives' agency within marriages was culturally constrained—context that shapes Margaret's complicity in the fraud.

We argue about Burton's surprisingly bland visual approach and whether his restraint serves or undermines the material. We debate Christoph Waltz's theatrical performance choices—does he fit this grounded domestic coercion story, or is he miscast? We praise Amy Adams for carrying the film with emotional clarity even when the movie around her wavers between genuinely threatening sequences (lit matches through the keyhole) and predictable courtroom comedy. We track how the film works better as Margaret's survivor narrative than as a typical fraud story, and we explore alternative casting scenarios that might have changed the tone entirely.

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!

🎬 Watch & Discover


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]]> Thu, 05 Mar 2026 03:00:00 -0800 TruStory FM TruStory FM 3607 “Sadly, people don’t buy lady art.”
A painter's work becomes the center of a husband's fraudulent claim. We close out the True Lies series with Big Eyes, Tim Burton's biographical drama about artist Margaret Keane, whose distinctive big-eyed waif paintings were claimed by her controlling husband Walter throughout the 1950s and 60s. The story unfolds against mid-century gender dynamics, when women artists faced skepticism in the commercial art world and wives' agency within marriages was culturally constrained—context that shapes Margaret's complicity in the fraud.

We argue about Burton's surprisingly bland visual approach and whether his restraint serves or undermines the material. We debate Christoph Waltz's theatrical performance choices—does he fit this grounded domestic coercion story, or is he miscast? We praise Amy Adams for carrying the film with emotional clarity even when the movie around her wavers between genuinely threatening sequences (lit matches through the keyhole) and predictable courtroom comedy. We track how the film works better as Margaret's survivor narrative than as a typical fraud story, and we explore alternative casting scenarios that might have changed the tone entirely.

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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]]> True Lies, Tim Burton, 2014, 2010s No Andy Nelson Pete Wright Catch Me if You Can • Member Bonus 15 15 38 38 Catch Me if You Can • Member Bonus full 90a4f94e-bd91-4161-897e-916d2b29a099 https://share.transistor.fm/s/8c3fd4b0 “Sometimes, it’s easier living the lie.”
The most audacious con in the story isn't the forgeries—it's the autobiography. Catch Me If You Can, our second member bonus episode in our True Lies series, is Spielberg's crime comedy-drama built on a biography journalist Alan Logan has since largely debunked—which makes the film more fascinating, not less. Set in a 1960s America where a uniform commanded automatic trust, it was Spielberg's first film about a real living person, and he leaned into the parts that felt most personal: fractured families, absent fathers, and the distances between them.

We dig into whose story this really is—making a strong case that it's more Spielberg's than Abagnale's—and track the father-son dynamics running through both the Frank/Frank Sr. relationship and the unlikely surrogate bond with Carl Hanratty. We also argue about what makes Christopher Walken's performance so quietly extraordinary, and why the role couldn't have landed the same way with anyone else.

The formal elements get serious attention too—Janusz Kamiński's glossy cinematography, John Williams's jazz score, and the Kuntzel + Deygas opening title sequence as a Saul Bass homage that sets the film's entire register before a word of dialogue is spoken. If you've shelved Catch Me If You Can as lighter Spielberg fare, this is the conversation that earns it a second look. 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!

If You Want to Keep Going

The Next Reel

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Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> “Sometimes, it’s easier living the lie.”
The most audacious con in the story isn't the forgeries—it's the autobiography. Catch Me If You Can, our second member bonus episode in our True Lies series, is Spielberg's crime comedy-drama built on a biography journalist Alan Logan has since largely debunked—which makes the film more fascinating, not less. Set in a 1960s America where a uniform commanded automatic trust, it was Spielberg's first film about a real living person, and he leaned into the parts that felt most personal: fractured families, absent fathers, and the distances between them.

We dig into whose story this really is—making a strong case that it's more Spielberg's than Abagnale's—and track the father-son dynamics running through both the Frank/Frank Sr. relationship and the unlikely surrogate bond with Carl Hanratty. We also argue about what makes Christopher Walken's performance so quietly extraordinary, and why the role couldn't have landed the same way with anyone else.

The formal elements get serious attention too—Janusz Kamiński's glossy cinematography, John Williams's jazz score, and the Kuntzel + Deygas opening title sequence as a Saul Bass homage that sets the film's entire register before a word of dialogue is spoken. If you've shelved Catch Me If You Can as lighter Spielberg fare, this is the conversation that earns it a second look. 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!

If You Want to Keep Going

The Next Reel

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> Sat, 28 Feb 2026 03:00:00 -0800 TruStory FM TruStory FM 686 “Sometimes, it’s easier living the lie.”
The most audacious con in the story isn't the forgeries—it's the autobiography. Catch Me If You Can, our second member bonus episode in our True Lies series, is Spielberg's crime comedy-drama built on a biography journalist Alan Logan has since largely debunked—which makes the film more fascinating, not less. Set in a 1960s America where a uniform commanded automatic trust, it was Spielberg's first film about a real living person, and he leaned into the parts that felt most personal: fractured families, absent fathers, and the distances between them.

We dig into whose story this really is—making a strong case that it's more Spielberg's than Abagnale's—and track the father-son dynamics running through both the Frank/Frank Sr. relationship and the unlikely surrogate bond with Carl Hanratty. We also argue about what makes Christopher Walken's performance so quietly extraordinary, and why the role couldn't have landed the same way with anyone else.

The formal elements get serious attention too—Janusz Kamiński's glossy cinematography, John Williams's jazz score, and the Kuntzel + Deygas opening title sequence as a Saul Bass homage that sets the film's entire register before a word of dialogue is spoken. If you've shelved Catch Me If You Can as lighter Spielberg fare, this is the conversation that earns it a second look. 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!

If You Want to Keep Going

The Next Reel

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> True Lies, Member Bonus, Steven Spielberg, 2002, 2000s No Andy Nelson Pete Wright Quiz Show 15 15 36 36 Quiz Show full 655d9e1c-2936-4e19-b2f8-1015eb87184b https://share.transistor.fm/s/1a0db7b2 “We’re gonna put television on trial.”
A celebrated academic steps into a television booth and discovers how easy it is to compromise. We continue the True Lies series with "Quiz Show," Robert Redford's examination of the 1950s scandal when NBC's Twenty-One was exposed for feeding contestants answers. The film captures a moment when quiz shows were pitched as inspiring educational programming while sponsors and executives rigged outcomes behind the scenes. Charles Van Doren came from an intellectual family, making his involvement particularly devastating when a lawyer begins investigating the fraud.

We dig into why this is the first film in the series where we genuinely sympathize with the protagonist—Van Doren's descent feels natural rather than desperate, enabled by institutional pressure rather than need. We track the emotional core through four father-son scenes between Charles and Mark Van Doren, examining Paul Scofield's devastating wordless moments. We argue about whether the film lets Van Doren off too easily or whether that discomfort is the point, and we explore how the executives at the top are the real villains, comfortable with lying while lower-level employees take the fall. The iconic isolation booth shot with its dolly-zoom effect becomes a visual metaphor for moral pressure closing in.

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!

🎬 Watch & Discover


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]]> “We’re gonna put television on trial.”
A celebrated academic steps into a television booth and discovers how easy it is to compromise. We continue the True Lies series with "Quiz Show," Robert Redford's examination of the 1950s scandal when NBC's Twenty-One was exposed for feeding contestants answers. The film captures a moment when quiz shows were pitched as inspiring educational programming while sponsors and executives rigged outcomes behind the scenes. Charles Van Doren came from an intellectual family, making his involvement particularly devastating when a lawyer begins investigating the fraud.

We dig into why this is the first film in the series where we genuinely sympathize with the protagonist—Van Doren's descent feels natural rather than desperate, enabled by institutional pressure rather than need. We track the emotional core through four father-son scenes between Charles and Mark Van Doren, examining Paul Scofield's devastating wordless moments. We argue about whether the film lets Van Doren off too easily or whether that discomfort is the point, and we explore how the executives at the top are the real villains, comfortable with lying while lower-level employees take the fall. The iconic isolation booth shot with its dolly-zoom effect becomes a visual metaphor for moral pressure closing in.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 26 Feb 2026 03:00:00 -0800 TruStory FM TruStory FM 3619 “We’re gonna put television on trial.”
A celebrated academic steps into a television booth and discovers how easy it is to compromise. We continue the True Lies series with "Quiz Show," Robert Redford's examination of the 1950s scandal when NBC's Twenty-One was exposed for feeding contestants answers. The film captures a moment when quiz shows were pitched as inspiring educational programming while sponsors and executives rigged outcomes behind the scenes. Charles Van Doren came from an intellectual family, making his involvement particularly devastating when a lawyer begins investigating the fraud.

We dig into why this is the first film in the series where we genuinely sympathize with the protagonist—Van Doren's descent feels natural rather than desperate, enabled by institutional pressure rather than need. We track the emotional core through four father-son scenes between Charles and Mark Van Doren, examining Paul Scofield's devastating wordless moments. We argue about whether the film lets Van Doren off too easily or whether that discomfort is the point, and we explore how the executives at the top are the real villains, comfortable with lying while lower-level employees take the fall. The iconic isolation booth shot with its dolly-zoom effect becomes a visual metaphor for moral pressure closing in.

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!

🎬 Watch & Discover


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]]> Robert Redford, True Lies, 1994, 1990s No Andy Nelson Pete Wright The Hoax 15 15 35 35 The Hoax full 052caec0-ac5e-4624-8ded-a17b40d46d16 https://share.transistor.fm/s/6a363f03 “He gave me a prune. Howard Hughes gave me a prune on the beach at Nassau.”
A charismatic writer spins an audacious deception at the highest levels of the publishing world. In "The Hoax," part of our True Lies series, we explore Lasse Hallström's examination of the notorious 1971 literary scandal surrounding Howard Hughes' alleged autobiography, featuring compelling performances by Richard Gere and Alfred Molina.

We dig into how Gere's layered portrayal captures both Irving's magnetic confidence and psychological unraveling, while tracking the fascinating dynamics between the fraudulent author and the publishing industry's willingness to believe his elaborate lies. The film raises provocative questions about institutional complicity and self-deception, with Molina's grounded performance as Irving's research partner providing crucial moral counterweight. The way the film builds Hughes' presence without directly portraying him creates an atmospheric tension that drives the narrative forward.

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!

🎬 Watch & Discover


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]]> “He gave me a prune. Howard Hughes gave me a prune on the beach at Nassau.”
A charismatic writer spins an audacious deception at the highest levels of the publishing world. In "The Hoax," part of our True Lies series, we explore Lasse Hallström's examination of the notorious 1971 literary scandal surrounding Howard Hughes' alleged autobiography, featuring compelling performances by Richard Gere and Alfred Molina.

We dig into how Gere's layered portrayal captures both Irving's magnetic confidence and psychological unraveling, while tracking the fascinating dynamics between the fraudulent author and the publishing industry's willingness to believe his elaborate lies. The film raises provocative questions about institutional complicity and self-deception, with Molina's grounded performance as Irving's research partner providing crucial moral counterweight. The way the film builds Hughes' presence without directly portraying him creates an atmospheric tension that drives the narrative forward.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

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]]> Thu, 19 Feb 2026 03:00:00 -0800 TruStory FM TruStory FM 3542 “He gave me a prune. Howard Hughes gave me a prune on the beach at Nassau.”
A charismatic writer spins an audacious deception at the highest levels of the publishing world. In "The Hoax," part of our True Lies series, we explore Lasse Hallström's examination of the notorious 1971 literary scandal surrounding Howard Hughes' alleged autobiography, featuring compelling performances by Richard Gere and Alfred Molina.

We dig into how Gere's layered portrayal captures both Irving's magnetic confidence and psychological unraveling, while tracking the fascinating dynamics between the fraudulent author and the publishing industry's willingness to believe his elaborate lies. The film raises provocative questions about institutional complicity and self-deception, with Molina's grounded performance as Irving's research partner providing crucial moral counterweight. The way the film builds Hughes' presence without directly portraying him creates an atmospheric tension that drives the narrative forward.

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!

🎬 Watch & Discover


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]]> Lasse Hallström, True Lies, 2006, 2000s No Andy Nelson Pete Wright Shattered Glass 15 15 34 34 Shattered Glass full d5e8b4ab-45a8-472c-8be1-068553c72778 https://share.transistor.fm/s/325886c6 “Did I do something wrong? Are you mad at me?”
Trust is the whole engine—until the details start to wobble. In the True Lies series, we dig into "Shattered Glass," Billy Ray’s newsroom drama about journalism under pressure and the fragile machinery of verification. Along the way, we talk about why the film’s structure can feel like it drops viewers into the “third act,” and how that choice shapes who the audience instinctively follows.

We unpack what the movie shows about fact-checking workflows, where trust can quietly replace proof, and why that’s so unnerving to watch. We argue about Hayden Christensen’s performance choices (charming, off-putting, sometimes read as whiny) and why Peter Sarsgaard becomes the film’s steady source of tension. We also get into the online-vs-print friction the story carries, plus a subtle directing idea about shifting camera stability that may be working on viewers even if they don’t notice it. If you like movies where process becomes suspense, this conversation makes the craft and the discomfort click. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Did I do something wrong? Are you mad at me?”
Trust is the whole engine—until the details start to wobble. In the True Lies series, we dig into "Shattered Glass," Billy Ray’s newsroom drama about journalism under pressure and the fragile machinery of verification. Along the way, we talk about why the film’s structure can feel like it drops viewers into the “third act,” and how that choice shapes who the audience instinctively follows.

We unpack what the movie shows about fact-checking workflows, where trust can quietly replace proof, and why that’s so unnerving to watch. We argue about Hayden Christensen’s performance choices (charming, off-putting, sometimes read as whiny) and why Peter Sarsgaard becomes the film’s steady source of tension. We also get into the online-vs-print friction the story carries, plus a subtle directing idea about shifting camera stability that may be working on viewers even if they don’t notice it. If you like movies where process becomes suspense, this conversation makes the craft and the discomfort click. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 12 Feb 2026 03:00:00 -0800 TruStory FM TruStory FM 3818 “Did I do something wrong? Are you mad at me?”
Trust is the whole engine—until the details start to wobble. In the True Lies series, we dig into "Shattered Glass," Billy Ray’s newsroom drama about journalism under pressure and the fragile machinery of verification. Along the way, we talk about why the film’s structure can feel like it drops viewers into the “third act,” and how that choice shapes who the audience instinctively follows.

We unpack what the movie shows about fact-checking workflows, where trust can quietly replace proof, and why that’s so unnerving to watch. We argue about Hayden Christensen’s performance choices (charming, off-putting, sometimes read as whiny) and why Peter Sarsgaard becomes the film’s steady source of tension. We also get into the online-vs-print friction the story carries, plus a subtle directing idea about shifting camera stability that may be working on viewers even if they don’t notice it. If you like movies where process becomes suspense, this conversation makes the craft and the discomfort click. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

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]]> True Lies, Billy Ray, 2003, 2000s No Andy Nelson Pete Wright Can You Ever Forgive Me? 15 15 32 32 Can You Ever Forgive Me? full fd0131de-2085-420f-b165-1dcb3e4490ff https://share.transistor.fm/s/47bbb196 “I had a book on the New York Times Bestseller list. That has to count for something.”
A small crime with big nerves: words, money, and trust under pressure. In True Lies, we dig into "Can You Ever Forgive Me?"—Marielle Heller’s understated character study, anchored by Melissa McCarthy and Richard E. Grant. Because it’s adapted from Lee Israel’s memoir and set inside a tiny collectibles world, the details matter: what “authentic” looks like, who gets believed, and why the hustle feels so tempting.

We unpack how the film treats literary forgery as something stranger than paperwork—more like stealing voices. We argue about the push-pull between desperation and hubris, and how compulsion (drinking, stealing, self-sabotage) shapes the people at the center. We also track the craft: the process beats, the quiet tension in dealer interactions, and why the restraint either sharpens the discomfort or keeps the story at arm’s length. If you like true stories where the mess is interpersonal and the scam is built from language, this conversation is a great match.

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!

Watch & Discover

See Our Full Conversation on YouTube!

Watch the Film: Apple TV | Amazon | Letterboxd

Original Theatrical Trailer

Adapted from Can You Ever Forgive Me? A Memoir of a Literary Forger by Lee Israel

If You Liked This, Try These Other The Next Reel Episodes:

Life of the Party (Guilty Pleasures series) for more comedic Melissa McCarthy

Hudson Hawk (Guilty Pleasures series) for more comedic Richard E. Grant

The Diary of a Teenage Girl (Coming of Age Debuts series) for more Marielle Heller


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]]> “I had a book on the New York Times Bestseller list. That has to count for something.”
A small crime with big nerves: words, money, and trust under pressure. In True Lies, we dig into "Can You Ever Forgive Me?"—Marielle Heller’s understated character study, anchored by Melissa McCarthy and Richard E. Grant. Because it’s adapted from Lee Israel’s memoir and set inside a tiny collectibles world, the details matter: what “authentic” looks like, who gets believed, and why the hustle feels so tempting.

We unpack how the film treats literary forgery as something stranger than paperwork—more like stealing voices. We argue about the push-pull between desperation and hubris, and how compulsion (drinking, stealing, self-sabotage) shapes the people at the center. We also track the craft: the process beats, the quiet tension in dealer interactions, and why the restraint either sharpens the discomfort or keeps the story at arm’s length. If you like true stories where the mess is interpersonal and the scam is built from language, this conversation is a great match.

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!

Watch & Discover

See Our Full Conversation on YouTube!

Watch the Film: Apple TV | Amazon | Letterboxd

Original Theatrical Trailer

Adapted from Can You Ever Forgive Me? A Memoir of a Literary Forger by Lee Israel

If You Liked This, Try These Other The Next Reel Episodes:

Life of the Party (Guilty Pleasures series) for more comedic Melissa McCarthy

Hudson Hawk (Guilty Pleasures series) for more comedic Richard E. Grant

The Diary of a Teenage Girl (Coming of Age Debuts series) for more Marielle Heller


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]]> Thu, 05 Feb 2026 03:00:00 -0800 TruStory FM TruStory FM 3246 “I had a book on the New York Times Bestseller list. That has to count for something.”
A small crime with big nerves: words, money, and trust under pressure. In True Lies, we dig into "Can You Ever Forgive Me?"—Marielle Heller’s understated character study, anchored by Melissa McCarthy and Richard E. Grant. Because it’s adapted from Lee Israel’s memoir and set inside a tiny collectibles world, the details matter: what “authentic” looks like, who gets believed, and why the hustle feels so tempting.

We unpack how the film treats literary forgery as something stranger than paperwork—more like stealing voices. We argue about the push-pull between desperation and hubris, and how compulsion (drinking, stealing, self-sabotage) shapes the people at the center. We also track the craft: the process beats, the quiet tension in dealer interactions, and why the restraint either sharpens the discomfort or keeps the story at arm’s length. If you like true stories where the mess is interpersonal and the scam is built from language, this conversation is a great match.

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!

Watch & Discover

See Our Full Conversation on YouTube!

Watch the Film: Apple TV | Amazon | Letterboxd

Original Theatrical Trailer

Adapted from Can You Ever Forgive Me? A Memoir of a Literary Forger by Lee Israel

If You Liked This, Try These Other The Next Reel Episodes:

Life of the Party (Guilty Pleasures series) for more comedic Melissa McCarthy

Hudson Hawk (Guilty Pleasures series) for more comedic Richard E. Grant

The Diary of a Teenage Girl (Coming of Age Debuts series) for more Marielle Heller


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]]> Marielle Heller, True Lies, 2018, 2010s No Andy Nelson Pete Wright The Informant! • Member Bonus 15 15 33 33 The Informant! • Member Bonus full 8c99c649-7c08-4376-bcd2-16690cdc2465 https://share.transistor.fm/s/0915a07a “There should be a TV show about a guy who calls home one day and he's there, he answers, he's talking to himself, only he's someone else. He's somehow divided into two, and the second one of him drives away and the rest of the show is about him trying to find the guy.”
Corporate deception spins out of control when an executive's cooperation with the FBI takes unexpected turns. In "The Informant!", Steven Soderbergh directs Matt Damon in a darkly comedic true story that pushes the boundaries of unreliable narration. As a member bonus episode of our True Lies series, we explore how this 2009 film uses innovative voiceover techniques and tonal shifts to keep viewers questioning every revelation.

We dig deep into Soderbergh's careful visual approach to corporate environments, examining how Marvin Hamlisch's playful score creates fascinating tension with the serious subject matter. Damon's against-type performance as Mark Whitacre anchors our discussion of how the film handles complex questions about truth and perspective in whistleblower narratives. The way "The Informant!" balances its comedy with serious themes about mental health and corporate malfeasance makes it a uniquely compelling entry in Soderbergh's experimental period.

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!

🎬 Watch & Discover

If You Liked This, Try These Other The Next Reel Episodes:

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> “There should be a TV show about a guy who calls home one day and he's there, he answers, he's talking to himself, only he's someone else. He's somehow divided into two, and the second one of him drives away and the rest of the show is about him trying to find the guy.”
Corporate deception spins out of control when an executive's cooperation with the FBI takes unexpected turns. In "The Informant!", Steven Soderbergh directs Matt Damon in a darkly comedic true story that pushes the boundaries of unreliable narration. As a member bonus episode of our True Lies series, we explore how this 2009 film uses innovative voiceover techniques and tonal shifts to keep viewers questioning every revelation.

We dig deep into Soderbergh's careful visual approach to corporate environments, examining how Marvin Hamlisch's playful score creates fascinating tension with the serious subject matter. Damon's against-type performance as Mark Whitacre anchors our discussion of how the film handles complex questions about truth and perspective in whistleblower narratives. The way "The Informant!" balances its comedy with serious themes about mental health and corporate malfeasance makes it a uniquely compelling entry in Soderbergh's experimental period.

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!

🎬 Watch & Discover

If You Liked This, Try These Other The Next Reel Episodes:

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> Sat, 31 Jan 2026 03:00:00 -0800 TruStory FM TruStory FM 675 “There should be a TV show about a guy who calls home one day and he's there, he answers, he's talking to himself, only he's someone else. He's somehow divided into two, and the second one of him drives away and the rest of the show is about him trying to find the guy.”
Corporate deception spins out of control when an executive's cooperation with the FBI takes unexpected turns. In "The Informant!", Steven Soderbergh directs Matt Damon in a darkly comedic true story that pushes the boundaries of unreliable narration. As a member bonus episode of our True Lies series, we explore how this 2009 film uses innovative voiceover techniques and tonal shifts to keep viewers questioning every revelation.

We dig deep into Soderbergh's careful visual approach to corporate environments, examining how Marvin Hamlisch's playful score creates fascinating tension with the serious subject matter. Damon's against-type performance as Mark Whitacre anchors our discussion of how the film handles complex questions about truth and perspective in whistleblower narratives. The way "The Informant!" balances its comedy with serious themes about mental health and corporate malfeasance makes it a uniquely compelling entry in Soderbergh's experimental period.

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!

🎬 Watch & Discover

If You Liked This, Try These Other The Next Reel Episodes:

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> True Lies, Steven Soderbergh, 2009, 2000s, Member Bonus No Andy Nelson Pete Wright The Letter 15 15 31 31 The Letter full c7b22546-b404-42c5-97bf-0f9995202a01 https://share.transistor.fm/s/80ba09cd “With all my heart, I still love the man I killed!”
One shot can change everything—and the shadows don’t let go. In our Bette Davis series, we dive into "The Letter," directed by William Wyler, a studio-era crime drama where a shooting sparks a legal scramble and a single letter becomes leverage. Along the way, we track how Production Code pressure and the film’s colonial framing shape what the story can show, what it chooses to tell, and how the audience is guided (or misdirected).

We dig into the movie’s exposition-heavy early stretch and debate what it gains—and loses—by leaning on characters recounting events instead of playing them out on-screen. We also argue about who the film really positions as the audience’s anchor, and why the attorney’s moral pressure becomes the most compelling engine. And because it can’t be separated from the experience, we confront the film’s racist stereotypes and “yellowface” casting choices, even as we celebrate the moody black-and-white craft that makes key sequences feel electric.

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!

🎬 Watch & Discover

📣 If You Liked This, Try…


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “With all my heart, I still love the man I killed!”
One shot can change everything—and the shadows don’t let go. In our Bette Davis series, we dive into "The Letter," directed by William Wyler, a studio-era crime drama where a shooting sparks a legal scramble and a single letter becomes leverage. Along the way, we track how Production Code pressure and the film’s colonial framing shape what the story can show, what it chooses to tell, and how the audience is guided (or misdirected).

We dig into the movie’s exposition-heavy early stretch and debate what it gains—and loses—by leaning on characters recounting events instead of playing them out on-screen. We also argue about who the film really positions as the audience’s anchor, and why the attorney’s moral pressure becomes the most compelling engine. And because it can’t be separated from the experience, we confront the film’s racist stereotypes and “yellowface” casting choices, even as we celebrate the moody black-and-white craft that makes key sequences feel electric.

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!

🎬 Watch & Discover

📣 If You Liked This, Try…


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 29 Jan 2026 03:00:00 -0800 TruStory FM TruStory FM 3281 “With all my heart, I still love the man I killed!”
One shot can change everything—and the shadows don’t let go. In our Bette Davis series, we dive into "The Letter," directed by William Wyler, a studio-era crime drama where a shooting sparks a legal scramble and a single letter becomes leverage. Along the way, we track how Production Code pressure and the film’s colonial framing shape what the story can show, what it chooses to tell, and how the audience is guided (or misdirected).

We dig into the movie’s exposition-heavy early stretch and debate what it gains—and loses—by leaning on characters recounting events instead of playing them out on-screen. We also argue about who the film really positions as the audience’s anchor, and why the attorney’s moral pressure becomes the most compelling engine. And because it can’t be separated from the experience, we confront the film’s racist stereotypes and “yellowface” casting choices, even as we celebrate the moody black-and-white craft that makes key sequences feel electric.

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!

🎬 Watch & Discover

📣 If You Liked This, Try…


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> William Wyler, Bette Davis, 1940, 1940s No Andy Nelson Pete Wright Sing Street 15 15 30 30 Sing Street full 1a9fbd10-7089-4feb-8d18-6e84bba98341 https://share.transistor.fm/s/cfe66fd5 “She's standing on the corner like an angel in disguise, and as I look a little closer, she's got dangerous eyes.”
Finding Musical Magic in 1980s Dublin

John Carney's 2016 film Sing Street continues his exploration of music's transformative power, following Once and Begin Again with a heartwarming coming-of-age story set against the backdrop of 1980s Dublin. With a modest $4 million budget, Carney crafted an authentic period piece about young love, family dynamics, and the universal language of music. Join us—Pete Wright and Andy Nelson—as we wrap up our John Carney’s Streetwise Musicals series with a walk down Sing Street.

Musical Evolution and Character Growth

Pete and Andy explore how Carney masterfully balances reality and fantasy throughout the film, particularly in how our protagonist Conor (Ferdia Walsh-Peelo) develops both musically and personally. The hosts discuss how the film's musical progression mirrors Conor's journey from novice to confident performer, with each new song reflecting his growing artistic voice and emotional maturity.

Period Setting and Authenticity

The hosts delve into Carney's treatment of 1980s Dublin, noting how the film avoids typical period piece clichés while maintaining historical authenticity. They praise the natural integration of era-specific music references and fashion choices that feel organic rather than performative.

Key Discussion Points:

  • The chemistry between Conor and Raphina (Lucy Boynton)
  • Jack Reynor's standout performance as Brendan
  • The evolution of the band's music and visual style
  • Treatment of common school drama—and other—tropes
  • The balance between realism and wish fulfillment
  • Carney's personal connection to the material

Production and Impact

While discussing the film's production, Pete and Andy note how Sing Street demonstrates Carney's growth as a filmmaker, building on themes explored in his previous work while establishing its own unique identity. They examine how the budget allowed for the right balance of production value without losing the intimate feel crucial to the story.

The Power of Collaboration

Pete particularly praises the scenes showing the collaborative songwriting process between Conor and Eamon, highlighting how these moments capture the magic of creative partnership. They discuss how these sequences bring something fresh to Carney's exploration of musical collaboration while maintaining his signature intimate style.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “She's standing on the corner like an angel in disguise, and as I look a little closer, she's got dangerous eyes.”
Finding Musical Magic in 1980s Dublin

John Carney's 2016 film Sing Street continues his exploration of music's transformative power, following Once and Begin Again with a heartwarming coming-of-age story set against the backdrop of 1980s Dublin. With a modest $4 million budget, Carney crafted an authentic period piece about young love, family dynamics, and the universal language of music. Join us—Pete Wright and Andy Nelson—as we wrap up our John Carney’s Streetwise Musicals series with a walk down Sing Street.

Musical Evolution and Character Growth

Pete and Andy explore how Carney masterfully balances reality and fantasy throughout the film, particularly in how our protagonist Conor (Ferdia Walsh-Peelo) develops both musically and personally. The hosts discuss how the film's musical progression mirrors Conor's journey from novice to confident performer, with each new song reflecting his growing artistic voice and emotional maturity.

Period Setting and Authenticity

The hosts delve into Carney's treatment of 1980s Dublin, noting how the film avoids typical period piece clichés while maintaining historical authenticity. They praise the natural integration of era-specific music references and fashion choices that feel organic rather than performative.

Key Discussion Points:

  • The chemistry between Conor and Raphina (Lucy Boynton)
  • Jack Reynor's standout performance as Brendan
  • The evolution of the band's music and visual style
  • Treatment of common school drama—and other—tropes
  • The balance between realism and wish fulfillment
  • Carney's personal connection to the material

Production and Impact

While discussing the film's production, Pete and Andy note how Sing Street demonstrates Carney's growth as a filmmaker, building on themes explored in his previous work while establishing its own unique identity. They examine how the budget allowed for the right balance of production value without losing the intimate feel crucial to the story.

The Power of Collaboration

Pete particularly praises the scenes showing the collaborative songwriting process between Conor and Eamon, highlighting how these moments capture the magic of creative partnership. They discuss how these sequences bring something fresh to Carney's exploration of musical collaboration while maintaining his signature intimate style.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 22 Jan 2026 02:00:00 -0800 TruStory FM TruStory FM 3817 “She's standing on the corner like an angel in disguise, and as I look a little closer, she's got dangerous eyes.”
Finding Musical Magic in 1980s Dublin

John Carney's 2016 film Sing Street continues his exploration of music's transformative power, following Once and Begin Again with a heartwarming coming-of-age story set against the backdrop of 1980s Dublin. With a modest $4 million budget, Carney crafted an authentic period piece about young love, family dynamics, and the universal language of music. Join us—Pete Wright and Andy Nelson—as we wrap up our John Carney’s Streetwise Musicals series with a walk down Sing Street.

Musical Evolution and Character Growth

Pete and Andy explore how Carney masterfully balances reality and fantasy throughout the film, particularly in how our protagonist Conor (Ferdia Walsh-Peelo) develops both musically and personally. The hosts discuss how the film's musical progression mirrors Conor's journey from novice to confident performer, with each new song reflecting his growing artistic voice and emotional maturity.

Period Setting and Authenticity

The hosts delve into Carney's treatment of 1980s Dublin, noting how the film avoids typical period piece clichés while maintaining historical authenticity. They praise the natural integration of era-specific music references and fashion choices that feel organic rather than performative.

Key Discussion Points:

  • The chemistry between Conor and Raphina (Lucy Boynton)
  • Jack Reynor's standout performance as Brendan
  • The evolution of the band's music and visual style
  • Treatment of common school drama—and other—tropes
  • The balance between realism and wish fulfillment
  • Carney's personal connection to the material

Production and Impact

While discussing the film's production, Pete and Andy note how Sing Street demonstrates Carney's growth as a filmmaker, building on themes explored in his previous work while establishing its own unique identity. They examine how the budget allowed for the right balance of production value without losing the intimate feel crucial to the story.

The Power of Collaboration

Pete particularly praises the scenes showing the collaborative songwriting process between Conor and Eamon, highlighting how these moments capture the magic of creative partnership. They discuss how these sequences bring something fresh to Carney's exploration of musical collaboration while maintaining his signature intimate style.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> John Carney, John Carney’s Streetwise Musicals, 2016, 2010s No Andy Nelson Pete Wright Begin Again 15 15 29 29 Begin Again full 661d7b9f-e48b-4318-bcc7-84d1d08867dd https://share.transistor.fm/s/c6ea02e6 “And you have cursed me when there’s no one left to blame, and I have loved you just the same.”
From Busking to Big Budget: John Carney's Begin Again

Following the indie success of Once, writer-director John Carney moved from Dublin to New York City for his 2014 musical drama Begin Again. Starring Mark Ruffalo as struggling music producer Dan Mulligan and Keira Knightley as independent songwriter Gretta James, the film explores themes of artistic authenticity versus commercial success. With a substantially larger $8 million budget, Carney navigated the transition from guerrilla-style filmmaking to a more polished production while maintaining his focus on the intersection of music and human connection. Join us—Pete Wright and Andy Nelson—as we continue the John Carney's Streetwise Musicals series with a conversation about Begin Again.

A Tale of Two Characters

Pete and Andy's discussion centers on the film's dual protagonists and their separate journeys. They note how Ruffalo's Dan feels more authentically developed than Knightley's Gretta, potentially reflecting Carney's reported friction with Knightley during production. The hosts explore how this tension between actor and director may have impacted the final film.

Musical Authenticity

The conversation frequently returns to questions of musical authenticity. The hosts examine how Carney balances professional actors against musical credibility, particularly highlighting the "phantom instruments" scene as a masterful visualization of creative potential. They discuss Knightley's singing capabilities and Dave Kohl's (Adam Levine) natural but limited performance range, noting how these choices affected the film's overall authenticity.

New York State of Mind

The transition from Dublin's intimate streets to New York's iconic locations marks a significant shift in Carney's filmmaking approach. The hosts discuss how the increased budget affected the production, from location choices to sound recording. They note the curious absence of promised street sounds in the final soundtrack, and how this relates to the film's larger themes about artistic compromise and commercial success.

Key Discussion Points

• The contrast between using professional actors versus musicians in lead roles
• Catherine Keener's powerful impact as Miriam Hart in limited screen time
• The dated portrayal of digital music distribution and artist independence
• The parallel romantic tensions with Once and their resolution

Final Thoughts

While both hosts find things to appreciate in Begin Again, they note how it represents a transitional point in Carney's evolution as a filmmaker. The increased resources brought both opportunities and challenges, resulting in a film that sometimes struggles to balance its commercial and artistic ambitions.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “And you have cursed me when there’s no one left to blame, and I have loved you just the same.”
From Busking to Big Budget: John Carney's Begin Again

Following the indie success of Once, writer-director John Carney moved from Dublin to New York City for his 2014 musical drama Begin Again. Starring Mark Ruffalo as struggling music producer Dan Mulligan and Keira Knightley as independent songwriter Gretta James, the film explores themes of artistic authenticity versus commercial success. With a substantially larger $8 million budget, Carney navigated the transition from guerrilla-style filmmaking to a more polished production while maintaining his focus on the intersection of music and human connection. Join us—Pete Wright and Andy Nelson—as we continue the John Carney's Streetwise Musicals series with a conversation about Begin Again.

A Tale of Two Characters

Pete and Andy's discussion centers on the film's dual protagonists and their separate journeys. They note how Ruffalo's Dan feels more authentically developed than Knightley's Gretta, potentially reflecting Carney's reported friction with Knightley during production. The hosts explore how this tension between actor and director may have impacted the final film.

Musical Authenticity

The conversation frequently returns to questions of musical authenticity. The hosts examine how Carney balances professional actors against musical credibility, particularly highlighting the "phantom instruments" scene as a masterful visualization of creative potential. They discuss Knightley's singing capabilities and Dave Kohl's (Adam Levine) natural but limited performance range, noting how these choices affected the film's overall authenticity.

New York State of Mind

The transition from Dublin's intimate streets to New York's iconic locations marks a significant shift in Carney's filmmaking approach. The hosts discuss how the increased budget affected the production, from location choices to sound recording. They note the curious absence of promised street sounds in the final soundtrack, and how this relates to the film's larger themes about artistic compromise and commercial success.

Key Discussion Points

• The contrast between using professional actors versus musicians in lead roles
• Catherine Keener's powerful impact as Miriam Hart in limited screen time
• The dated portrayal of digital music distribution and artist independence
• The parallel romantic tensions with Once and their resolution

Final Thoughts

While both hosts find things to appreciate in Begin Again, they note how it represents a transitional point in Carney's evolution as a filmmaker. The increased resources brought both opportunities and challenges, resulting in a film that sometimes struggles to balance its commercial and artistic ambitions.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 15 Jan 2026 03:00:00 -0800 TruStory FM TruStory FM 3890 “And you have cursed me when there’s no one left to blame, and I have loved you just the same.”
From Busking to Big Budget: John Carney's Begin Again

Following the indie success of Once, writer-director John Carney moved from Dublin to New York City for his 2014 musical drama Begin Again. Starring Mark Ruffalo as struggling music producer Dan Mulligan and Keira Knightley as independent songwriter Gretta James, the film explores themes of artistic authenticity versus commercial success. With a substantially larger $8 million budget, Carney navigated the transition from guerrilla-style filmmaking to a more polished production while maintaining his focus on the intersection of music and human connection. Join us—Pete Wright and Andy Nelson—as we continue the John Carney's Streetwise Musicals series with a conversation about Begin Again.

A Tale of Two Characters

Pete and Andy's discussion centers on the film's dual protagonists and their separate journeys. They note how Ruffalo's Dan feels more authentically developed than Knightley's Gretta, potentially reflecting Carney's reported friction with Knightley during production. The hosts explore how this tension between actor and director may have impacted the final film.

Musical Authenticity

The conversation frequently returns to questions of musical authenticity. The hosts examine how Carney balances professional actors against musical credibility, particularly highlighting the "phantom instruments" scene as a masterful visualization of creative potential. They discuss Knightley's singing capabilities and Dave Kohl's (Adam Levine) natural but limited performance range, noting how these choices affected the film's overall authenticity.

New York State of Mind

The transition from Dublin's intimate streets to New York's iconic locations marks a significant shift in Carney's filmmaking approach. The hosts discuss how the increased budget affected the production, from location choices to sound recording. They note the curious absence of promised street sounds in the final soundtrack, and how this relates to the film's larger themes about artistic compromise and commercial success.

Key Discussion Points

• The contrast between using professional actors versus musicians in lead roles
• Catherine Keener's powerful impact as Miriam Hart in limited screen time
• The dated portrayal of digital music distribution and artist independence
• The parallel romantic tensions with Once and their resolution

Final Thoughts

While both hosts find things to appreciate in Begin Again, they note how it represents a transitional point in Carney's evolution as a filmmaker. The increased resources brought both opportunities and challenges, resulting in a film that sometimes struggles to balance its commercial and artistic ambitions.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> John Carney, John Carney’s Streetwise Musicals, 2014, 2010s No Andy Nelson Pete Wright Once 15 15 28 28 Once full fdcfe481-be31-4e08-ae03-83f70891b4fc https://share.transistor.fm/s/a2f621a9 “I don’t know you but I want you.”
From Street Busker to Global Sensation: The Making of Once

John Carney's micro-budget musical Once (2007) emerged from Dublin's streets with a mere €112,000 budget to become an international phenomenon. Starring musicians Glen Hansard and Markéta Irglová, this intimate story of two struggling artists creating music together captured hearts worldwide and launched Carney's signature style of grounded musical storytelling. Join us—Pete Wright and Andy Nelson—as we kick off the John Carney's Streetwise Musicals series with a conversation about Once.

The Magic of Musical Creation

Pete and Andy explore how Once captures the authentic experience of musicians collaborating, particularly highlighting the pivotal scene in Walton's Music Shop where Guy and Girl first perform together. They discuss how Carney's background as a musician himself informed the natural, documentary-style approach to filming musical performances.

Performance vs. Acting

The hosts delve into the unique challenges and benefits of casting musicians rather than actors, examining how Hansard and Irglová's real musical chemistry translated to screen chemistry. They particularly note how their inexperience as actors actually enhanced the film's authenticity.

Key Discussion Points:

  • The significance of Guy's battle-worn Takamine guitar and its role in character development
  • How the film handles the complex relationship between Guy and Girl without falling into typical romantic tropes
  • The impact of shooting guerrilla-style on Dublin's streets
  • The film's remarkable journey from Sundance to Oscar success
  • The creative decision to leave the main characters unnamed

Technical and Creative Elements

The conversation explores how the film's technical limitations—including its use of standard video cameras and minimal equipment—contributed to its intimate feel. They discuss how Carney's direction allowed for natural moments to unfold, particularly in street performances where real pedestrians became unwitting extras.

Musical Impact and Legacy

Pete and Andy examine how Once influenced subsequent music-driven films and launched successful careers for both its leads and director. They discuss the film's eventual adaptation into a Tony-winning Broadway musical and its enduring impact on how movies portray the process of creating music.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I don’t know you but I want you.”
From Street Busker to Global Sensation: The Making of Once

John Carney's micro-budget musical Once (2007) emerged from Dublin's streets with a mere €112,000 budget to become an international phenomenon. Starring musicians Glen Hansard and Markéta Irglová, this intimate story of two struggling artists creating music together captured hearts worldwide and launched Carney's signature style of grounded musical storytelling. Join us—Pete Wright and Andy Nelson—as we kick off the John Carney's Streetwise Musicals series with a conversation about Once.

The Magic of Musical Creation

Pete and Andy explore how Once captures the authentic experience of musicians collaborating, particularly highlighting the pivotal scene in Walton's Music Shop where Guy and Girl first perform together. They discuss how Carney's background as a musician himself informed the natural, documentary-style approach to filming musical performances.

Performance vs. Acting

The hosts delve into the unique challenges and benefits of casting musicians rather than actors, examining how Hansard and Irglová's real musical chemistry translated to screen chemistry. They particularly note how their inexperience as actors actually enhanced the film's authenticity.

Key Discussion Points:

  • The significance of Guy's battle-worn Takamine guitar and its role in character development
  • How the film handles the complex relationship between Guy and Girl without falling into typical romantic tropes
  • The impact of shooting guerrilla-style on Dublin's streets
  • The film's remarkable journey from Sundance to Oscar success
  • The creative decision to leave the main characters unnamed

Technical and Creative Elements

The conversation explores how the film's technical limitations—including its use of standard video cameras and minimal equipment—contributed to its intimate feel. They discuss how Carney's direction allowed for natural moments to unfold, particularly in street performances where real pedestrians became unwitting extras.

Musical Impact and Legacy

Pete and Andy examine how Once influenced subsequent music-driven films and launched successful careers for both its leads and director. They discuss the film's eventual adaptation into a Tony-winning Broadway musical and its enduring impact on how movies portray the process of creating music.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 08 Jan 2026 03:00:00 -0800 TruStory FM TruStory FM 3592 “I don’t know you but I want you.”
From Street Busker to Global Sensation: The Making of Once

John Carney's micro-budget musical Once (2007) emerged from Dublin's streets with a mere €112,000 budget to become an international phenomenon. Starring musicians Glen Hansard and Markéta Irglová, this intimate story of two struggling artists creating music together captured hearts worldwide and launched Carney's signature style of grounded musical storytelling. Join us—Pete Wright and Andy Nelson—as we kick off the John Carney's Streetwise Musicals series with a conversation about Once.

The Magic of Musical Creation

Pete and Andy explore how Once captures the authentic experience of musicians collaborating, particularly highlighting the pivotal scene in Walton's Music Shop where Guy and Girl first perform together. They discuss how Carney's background as a musician himself informed the natural, documentary-style approach to filming musical performances.

Performance vs. Acting

The hosts delve into the unique challenges and benefits of casting musicians rather than actors, examining how Hansard and Irglová's real musical chemistry translated to screen chemistry. They particularly note how their inexperience as actors actually enhanced the film's authenticity.

Key Discussion Points:

  • The significance of Guy's battle-worn Takamine guitar and its role in character development
  • How the film handles the complex relationship between Guy and Girl without falling into typical romantic tropes
  • The impact of shooting guerrilla-style on Dublin's streets
  • The film's remarkable journey from Sundance to Oscar success
  • The creative decision to leave the main characters unnamed

Technical and Creative Elements

The conversation explores how the film's technical limitations—including its use of standard video cameras and minimal equipment—contributed to its intimate feel. They discuss how Carney's direction allowed for natural moments to unfold, particularly in street performances where real pedestrians became unwitting extras.

Musical Impact and Legacy

Pete and Andy examine how Once influenced subsequent music-driven films and launched successful careers for both its leads and director. They discuss the film's eventual adaptation into a Tony-winning Broadway musical and its enduring impact on how movies portray the process of creating music.

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!

🎬 Watch & Discover


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]]> John Carney's Streetwise Musicals, John Carney, 2007, 2000s No Andy Nelson Pete Wright Night and the City 15 15 26 26 Night and the City full 4784a0c8-ded5-444e-aae0-4bf696f6a8fd https://share.transistor.fm/s/2b0d78f0 “You're very sharp Mr. Fabian. You've done a very sharp thing. Maybe even sharp enough to cut your throat.”
Noir in London: Wrestling with Fate in Night and the City

Jules Dassin's 1950 film noir Night and the City follows small-time hustler Harry Fabian (Richard Widmark) through the seedy underbelly of post-war London. Forced to relocate to Britain due to Hollywood blacklisting, Dassin crafted this tale of desperate ambition and inevitable doom. The film features Gene Tierney as Mary, Harry's long-suffering girlfriend, and Herbert Lom as the ruthless wrestling promoter Kristo. Join us—Pete Wright and Andy Nelson—as we continue the Film Noir series with a conversation about Night and the City.

Wrestling with Ambition

Pete and Andy explore how Harry's ill-fated venture into wrestling promotion exemplifies his pattern of backing the wrong horse. They discuss the fascinating contrast between classical Greco-Roman wrestling, championed by Gregorius the Great, and the more theatrical style that would eventually dominate the sport. Andy sees potential success in Harry's plan, while Pete views it as yet another doomed venture.

American Exodus in London

The hosts debate the unusual concentration of American characters in London, with Andy questioning the credibility of so many expatriates clustering together. They examine how this aspect might reflect both the film's production circumstances and broader themes of displacement and alienation.

Key Discussion Points:

  • The dual versions: American vs. British cuts and their differing endings
  • Helen's complex role as a noir femme fatale and her tragic arc
  • The film's relentless bleakness and inevitability of Harry's doom
  • The authenticity of the wrestling scenes and their symbolic significance
  • Phil's surprising depth as a character and his tragic end

Character and Consequence

Pete and Andy delve into Mary's role as the moral center of the film, contrasting her pure intentions with Helen's calculating nature. They examine how every character, from the beggar king to the passport forger, operates within a system that values money above community. Both hosts praise Dassin's direction and Widmark's compelling performance as Harry, a man whose ambition proves terminal.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “You're very sharp Mr. Fabian. You've done a very sharp thing. Maybe even sharp enough to cut your throat.”
Noir in London: Wrestling with Fate in Night and the City

Jules Dassin's 1950 film noir Night and the City follows small-time hustler Harry Fabian (Richard Widmark) through the seedy underbelly of post-war London. Forced to relocate to Britain due to Hollywood blacklisting, Dassin crafted this tale of desperate ambition and inevitable doom. The film features Gene Tierney as Mary, Harry's long-suffering girlfriend, and Herbert Lom as the ruthless wrestling promoter Kristo. Join us—Pete Wright and Andy Nelson—as we continue the Film Noir series with a conversation about Night and the City.

Wrestling with Ambition

Pete and Andy explore how Harry's ill-fated venture into wrestling promotion exemplifies his pattern of backing the wrong horse. They discuss the fascinating contrast between classical Greco-Roman wrestling, championed by Gregorius the Great, and the more theatrical style that would eventually dominate the sport. Andy sees potential success in Harry's plan, while Pete views it as yet another doomed venture.

American Exodus in London

The hosts debate the unusual concentration of American characters in London, with Andy questioning the credibility of so many expatriates clustering together. They examine how this aspect might reflect both the film's production circumstances and broader themes of displacement and alienation.

Key Discussion Points:

  • The dual versions: American vs. British cuts and their differing endings
  • Helen's complex role as a noir femme fatale and her tragic arc
  • The film's relentless bleakness and inevitability of Harry's doom
  • The authenticity of the wrestling scenes and their symbolic significance
  • Phil's surprising depth as a character and his tragic end

Character and Consequence

Pete and Andy delve into Mary's role as the moral center of the film, contrasting her pure intentions with Helen's calculating nature. They examine how every character, from the beggar king to the passport forger, operates within a system that values money above community. Both hosts praise Dassin's direction and Widmark's compelling performance as Harry, a man whose ambition proves terminal.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 01 Jan 2026 03:00:00 -0800 TruStory FM TruStory FM 3473 “You're very sharp Mr. Fabian. You've done a very sharp thing. Maybe even sharp enough to cut your throat.”
Noir in London: Wrestling with Fate in Night and the City

Jules Dassin's 1950 film noir Night and the City follows small-time hustler Harry Fabian (Richard Widmark) through the seedy underbelly of post-war London. Forced to relocate to Britain due to Hollywood blacklisting, Dassin crafted this tale of desperate ambition and inevitable doom. The film features Gene Tierney as Mary, Harry's long-suffering girlfriend, and Herbert Lom as the ruthless wrestling promoter Kristo. Join us—Pete Wright and Andy Nelson—as we continue the Film Noir series with a conversation about Night and the City.

Wrestling with Ambition

Pete and Andy explore how Harry's ill-fated venture into wrestling promotion exemplifies his pattern of backing the wrong horse. They discuss the fascinating contrast between classical Greco-Roman wrestling, championed by Gregorius the Great, and the more theatrical style that would eventually dominate the sport. Andy sees potential success in Harry's plan, while Pete views it as yet another doomed venture.

American Exodus in London

The hosts debate the unusual concentration of American characters in London, with Andy questioning the credibility of so many expatriates clustering together. They examine how this aspect might reflect both the film's production circumstances and broader themes of displacement and alienation.

Key Discussion Points:

  • The dual versions: American vs. British cuts and their differing endings
  • Helen's complex role as a noir femme fatale and her tragic arc
  • The film's relentless bleakness and inevitability of Harry's doom
  • The authenticity of the wrestling scenes and their symbolic significance
  • Phil's surprising depth as a character and his tragic end

Character and Consequence

Pete and Andy delve into Mary's role as the moral center of the film, contrasting her pure intentions with Helen's calculating nature. They examine how every character, from the beggar king to the passport forger, operates within a system that values money above community. Both hosts praise Dassin's direction and Widmark's compelling performance as Harry, a man whose ambition proves terminal.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Jules Dassin, 1950, 1950s, Film Noir No Andy Nelson Pete Wright Repeat Performance • Member Bonus 15 15 27 27 Repeat Performance • Member Bonus full e03ed31e-6228-4898-9618-dbebad3a2220 https://share.transistor.fm/s/2043ed10 “They say that fate is in the stars, that each of our years is planned ahead and nothing can change destiny. Is that true?”
A Noir Holiday Tale of Second Chances

Repeat Performance, directed by Alfred L. Werker, blends film noir sensibilities with supernatural elements in this unique story about second chances. Released through poverty row studio Eagle-Lion Films in 1947, this adaptation of William O'Farrell's 1942 novel features Joan Leslie as Sheila Page, an actress who gets the opportunity to relive the previous year after shooting her husband on New Year's Eve. The film, lost for decades until its restoration in 2011, offers a fascinating exploration of fate and determinism within its noir framework. As a special holiday gift, we're making this member bonus episode available to everyone. Join us—Pete Wright and Andy Nelson—as we return to both our Film Noir & Holiday series with a conversation about Repeat Performance.

Destiny's Stubborn Design

Pete and Andy dive deep into how the film handles its fantastical premise, praising the bold choice to simply have William Williams disappear on the stairs rather than using more conventional devices. They explore how Joan Leslie's performance carries the confusion and determination of someone trying to outmaneuver fate, while debating whether Lewis Hayward's portrayal of Barney hits the right notes of mounting instability.

The Noir Question

The hosts engage in a thoughtful discussion about genre classification, both taking generous views of what constitutes film noir while acknowledging the film's unique position as a noir-fantasy hybrid. They examine how the film's fatalistic themes and visual style support its noir credentials despite its supernatural elements.

Key Discussion Points:

  • The fascinating gender swap from the source novel and its implications
  • Richard Basehart's compelling (and coded?) portrayal of William Williams
  • The film's restoration history and its impact on its availability
  • The effectiveness of the year-long timeline versus a more compressed timeframe like in Groundhog Day
  • Virginia Field's role as Paula and the film's approach to female characters
  • The significance of destiny as both theme and plot device

Cultural Context and Impact

The conversation touches on Joan Leslie's career trajectory and her legal battle with Warner Brothers, providing important context for her appearance in this independent production. They also discuss composer George Antheil's fascinating connection to Hedy Lamarr.

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!

🎬 Watch & Discover

Want More?

This is a member bonus episode that we’re gifting to everyone! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> “They say that fate is in the stars, that each of our years is planned ahead and nothing can change destiny. Is that true?”
A Noir Holiday Tale of Second Chances

Repeat Performance, directed by Alfred L. Werker, blends film noir sensibilities with supernatural elements in this unique story about second chances. Released through poverty row studio Eagle-Lion Films in 1947, this adaptation of William O'Farrell's 1942 novel features Joan Leslie as Sheila Page, an actress who gets the opportunity to relive the previous year after shooting her husband on New Year's Eve. The film, lost for decades until its restoration in 2011, offers a fascinating exploration of fate and determinism within its noir framework. As a special holiday gift, we're making this member bonus episode available to everyone. Join us—Pete Wright and Andy Nelson—as we return to both our Film Noir & Holiday series with a conversation about Repeat Performance.

Destiny's Stubborn Design

Pete and Andy dive deep into how the film handles its fantastical premise, praising the bold choice to simply have William Williams disappear on the stairs rather than using more conventional devices. They explore how Joan Leslie's performance carries the confusion and determination of someone trying to outmaneuver fate, while debating whether Lewis Hayward's portrayal of Barney hits the right notes of mounting instability.

The Noir Question

The hosts engage in a thoughtful discussion about genre classification, both taking generous views of what constitutes film noir while acknowledging the film's unique position as a noir-fantasy hybrid. They examine how the film's fatalistic themes and visual style support its noir credentials despite its supernatural elements.

Key Discussion Points:

  • The fascinating gender swap from the source novel and its implications
  • Richard Basehart's compelling (and coded?) portrayal of William Williams
  • The film's restoration history and its impact on its availability
  • The effectiveness of the year-long timeline versus a more compressed timeframe like in Groundhog Day
  • Virginia Field's role as Paula and the film's approach to female characters
  • The significance of destiny as both theme and plot device

Cultural Context and Impact

The conversation touches on Joan Leslie's career trajectory and her legal battle with Warner Brothers, providing important context for her appearance in this independent production. They also discuss composer George Antheil's fascinating connection to Hedy Lamarr.

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!

🎬 Watch & Discover

Want More?

This is a member bonus episode that we’re gifting to everyone! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> Wed, 31 Dec 2025 03:00:00 -0800 TruStory FM TruStory FM 3800 “They say that fate is in the stars, that each of our years is planned ahead and nothing can change destiny. Is that true?”
A Noir Holiday Tale of Second Chances

Repeat Performance, directed by Alfred L. Werker, blends film noir sensibilities with supernatural elements in this unique story about second chances. Released through poverty row studio Eagle-Lion Films in 1947, this adaptation of William O'Farrell's 1942 novel features Joan Leslie as Sheila Page, an actress who gets the opportunity to relive the previous year after shooting her husband on New Year's Eve. The film, lost for decades until its restoration in 2011, offers a fascinating exploration of fate and determinism within its noir framework. As a special holiday gift, we're making this member bonus episode available to everyone. Join us—Pete Wright and Andy Nelson—as we return to both our Film Noir & Holiday series with a conversation about Repeat Performance.

Destiny's Stubborn Design

Pete and Andy dive deep into how the film handles its fantastical premise, praising the bold choice to simply have William Williams disappear on the stairs rather than using more conventional devices. They explore how Joan Leslie's performance carries the confusion and determination of someone trying to outmaneuver fate, while debating whether Lewis Hayward's portrayal of Barney hits the right notes of mounting instability.

The Noir Question

The hosts engage in a thoughtful discussion about genre classification, both taking generous views of what constitutes film noir while acknowledging the film's unique position as a noir-fantasy hybrid. They examine how the film's fatalistic themes and visual style support its noir credentials despite its supernatural elements.

Key Discussion Points:

  • The fascinating gender swap from the source novel and its implications
  • Richard Basehart's compelling (and coded?) portrayal of William Williams
  • The film's restoration history and its impact on its availability
  • The effectiveness of the year-long timeline versus a more compressed timeframe like in Groundhog Day
  • Virginia Field's role as Paula and the film's approach to female characters
  • The significance of destiny as both theme and plot device

Cultural Context and Impact

The conversation touches on Joan Leslie's career trajectory and her legal battle with Warner Brothers, providing important context for her appearance in this independent production. They also discuss composer George Antheil's fascinating connection to Hedy Lamarr.

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!

🎬 Watch & Discover

Want More?

This is a member bonus episode that we’re gifting to everyone! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> 1947, 1940s, Alfred L. Werker, Film Noir, Holiday, Member Bonus No Andy Nelson Pete Wright The Gold Rush 15 15 25 25 The Gold Rush full b1bf320c-5546-49c8-b264-a81f5b33e5af https://share.transistor.fm/s/b1b35196 “I’ve found it! I’ve found it! A Mountain of Gold.”
A Tale of Survival and Comedy: The Gold Rush Climbs to New Heights

In 1925, Charlie Chaplin transformed the harsh realities of the Klondike Gold Rush and the tragic Donner Party saga into what would become one of silent cinema's greatest achievements. Through United Artists, Chaplin crafted The Gold Rush as a masterful blend of physical comedy and social commentary. Join us—Pete Wright and Andy Nelson—as we wrap up our Cinema Centennial: 1925's Pioneering Visions series with a conversation about The Gold Rush.

A Complex Tale of Love and Survival

Pete and Andy explore how Chaplin's own impoverished childhood influenced the film's darker themes of starvation and social isolation. They discuss the controversial Georgia storyline, with Pete expressing particular frustration with the character's treatment of Chaplin's Lone Prospector.

Technical Innovation and Visual Effects

The conversation highlights cinematographer Roland Totheroh's groundbreaking effects work, particularly the innovative double exposure process. The hosts examine how these technical achievements influenced future filmmakers and discuss the famous rotating cabin sequence.

Key discussion points include:

  • The iconic roll dance sequence and its cultural legacy
  • Comparisons between Chaplin and Buster Keaton's distinct comedic approaches
  • The 1942 re-release's significant story changes
  • The film's connection to Chaplin's personal history
  • Mack Swain's memorable performance as Big Jim McKay
  • The controversial aspects of Chaplin's personal life, including his marriage to Lita Grey

Legacy and Impact

Pete and Andy reflect on how The Gold Rush represents a pivotal moment in cinema history, marking the transition between pure slapstick and more emotionally complex storytelling. They discuss the film's enduring influence and its place in Chaplin's artistic legacy.

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!

🎬 Watch & Discover



Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I’ve found it! I’ve found it! A Mountain of Gold.”
A Tale of Survival and Comedy: The Gold Rush Climbs to New Heights

In 1925, Charlie Chaplin transformed the harsh realities of the Klondike Gold Rush and the tragic Donner Party saga into what would become one of silent cinema's greatest achievements. Through United Artists, Chaplin crafted The Gold Rush as a masterful blend of physical comedy and social commentary. Join us—Pete Wright and Andy Nelson—as we wrap up our Cinema Centennial: 1925's Pioneering Visions series with a conversation about The Gold Rush.

A Complex Tale of Love and Survival

Pete and Andy explore how Chaplin's own impoverished childhood influenced the film's darker themes of starvation and social isolation. They discuss the controversial Georgia storyline, with Pete expressing particular frustration with the character's treatment of Chaplin's Lone Prospector.

Technical Innovation and Visual Effects

The conversation highlights cinematographer Roland Totheroh's groundbreaking effects work, particularly the innovative double exposure process. The hosts examine how these technical achievements influenced future filmmakers and discuss the famous rotating cabin sequence.

Key discussion points include:

  • The iconic roll dance sequence and its cultural legacy
  • Comparisons between Chaplin and Buster Keaton's distinct comedic approaches
  • The 1942 re-release's significant story changes
  • The film's connection to Chaplin's personal history
  • Mack Swain's memorable performance as Big Jim McKay
  • The controversial aspects of Chaplin's personal life, including his marriage to Lita Grey

Legacy and Impact

Pete and Andy reflect on how The Gold Rush represents a pivotal moment in cinema history, marking the transition between pure slapstick and more emotionally complex storytelling. They discuss the film's enduring influence and its place in Chaplin's artistic legacy.

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!

🎬 Watch & Discover



Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 25 Dec 2025 02:00:00 -0800 TruStory FM TruStory FM 3930 “I’ve found it! I’ve found it! A Mountain of Gold.”
A Tale of Survival and Comedy: The Gold Rush Climbs to New Heights

In 1925, Charlie Chaplin transformed the harsh realities of the Klondike Gold Rush and the tragic Donner Party saga into what would become one of silent cinema's greatest achievements. Through United Artists, Chaplin crafted The Gold Rush as a masterful blend of physical comedy and social commentary. Join us—Pete Wright and Andy Nelson—as we wrap up our Cinema Centennial: 1925's Pioneering Visions series with a conversation about The Gold Rush.

A Complex Tale of Love and Survival

Pete and Andy explore how Chaplin's own impoverished childhood influenced the film's darker themes of starvation and social isolation. They discuss the controversial Georgia storyline, with Pete expressing particular frustration with the character's treatment of Chaplin's Lone Prospector.

Technical Innovation and Visual Effects

The conversation highlights cinematographer Roland Totheroh's groundbreaking effects work, particularly the innovative double exposure process. The hosts examine how these technical achievements influenced future filmmakers and discuss the famous rotating cabin sequence.

Key discussion points include:

  • The iconic roll dance sequence and its cultural legacy
  • Comparisons between Chaplin and Buster Keaton's distinct comedic approaches
  • The 1942 re-release's significant story changes
  • The film's connection to Chaplin's personal history
  • Mack Swain's memorable performance as Big Jim McKay
  • The controversial aspects of Chaplin's personal life, including his marriage to Lita Grey

Legacy and Impact

Pete and Andy reflect on how The Gold Rush represents a pivotal moment in cinema history, marking the transition between pure slapstick and more emotionally complex storytelling. They discuss the film's enduring influence and its place in Chaplin's artistic legacy.

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!

🎬 Watch & Discover



Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1925, 1920s, Charlie Chaplin, Cinema Centennial: 1925's Pioneering Visions No Andy Nelson Pete Wright Seven Chances 15 15 24 24 Seven Chances full 686f2ab8-2f3d-49fd-b0e2-3043a7ca48ad https://share.transistor.fm/s/6b19fd25 “Your grandfather has left you the sum of seven million dollars. Providing --- you are married by seven o’clock on the evening of your twenty seventh birthday.”
Running for Love and Legacy: Revisiting Seven Chances (1925)

Seven Chances (1925) stands as one of silent cinema’s most inventive romantic comedies—a perfect blend of physical precision, deadpan humor, and daring spectacle. Directed by Buster Keaton, this short feature follows the frantic day of a man who must marry by 7 p.m. to claim a fortune. Originally based on a Broadway play, the project wasn’t one Keaton sought out—it began as a studio assignment before he transformed it into one of his defining works. With its 57-minute runtime, silent slapstick brilliance, and inventive chase cinematography, Seven Chances shows why Keaton remains a cornerstone of early American filmmaking. Join us—Pete Wright and Andy Nelson—as we continue the Cinema Centennial: 1925’s Pioneering Visions series with a conversation about Seven Chances.

The Setup: From Studio Assignment to Keaton Masterpiece

In this episode, Pete and Andy explore how Seven Chances—a 1925 romantic comedy produced by Joseph Schenck and distributed by Metro-Goldwyn—evolved from a “sappy farce” into one of Keaton’s most memorable physical comedies. The hosts discuss Keaton’s initial reluctance, his eventual takeover after the original director quit, and the creative accident that produced the film’s iconic boulder sequence. Through Seven Chances, the duo highlights Keaton’s ability to blend danger, grace, and architectural precision into silent-era storytelling.

Deadpan Genius and Dangerous Comedy: What Pete and Andy Saw in Seven Chances

Both hosts unpack how Buster Keaton’s trademark stillness—his "Great Stone Face"—contrasts with the high-energy chaos of the final chase. Andy praises Keaton’s “human metronome” cameraman Elgin Lessley, whose perfect timing allowed Keaton’s stunts to land safely (most of the time). Pete connects Keaton’s physical comedy lineage to Jackie Chan and Tom Cruise, noting that Seven Chances feels like a forebear of the modern action-comedy.

They also dive into the film’s uncomfortable historical elements—its dated racial caricatures and blackface performance—and how these moments complicate contemporary appreciation. Both agree that beyond its problematic era markers, the film’s inventive cinematography and physical storytelling remain stunningly modern.

Additional Topics Covered:

  • The inheritance clause as a farcical critique of class and marriage
  • Parallels between Seven Chances and modern films like The Bachelor (1999) and Brewster’s Millions
  • Keaton’s signature underacting compared with Chaplin’s heightened emotion
  • Silent-era stunt safety—or lack thereof—and its evolution into modern production rules
  • The striking use of early two-color Technicolor in the opening sequence
  • Extraordinary precision in the climactic “bride chase” and boulder avalanche sequence
  • How Seven Chances bridges slapstick, satire, and proto-action filmmaking

The Verdict: A Fast, Funny, and Fearless Classic

In their wrap-up, Pete and Andy agree that while Seven Chances is not Keaton’s most personal film, it’s an impressive showcase of his timing, ingenuity, and comedic rhythm. They celebrate its tight runtime, luminous restoration, and enduring joy—qualities that make it a strong entry in their ongoing exploration of 1925’s defining cinematic landmarks.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Your grandfather has left you the sum of seven million dollars. Providing --- you are married by seven o’clock on the evening of your twenty seventh birthday.”
Running for Love and Legacy: Revisiting Seven Chances (1925)

Seven Chances (1925) stands as one of silent cinema’s most inventive romantic comedies—a perfect blend of physical precision, deadpan humor, and daring spectacle. Directed by Buster Keaton, this short feature follows the frantic day of a man who must marry by 7 p.m. to claim a fortune. Originally based on a Broadway play, the project wasn’t one Keaton sought out—it began as a studio assignment before he transformed it into one of his defining works. With its 57-minute runtime, silent slapstick brilliance, and inventive chase cinematography, Seven Chances shows why Keaton remains a cornerstone of early American filmmaking. Join us—Pete Wright and Andy Nelson—as we continue the Cinema Centennial: 1925’s Pioneering Visions series with a conversation about Seven Chances.

The Setup: From Studio Assignment to Keaton Masterpiece

In this episode, Pete and Andy explore how Seven Chances—a 1925 romantic comedy produced by Joseph Schenck and distributed by Metro-Goldwyn—evolved from a “sappy farce” into one of Keaton’s most memorable physical comedies. The hosts discuss Keaton’s initial reluctance, his eventual takeover after the original director quit, and the creative accident that produced the film’s iconic boulder sequence. Through Seven Chances, the duo highlights Keaton’s ability to blend danger, grace, and architectural precision into silent-era storytelling.

Deadpan Genius and Dangerous Comedy: What Pete and Andy Saw in Seven Chances

Both hosts unpack how Buster Keaton’s trademark stillness—his "Great Stone Face"—contrasts with the high-energy chaos of the final chase. Andy praises Keaton’s “human metronome” cameraman Elgin Lessley, whose perfect timing allowed Keaton’s stunts to land safely (most of the time). Pete connects Keaton’s physical comedy lineage to Jackie Chan and Tom Cruise, noting that Seven Chances feels like a forebear of the modern action-comedy.

They also dive into the film’s uncomfortable historical elements—its dated racial caricatures and blackface performance—and how these moments complicate contemporary appreciation. Both agree that beyond its problematic era markers, the film’s inventive cinematography and physical storytelling remain stunningly modern.

Additional Topics Covered:

  • The inheritance clause as a farcical critique of class and marriage
  • Parallels between Seven Chances and modern films like The Bachelor (1999) and Brewster’s Millions
  • Keaton’s signature underacting compared with Chaplin’s heightened emotion
  • Silent-era stunt safety—or lack thereof—and its evolution into modern production rules
  • The striking use of early two-color Technicolor in the opening sequence
  • Extraordinary precision in the climactic “bride chase” and boulder avalanche sequence
  • How Seven Chances bridges slapstick, satire, and proto-action filmmaking

The Verdict: A Fast, Funny, and Fearless Classic

In their wrap-up, Pete and Andy agree that while Seven Chances is not Keaton’s most personal film, it’s an impressive showcase of his timing, ingenuity, and comedic rhythm. They celebrate its tight runtime, luminous restoration, and enduring joy—qualities that make it a strong entry in their ongoing exploration of 1925’s defining cinematic landmarks.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 18 Dec 2025 03:00:00 -0800 TruStory FM TruStory FM 3851 “Your grandfather has left you the sum of seven million dollars. Providing --- you are married by seven o’clock on the evening of your twenty seventh birthday.”
Running for Love and Legacy: Revisiting Seven Chances (1925)

Seven Chances (1925) stands as one of silent cinema’s most inventive romantic comedies—a perfect blend of physical precision, deadpan humor, and daring spectacle. Directed by Buster Keaton, this short feature follows the frantic day of a man who must marry by 7 p.m. to claim a fortune. Originally based on a Broadway play, the project wasn’t one Keaton sought out—it began as a studio assignment before he transformed it into one of his defining works. With its 57-minute runtime, silent slapstick brilliance, and inventive chase cinematography, Seven Chances shows why Keaton remains a cornerstone of early American filmmaking. Join us—Pete Wright and Andy Nelson—as we continue the Cinema Centennial: 1925’s Pioneering Visions series with a conversation about Seven Chances.

The Setup: From Studio Assignment to Keaton Masterpiece

In this episode, Pete and Andy explore how Seven Chances—a 1925 romantic comedy produced by Joseph Schenck and distributed by Metro-Goldwyn—evolved from a “sappy farce” into one of Keaton’s most memorable physical comedies. The hosts discuss Keaton’s initial reluctance, his eventual takeover after the original director quit, and the creative accident that produced the film’s iconic boulder sequence. Through Seven Chances, the duo highlights Keaton’s ability to blend danger, grace, and architectural precision into silent-era storytelling.

Deadpan Genius and Dangerous Comedy: What Pete and Andy Saw in Seven Chances

Both hosts unpack how Buster Keaton’s trademark stillness—his "Great Stone Face"—contrasts with the high-energy chaos of the final chase. Andy praises Keaton’s “human metronome” cameraman Elgin Lessley, whose perfect timing allowed Keaton’s stunts to land safely (most of the time). Pete connects Keaton’s physical comedy lineage to Jackie Chan and Tom Cruise, noting that Seven Chances feels like a forebear of the modern action-comedy.

They also dive into the film’s uncomfortable historical elements—its dated racial caricatures and blackface performance—and how these moments complicate contemporary appreciation. Both agree that beyond its problematic era markers, the film’s inventive cinematography and physical storytelling remain stunningly modern.

Additional Topics Covered:

  • The inheritance clause as a farcical critique of class and marriage
  • Parallels between Seven Chances and modern films like The Bachelor (1999) and Brewster’s Millions
  • Keaton’s signature underacting compared with Chaplin’s heightened emotion
  • Silent-era stunt safety—or lack thereof—and its evolution into modern production rules
  • The striking use of early two-color Technicolor in the opening sequence
  • Extraordinary precision in the climactic “bride chase” and boulder avalanche sequence
  • How Seven Chances bridges slapstick, satire, and proto-action filmmaking

The Verdict: A Fast, Funny, and Fearless Classic

In their wrap-up, Pete and Andy agree that while Seven Chances is not Keaton’s most personal film, it’s an impressive showcase of his timing, ingenuity, and comedic rhythm. They celebrate its tight runtime, luminous restoration, and enduring joy—qualities that make it a strong entry in their ongoing exploration of 1925’s defining cinematic landmarks.

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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]]> Buster Keaton, 1925, 1920s, Cinema Centennial: 1925's Pioneering Visions No Andy Nelson Pete Wright The Phantom of the Opera 15 15 23 23 The Phantom of the Opera full 37f6e078-e364-4e01-a4da-ba3ddc2aaa10 https://share.transistor.fm/s/78555bf0 “I can not leave the opera now. There is a strange force that drives me on.”
From Stage to Screen: Universal's Monster Legacy Begins

The Phantom of the Opera (1925), directed by Rupert Julian, marked Universal Studios' first major entry (kinda) into what would become their legendary monster film series. Based on Gaston Leroux's 1910 novel, the film starred Lon Chaney in his iconic role as Erik, the disfigured Phantom haunting the Paris Opera House. The production's tumultuous journey, including multiple directors and versions, ultimately resulted in a landmark horror film that helped establish Universal's gothic horror aesthetic.

A Fractured Production Creates an Enduring Legacy

Pete and Andy explore the film's fascinating production history, discussing how multiple directors, reshoots, and varying cuts created a uniquely patchwork final product. They examine how Lon Chaney's self-designed makeup and commanding performance anchored the film despite its behind-the-scenes chaos, with both hosts agreeing his work remains the strongest element of the production.

Examining the Monster Within

The hosts debate the film's place in Universal's monster canon, noting how it differs from later supernatural entries by focusing on human disfigurement rather than otherworldly threats. They discuss how this approach creates certain problematic elements when viewed through a modern lens, while acknowledging its historical importance in establishing horror film conventions.

Key Discussion Points

  • The film's various versions and how they've survived to present day
  • Universal's massive opera house set that remained standing until 2014
  • The accidental creation of a 3D version due to dual-camera filming
  • Comparisons to Andrew Lloyd Webber's musical adaptation
  • Pete’s surprise at the Phantom's surprisingly mundane name "Erik"

Modern Resonance and Lasting Impact

Pete and Andy reflect on how The Phantom of the Opera continues to influence horror and gothic romance, despite its dated elements. They explore its themes of obsession, fame, and manipulation, considering how these elements have evolved through numerous adaptations while maintaining their core dramatic power.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “I can not leave the opera now. There is a strange force that drives me on.”
From Stage to Screen: Universal's Monster Legacy Begins

The Phantom of the Opera (1925), directed by Rupert Julian, marked Universal Studios' first major entry (kinda) into what would become their legendary monster film series. Based on Gaston Leroux's 1910 novel, the film starred Lon Chaney in his iconic role as Erik, the disfigured Phantom haunting the Paris Opera House. The production's tumultuous journey, including multiple directors and versions, ultimately resulted in a landmark horror film that helped establish Universal's gothic horror aesthetic.

A Fractured Production Creates an Enduring Legacy

Pete and Andy explore the film's fascinating production history, discussing how multiple directors, reshoots, and varying cuts created a uniquely patchwork final product. They examine how Lon Chaney's self-designed makeup and commanding performance anchored the film despite its behind-the-scenes chaos, with both hosts agreeing his work remains the strongest element of the production.

Examining the Monster Within

The hosts debate the film's place in Universal's monster canon, noting how it differs from later supernatural entries by focusing on human disfigurement rather than otherworldly threats. They discuss how this approach creates certain problematic elements when viewed through a modern lens, while acknowledging its historical importance in establishing horror film conventions.

Key Discussion Points

  • The film's various versions and how they've survived to present day
  • Universal's massive opera house set that remained standing until 2014
  • The accidental creation of a 3D version due to dual-camera filming
  • Comparisons to Andrew Lloyd Webber's musical adaptation
  • Pete’s surprise at the Phantom's surprisingly mundane name "Erik"

Modern Resonance and Lasting Impact

Pete and Andy reflect on how The Phantom of the Opera continues to influence horror and gothic romance, despite its dated elements. They explore its themes of obsession, fame, and manipulation, considering how these elements have evolved through numerous adaptations while maintaining their core dramatic power.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 11 Dec 2025 03:00:00 -0800 TruStory FM TruStory FM 4016 “I can not leave the opera now. There is a strange force that drives me on.”
From Stage to Screen: Universal's Monster Legacy Begins

The Phantom of the Opera (1925), directed by Rupert Julian, marked Universal Studios' first major entry (kinda) into what would become their legendary monster film series. Based on Gaston Leroux's 1910 novel, the film starred Lon Chaney in his iconic role as Erik, the disfigured Phantom haunting the Paris Opera House. The production's tumultuous journey, including multiple directors and versions, ultimately resulted in a landmark horror film that helped establish Universal's gothic horror aesthetic.

A Fractured Production Creates an Enduring Legacy

Pete and Andy explore the film's fascinating production history, discussing how multiple directors, reshoots, and varying cuts created a uniquely patchwork final product. They examine how Lon Chaney's self-designed makeup and commanding performance anchored the film despite its behind-the-scenes chaos, with both hosts agreeing his work remains the strongest element of the production.

Examining the Monster Within

The hosts debate the film's place in Universal's monster canon, noting how it differs from later supernatural entries by focusing on human disfigurement rather than otherworldly threats. They discuss how this approach creates certain problematic elements when viewed through a modern lens, while acknowledging its historical importance in establishing horror film conventions.

Key Discussion Points

  • The film's various versions and how they've survived to present day
  • Universal's massive opera house set that remained standing until 2014
  • The accidental creation of a 3D version due to dual-camera filming
  • Comparisons to Andrew Lloyd Webber's musical adaptation
  • Pete’s surprise at the Phantom's surprisingly mundane name "Erik"

Modern Resonance and Lasting Impact

Pete and Andy reflect on how The Phantom of the Opera continues to influence horror and gothic romance, despite its dated elements. They explore its themes of obsession, fame, and manipulation, considering how these elements have evolved through numerous adaptations while maintaining their core dramatic power.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

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]]> 1925, 1920s, Rupert Julian, Cinema Centennial: 1925's Pioneering Visions No Andy Nelson Pete Wright The Big Parade 15 15 21 21 The Big Parade full dbeefde2-e9a4-4392-8733-a1c92f69059b https://share.transistor.fm/s/e9b96cbd “I came to fight—not to wait and rot in a lousy hole while they murder my pal!”
World War I Through 1925's Eyes: The Big Parade Marches On

King Vidor's The Big Parade, released in 1925, represented a watershed moment in how cinema portrayed the Great War. Just seven years after World War I's conclusion, the film offered audiences an intimate look at the conflict through the eyes of an idle rich boy turned soldier. With John Gilbert leading the cast, this MGM production became one of the most financially successful films of the silent era, influencing war films for generations to come. Join us—Pete Wright and Andy Nelson—as we continue our Cinema Centennial: 1925's Pioneering Visions series with a conversation about The Big Parade.

A Tale of Two Movies

Pete and Andy explore the film's distinct narrative halves, with Pete finding the first portion "insufferably boring" while Andy appreciates how it establishes character relationships. They discuss how the lengthy setup pays off in the devastating war sequences, though they debate whether the pacing could have been tightened.

Love and War

The hosts delve into the complex romantic storylines, analyzing Jim's relationships with both Justyn and Melisande. They examine how the language barrier between Jim and Melisande creates unique storytelling challenges in the silent format, while also noting some unintentionally humorous moments in their romance.

Technical Innovation and Impact

Key discussion points include:

  • The groundbreaking battle sequences involving actual WWI veterans
  • The film's innovative use of tinting and hand-painted elements
  • King Vidor's directing choices and their influence on later war films
  • The remarkable performance by John Gilbert, particularly during scenes requiring his leg to be bound
  • The film's massive financial success and cultural impact
  • How the 1925 audience's proximity to WWI affected their reception
  • The significance of showing an amputee protagonist returning from war

Historical Context and Modern Viewing

Andy provides fascinating production background, including how military divisions helped create authentic battle scenes. Both hosts wrestle with viewing the film through modern eyes while acknowledging its revolutionary impact on audiences who had living memory of the war.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I came to fight—not to wait and rot in a lousy hole while they murder my pal!”
World War I Through 1925's Eyes: The Big Parade Marches On

King Vidor's The Big Parade, released in 1925, represented a watershed moment in how cinema portrayed the Great War. Just seven years after World War I's conclusion, the film offered audiences an intimate look at the conflict through the eyes of an idle rich boy turned soldier. With John Gilbert leading the cast, this MGM production became one of the most financially successful films of the silent era, influencing war films for generations to come. Join us—Pete Wright and Andy Nelson—as we continue our Cinema Centennial: 1925's Pioneering Visions series with a conversation about The Big Parade.

A Tale of Two Movies

Pete and Andy explore the film's distinct narrative halves, with Pete finding the first portion "insufferably boring" while Andy appreciates how it establishes character relationships. They discuss how the lengthy setup pays off in the devastating war sequences, though they debate whether the pacing could have been tightened.

Love and War

The hosts delve into the complex romantic storylines, analyzing Jim's relationships with both Justyn and Melisande. They examine how the language barrier between Jim and Melisande creates unique storytelling challenges in the silent format, while also noting some unintentionally humorous moments in their romance.

Technical Innovation and Impact

Key discussion points include:

  • The groundbreaking battle sequences involving actual WWI veterans
  • The film's innovative use of tinting and hand-painted elements
  • King Vidor's directing choices and their influence on later war films
  • The remarkable performance by John Gilbert, particularly during scenes requiring his leg to be bound
  • The film's massive financial success and cultural impact
  • How the 1925 audience's proximity to WWI affected their reception
  • The significance of showing an amputee protagonist returning from war

Historical Context and Modern Viewing

Andy provides fascinating production background, including how military divisions helped create authentic battle scenes. Both hosts wrestle with viewing the film through modern eyes while acknowledging its revolutionary impact on audiences who had living memory of the war.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 04 Dec 2025 03:00:00 -0800 TruStory FM TruStory FM 3739 “I came to fight—not to wait and rot in a lousy hole while they murder my pal!”
World War I Through 1925's Eyes: The Big Parade Marches On

King Vidor's The Big Parade, released in 1925, represented a watershed moment in how cinema portrayed the Great War. Just seven years after World War I's conclusion, the film offered audiences an intimate look at the conflict through the eyes of an idle rich boy turned soldier. With John Gilbert leading the cast, this MGM production became one of the most financially successful films of the silent era, influencing war films for generations to come. Join us—Pete Wright and Andy Nelson—as we continue our Cinema Centennial: 1925's Pioneering Visions series with a conversation about The Big Parade.

A Tale of Two Movies

Pete and Andy explore the film's distinct narrative halves, with Pete finding the first portion "insufferably boring" while Andy appreciates how it establishes character relationships. They discuss how the lengthy setup pays off in the devastating war sequences, though they debate whether the pacing could have been tightened.

Love and War

The hosts delve into the complex romantic storylines, analyzing Jim's relationships with both Justyn and Melisande. They examine how the language barrier between Jim and Melisande creates unique storytelling challenges in the silent format, while also noting some unintentionally humorous moments in their romance.

Technical Innovation and Impact

Key discussion points include:

  • The groundbreaking battle sequences involving actual WWI veterans
  • The film's innovative use of tinting and hand-painted elements
  • King Vidor's directing choices and their influence on later war films
  • The remarkable performance by John Gilbert, particularly during scenes requiring his leg to be bound
  • The film's massive financial success and cultural impact
  • How the 1925 audience's proximity to WWI affected their reception
  • The significance of showing an amputee protagonist returning from war

Historical Context and Modern Viewing

Andy provides fascinating production background, including how military divisions helped create authentic battle scenes. Both hosts wrestle with viewing the film through modern eyes while acknowledging its revolutionary impact on audiences who had living memory of the war.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1925, 1920s, Cinema Centennial: 1925's Pioneering Visions, King Vidor No Andy Nelson Pete Wright Ben-Hur: A Tale of the Christ • Member Bonus 15 15 22 22 Ben-Hur: A Tale of the Christ • Member Bonus full f3d8ee05-42a5-468c-96f6-7440f43c75a1 https://share.transistor.fm/s/0f1e3a34 “I will ride you down—wrench off your wheels—trample you into the sand! You shall race—to your death!”
Epic Biblical Tale Celebrates Centennial

Ben-Hur: A Tale of the Christ (1925) stands as MGM's most ambitious and expensive silent film production, costing nearly $4 million ($71.5 million adjusted) and taking two years to complete. Director Fred Niblo crafted this adaptation of Lew Wallace's 1880 novel with groundbreaking technical achievements, including the legendary chariot race filmed with 42 cameras simultaneously. Starring Ramón Novarro as Judah Ben-Hur and Francis X. Bushman as Messala, the film pioneered both two-strip Technicolor sequences and elaborate action spectacles. Join us—Pete Wright and Andy Nelson—as we continue the Cinema Centennial: 1925's Pioneering Visions series with a member bonus conversation about Ben-Hur: A Tale of the Christ.

Spectacular Achievement in Silent Cinema

Pete and Andy dive deep into the film's ambitious scope, from its innovative use of color to its massive action sequences. They particularly praise Ramón Novarro's "dandyish" interpretation of Ben-Hur, contrasting it with Charlton Heston's later portrayal. The hosts explore how the film balances its biblical elements with the personal revenge story, noting the careful handling of Jesus as a peripheral character.

Technical Innovation and Human Cost

The conversation turns sobering when discussing the film's famous chariot race sequence, with Andy revealing the devastating toll on horses during production. Both hosts marvel at the technical achievement while acknowledging the problematic aspects of early Hollywood filmmaking practices.

Key discussion points include:

  • The film's innovative use of two-strip Technicolor for biblical sequences
  • The parallel storytelling between Ben-Hur's journey and Jesus's life
  • The impressive maritime battle sequences featuring snake-filled glass jars as weapons
  • The film's influence on later epics, including William Wyler's 1959 remake
  • The tragic later life of Ramón Novarro
  • The business dealings that led to producer Abraham Erlanger's profitable control over the production

Legacy and Impact

Pete and Andy reflect on how Ben-Hur set new standards for epic filmmaking while establishing legal precedents for literary adaptations in cinema. They discuss its enduring influence on biblical epics and action spectacles, noting its impressive box office success despite the expensive profit-sharing agreement with Erlanger.

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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> “I will ride you down—wrench off your wheels—trample you into the sand! You shall race—to your death!”
Epic Biblical Tale Celebrates Centennial

Ben-Hur: A Tale of the Christ (1925) stands as MGM's most ambitious and expensive silent film production, costing nearly $4 million ($71.5 million adjusted) and taking two years to complete. Director Fred Niblo crafted this adaptation of Lew Wallace's 1880 novel with groundbreaking technical achievements, including the legendary chariot race filmed with 42 cameras simultaneously. Starring Ramón Novarro as Judah Ben-Hur and Francis X. Bushman as Messala, the film pioneered both two-strip Technicolor sequences and elaborate action spectacles. Join us—Pete Wright and Andy Nelson—as we continue the Cinema Centennial: 1925's Pioneering Visions series with a member bonus conversation about Ben-Hur: A Tale of the Christ.

Spectacular Achievement in Silent Cinema

Pete and Andy dive deep into the film's ambitious scope, from its innovative use of color to its massive action sequences. They particularly praise Ramón Novarro's "dandyish" interpretation of Ben-Hur, contrasting it with Charlton Heston's later portrayal. The hosts explore how the film balances its biblical elements with the personal revenge story, noting the careful handling of Jesus as a peripheral character.

Technical Innovation and Human Cost

The conversation turns sobering when discussing the film's famous chariot race sequence, with Andy revealing the devastating toll on horses during production. Both hosts marvel at the technical achievement while acknowledging the problematic aspects of early Hollywood filmmaking practices.

Key discussion points include:

  • The film's innovative use of two-strip Technicolor for biblical sequences
  • The parallel storytelling between Ben-Hur's journey and Jesus's life
  • The impressive maritime battle sequences featuring snake-filled glass jars as weapons
  • The film's influence on later epics, including William Wyler's 1959 remake
  • The tragic later life of Ramón Novarro
  • The business dealings that led to producer Abraham Erlanger's profitable control over the production

Legacy and Impact

Pete and Andy reflect on how Ben-Hur set new standards for epic filmmaking while establishing legal precedents for literary adaptations in cinema. They discuss its enduring influence on biblical epics and action spectacles, noting its impressive box office success despite the expensive profit-sharing agreement with Erlanger.

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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> Sun, 30 Nov 2025 03:00:00 -0800 TruStory FM TruStory FM 722 “I will ride you down—wrench off your wheels—trample you into the sand! You shall race—to your death!”
Epic Biblical Tale Celebrates Centennial

Ben-Hur: A Tale of the Christ (1925) stands as MGM's most ambitious and expensive silent film production, costing nearly $4 million ($71.5 million adjusted) and taking two years to complete. Director Fred Niblo crafted this adaptation of Lew Wallace's 1880 novel with groundbreaking technical achievements, including the legendary chariot race filmed with 42 cameras simultaneously. Starring Ramón Novarro as Judah Ben-Hur and Francis X. Bushman as Messala, the film pioneered both two-strip Technicolor sequences and elaborate action spectacles. Join us—Pete Wright and Andy Nelson—as we continue the Cinema Centennial: 1925's Pioneering Visions series with a member bonus conversation about Ben-Hur: A Tale of the Christ.

Spectacular Achievement in Silent Cinema

Pete and Andy dive deep into the film's ambitious scope, from its innovative use of color to its massive action sequences. They particularly praise Ramón Novarro's "dandyish" interpretation of Ben-Hur, contrasting it with Charlton Heston's later portrayal. The hosts explore how the film balances its biblical elements with the personal revenge story, noting the careful handling of Jesus as a peripheral character.

Technical Innovation and Human Cost

The conversation turns sobering when discussing the film's famous chariot race sequence, with Andy revealing the devastating toll on horses during production. Both hosts marvel at the technical achievement while acknowledging the problematic aspects of early Hollywood filmmaking practices.

Key discussion points include:

  • The film's innovative use of two-strip Technicolor for biblical sequences
  • The parallel storytelling between Ben-Hur's journey and Jesus's life
  • The impressive maritime battle sequences featuring snake-filled glass jars as weapons
  • The film's influence on later epics, including William Wyler's 1959 remake
  • The tragic later life of Ramón Novarro
  • The business dealings that led to producer Abraham Erlanger's profitable control over the production

Legacy and Impact

Pete and Andy reflect on how Ben-Hur set new standards for epic filmmaking while establishing legal precedents for literary adaptations in cinema. They discuss its enduring influence on biblical epics and action spectacles, noting its impressive box office success despite the expensive profit-sharing agreement with Erlanger.

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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> 1925, 1920s, Fred Niblo, Cinema Centennial: 1925's Pioneering Visions, Member Bonus No Andy Nelson Pete Wright Battleship Potemkin 15 15 20 20 Battleship Potemkin full 4246a3f5-3162-40c2-a903-c77f24941ef8 https://share.transistor.fm/s/3e28f758 “The land is ours. Tomorrow is ours!”
Revolutionary Cinema: Battleship Potemkin Turns 100

Sergei Eisenstein's landmark 1925 Soviet silent film Battleship Potemkin revolutionized cinema through its innovative use of montage and dramatic storytelling. Commissioned to commemorate the 20th anniversary of the 1905 Russian Revolution, Eisenstein focused on a single episode—the mutiny aboard the Potemkin—rather than attempting to capture the entire revolutionary period. This decision allowed him to create an intimate yet universal story about the power of collective action against oppression. Join us—Pete Wright and Andy Nelson—as we kick off the Cinema Centennial: 1925's Pioneering Visions series with a conversation about Battleship Potemkin.

Mastering Montage

Pete and Andy explore how Eisenstein's groundbreaking editing techniques created meaning through the juxtaposition of images. They discuss the evolution of the term "montage" from its origins in Soviet cinema theory to its modern usage, highlighting how Battleship Potemkin established foundational principles of film editing that continue to influence filmmakers today.

Propaganda vs. Authenticity

The hosts debate whether the film's revolutionary message feels propagandistic or authentic, with both agreeing that Eisenstein's sincere belief in the story's themes elevates it beyond mere propaganda. They note how the director's decision to focus on collective protagonists rather than individual heroes creates a unique narrative perspective.

The Odessa Steps Sequence

Andy and Pete analyze the famous Odessa Steps sequence, discussing how its shocking violence and masterful editing create an unforgettable statement about state oppression. They explore how this sequence has influenced countless films while noting that its full impact can only be appreciated within the context of the complete film.

Key discussion points:

  • The significance of the film's various musical scores over the decades
  • How the film's depiction of religious figures reflected Soviet attitudes
  • The lasting influence of Eisenstein's editing techniques
  • The film's historical accuracy versus its emotional truth
  • Visual symbolism, particularly the hand-painted red flag
  • The movie's enduring presence in critics' and filmmakers' all-time greatest films lists

Legacy and Impact

Both hosts emphasize how Battleship Potemkin remains remarkably fresh and energetic despite its age, praising its technical innovation and emotional power. Pete, watching it for the first time, expresses surprise at how engaging and modern the film feels, while Andy notes how effectively it maintains its revolutionary spirit across multiple viewings.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “The land is ours. Tomorrow is ours!”
Revolutionary Cinema: Battleship Potemkin Turns 100

Sergei Eisenstein's landmark 1925 Soviet silent film Battleship Potemkin revolutionized cinema through its innovative use of montage and dramatic storytelling. Commissioned to commemorate the 20th anniversary of the 1905 Russian Revolution, Eisenstein focused on a single episode—the mutiny aboard the Potemkin—rather than attempting to capture the entire revolutionary period. This decision allowed him to create an intimate yet universal story about the power of collective action against oppression. Join us—Pete Wright and Andy Nelson—as we kick off the Cinema Centennial: 1925's Pioneering Visions series with a conversation about Battleship Potemkin.

Mastering Montage

Pete and Andy explore how Eisenstein's groundbreaking editing techniques created meaning through the juxtaposition of images. They discuss the evolution of the term "montage" from its origins in Soviet cinema theory to its modern usage, highlighting how Battleship Potemkin established foundational principles of film editing that continue to influence filmmakers today.

Propaganda vs. Authenticity

The hosts debate whether the film's revolutionary message feels propagandistic or authentic, with both agreeing that Eisenstein's sincere belief in the story's themes elevates it beyond mere propaganda. They note how the director's decision to focus on collective protagonists rather than individual heroes creates a unique narrative perspective.

The Odessa Steps Sequence

Andy and Pete analyze the famous Odessa Steps sequence, discussing how its shocking violence and masterful editing create an unforgettable statement about state oppression. They explore how this sequence has influenced countless films while noting that its full impact can only be appreciated within the context of the complete film.

Key discussion points:

  • The significance of the film's various musical scores over the decades
  • How the film's depiction of religious figures reflected Soviet attitudes
  • The lasting influence of Eisenstein's editing techniques
  • The film's historical accuracy versus its emotional truth
  • Visual symbolism, particularly the hand-painted red flag
  • The movie's enduring presence in critics' and filmmakers' all-time greatest films lists

Legacy and Impact

Both hosts emphasize how Battleship Potemkin remains remarkably fresh and energetic despite its age, praising its technical innovation and emotional power. Pete, watching it for the first time, expresses surprise at how engaging and modern the film feels, while Andy notes how effectively it maintains its revolutionary spirit across multiple viewings.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 27 Nov 2025 03:00:00 -0800 TruStory FM TruStory FM 3675 “The land is ours. Tomorrow is ours!”
Revolutionary Cinema: Battleship Potemkin Turns 100

Sergei Eisenstein's landmark 1925 Soviet silent film Battleship Potemkin revolutionized cinema through its innovative use of montage and dramatic storytelling. Commissioned to commemorate the 20th anniversary of the 1905 Russian Revolution, Eisenstein focused on a single episode—the mutiny aboard the Potemkin—rather than attempting to capture the entire revolutionary period. This decision allowed him to create an intimate yet universal story about the power of collective action against oppression. Join us—Pete Wright and Andy Nelson—as we kick off the Cinema Centennial: 1925's Pioneering Visions series with a conversation about Battleship Potemkin.

Mastering Montage

Pete and Andy explore how Eisenstein's groundbreaking editing techniques created meaning through the juxtaposition of images. They discuss the evolution of the term "montage" from its origins in Soviet cinema theory to its modern usage, highlighting how Battleship Potemkin established foundational principles of film editing that continue to influence filmmakers today.

Propaganda vs. Authenticity

The hosts debate whether the film's revolutionary message feels propagandistic or authentic, with both agreeing that Eisenstein's sincere belief in the story's themes elevates it beyond mere propaganda. They note how the director's decision to focus on collective protagonists rather than individual heroes creates a unique narrative perspective.

The Odessa Steps Sequence

Andy and Pete analyze the famous Odessa Steps sequence, discussing how its shocking violence and masterful editing create an unforgettable statement about state oppression. They explore how this sequence has influenced countless films while noting that its full impact can only be appreciated within the context of the complete film.

Key discussion points:

  • The significance of the film's various musical scores over the decades
  • How the film's depiction of religious figures reflected Soviet attitudes
  • The lasting influence of Eisenstein's editing techniques
  • The film's historical accuracy versus its emotional truth
  • Visual symbolism, particularly the hand-painted red flag
  • The movie's enduring presence in critics' and filmmakers' all-time greatest films lists

Legacy and Impact

Both hosts emphasize how Battleship Potemkin remains remarkably fresh and energetic despite its age, praising its technical innovation and emotional power. Pete, watching it for the first time, expresses surprise at how engaging and modern the film feels, while Andy notes how effectively it maintains its revolutionary spirit across multiple viewings.

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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]]> 1925, 1920s, Sergei Eisenstein, Cinema Centennial: 1925’s Pioneering Visions No Andy Nelson Pete Wright Sunset Blvd. 15 15 19 19 Sunset Blvd. full 4854037c-b9ad-48a6-81b5-10994c51e066 https://share.transistor.fm/s/ede4a97c “We didn’t need dialogue. We had faces.”
Hollywood's Dark Mirror: Sunset Boulevard (1950)

Billy Wilder's noir masterpiece Sunset Boulevard stands as both a scathing critique of Hollywood and a haunting character study. Released in 1950, this tale of an aging silent film star and a struggling screenwriter expertly blends elements of film noir, dark comedy, and psychological drama. Gloria Swanson delivers a towering performance as Norma Desmond, while William Holden portrays the ill-fated Joe Gillis. Join us—Pete Wright and Andy Nelson—as we wrap up our Platinum Performances: The 1950 Best Actress Oscar Race series with a conversation about Sunset Boulevard.

Performance Analysis
Pete and Andy dive deep into Swanson's mesmerizing portrayal, discussing how her own silent film career adds meta-textual layers to her performance. They explore the intentional theatrical quality of her acting, agreeing that what could be seen as "over-the-top" perfectly serves the character's psychological state.

Meta-Hollywood Elements
The hosts examine the film's bold critique of the Hollywood system, noting how real-world elements enhance the story's impact. They discuss the strategic casting of silent era figures like Buster Keaton and the use of actual footage from Swanson's unfinished film Queen Kelly.

Key discussion points include:

  • The effectiveness of William Holden's performance as Joe Gillis
  • Eric von Stroheim's complex role as Max and its connection to Hollywood history
  • The controversial "fatal flaw" Pete identifies in the film
  • The significance of the film's noir elements, including the dead narrator device
  • The hosts' differing views on Betty Schaefer's character arc
  • Analysis of the 1950 Best Actress Oscar race and why Judy Holliday ultimately won

Legacy and Impact
Pete and Andy discuss the film's enduring influence on cinema, including its numerous homages and attempted adaptations. They explore how Sunset Boulevard continues to resonate with modern audiences through its examination of fame, aging, and Hollywood's disposable nature.

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!

🎬 Watch & Discover


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]]> “We didn’t need dialogue. We had faces.”
Hollywood's Dark Mirror: Sunset Boulevard (1950)

Billy Wilder's noir masterpiece Sunset Boulevard stands as both a scathing critique of Hollywood and a haunting character study. Released in 1950, this tale of an aging silent film star and a struggling screenwriter expertly blends elements of film noir, dark comedy, and psychological drama. Gloria Swanson delivers a towering performance as Norma Desmond, while William Holden portrays the ill-fated Joe Gillis. Join us—Pete Wright and Andy Nelson—as we wrap up our Platinum Performances: The 1950 Best Actress Oscar Race series with a conversation about Sunset Boulevard.

Performance Analysis
Pete and Andy dive deep into Swanson's mesmerizing portrayal, discussing how her own silent film career adds meta-textual layers to her performance. They explore the intentional theatrical quality of her acting, agreeing that what could be seen as "over-the-top" perfectly serves the character's psychological state.

Meta-Hollywood Elements
The hosts examine the film's bold critique of the Hollywood system, noting how real-world elements enhance the story's impact. They discuss the strategic casting of silent era figures like Buster Keaton and the use of actual footage from Swanson's unfinished film Queen Kelly.

Key discussion points include:

  • The effectiveness of William Holden's performance as Joe Gillis
  • Eric von Stroheim's complex role as Max and its connection to Hollywood history
  • The controversial "fatal flaw" Pete identifies in the film
  • The significance of the film's noir elements, including the dead narrator device
  • The hosts' differing views on Betty Schaefer's character arc
  • Analysis of the 1950 Best Actress Oscar race and why Judy Holliday ultimately won

Legacy and Impact
Pete and Andy discuss the film's enduring influence on cinema, including its numerous homages and attempted adaptations. They explore how Sunset Boulevard continues to resonate with modern audiences through its examination of fame, aging, and Hollywood's disposable nature.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 20 Nov 2025 03:00:00 -0800 TruStory FM TruStory FM 3965 “We didn’t need dialogue. We had faces.”
Hollywood's Dark Mirror: Sunset Boulevard (1950)

Billy Wilder's noir masterpiece Sunset Boulevard stands as both a scathing critique of Hollywood and a haunting character study. Released in 1950, this tale of an aging silent film star and a struggling screenwriter expertly blends elements of film noir, dark comedy, and psychological drama. Gloria Swanson delivers a towering performance as Norma Desmond, while William Holden portrays the ill-fated Joe Gillis. Join us—Pete Wright and Andy Nelson—as we wrap up our Platinum Performances: The 1950 Best Actress Oscar Race series with a conversation about Sunset Boulevard.

Performance Analysis
Pete and Andy dive deep into Swanson's mesmerizing portrayal, discussing how her own silent film career adds meta-textual layers to her performance. They explore the intentional theatrical quality of her acting, agreeing that what could be seen as "over-the-top" perfectly serves the character's psychological state.

Meta-Hollywood Elements
The hosts examine the film's bold critique of the Hollywood system, noting how real-world elements enhance the story's impact. They discuss the strategic casting of silent era figures like Buster Keaton and the use of actual footage from Swanson's unfinished film Queen Kelly.

Key discussion points include:

  • The effectiveness of William Holden's performance as Joe Gillis
  • Eric von Stroheim's complex role as Max and its connection to Hollywood history
  • The controversial "fatal flaw" Pete identifies in the film
  • The significance of the film's noir elements, including the dead narrator device
  • The hosts' differing views on Betty Schaefer's character arc
  • Analysis of the 1950 Best Actress Oscar race and why Judy Holliday ultimately won

Legacy and Impact
Pete and Andy discuss the film's enduring influence on cinema, including its numerous homages and attempted adaptations. They explore how Sunset Boulevard continues to resonate with modern audiences through its examination of fame, aging, and Hollywood's disposable nature.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1950, 1950s, Billy Wilder, Platinum Performances: The 1950 Best Actress Oscar Race No Andy Nelson Pete Wright Caged 15 15 18 18 Caged full 97936e43-6195-4566-ace6-45ccdbdd608c https://share.transistor.fm/s/d4239af6 “What I’d give for a sink full of dirty dishes.”
Women Behind Bars: A Groundbreaking Prison Drama

Caged (1950), directed by John Cromwell, established the template for women's prison films while earning three Academy Award nominations. Eleanor Parker stars as Marie Allen, a pregnant 19-year-old imprisoned as an accessory to her husband's failed robbery. The film's stark portrayal of prison life and institutional corruption marked a serious dramatic approach that would later influence exploitation films. Join us—Pete Wright and Andy Nelson—as we continue the Platinum Performances: The 1950 Best Actress Oscar Race series with a conversation about Caged.

Breaking New Ground in Prison Drama

Pete and Andy discuss how Caged differs from later exploitation films by taking a serious dramatic approach. They explore how Cromwell crafts a devastating portrait of institutional corruption without relying on sensationalized violence. The hosts particularly praise the film's examination of how the prison system transforms Marie from an innocent newcomer into a hardened criminal.

Performance and Production

Eleanor Parker's nuanced performance as Marie draws high praise from both hosts, who find her character arc from naive innocent to hardened criminal entirely convincing. Hope Emerson's portrayal of the cruel matron Harper and Agnes Moorhead as the reform-minded superintendent create a compelling dramatic tension that drives the narrative.

Key discussion points include:

  • The film's influence on the women-in-prison genre
  • Cinematographer Carl Guthrie's use of stark lighting and compositions
  • The portrayal of institutional corruption versus overt violence
  • Eleanor Parker's Oscar-nominated performance
  • The film's commentary on systemic issues in women's prisons
  • John Cromwell's direction and careful handling of sensitive subject matter
  • The movie's enduring relevance to modern prison reform discussions

Legacy and Impact

Pete and Andy reflect on how Caged remains relevant 75 years later, discussing how many of the systemic issues it portrays persist in modern prisons. They note how the film's serious treatment of its subject matter set it apart from later exploitation films while establishing many of the genre's conventions. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “What I’d give for a sink full of dirty dishes.”
Women Behind Bars: A Groundbreaking Prison Drama

Caged (1950), directed by John Cromwell, established the template for women's prison films while earning three Academy Award nominations. Eleanor Parker stars as Marie Allen, a pregnant 19-year-old imprisoned as an accessory to her husband's failed robbery. The film's stark portrayal of prison life and institutional corruption marked a serious dramatic approach that would later influence exploitation films. Join us—Pete Wright and Andy Nelson—as we continue the Platinum Performances: The 1950 Best Actress Oscar Race series with a conversation about Caged.

Breaking New Ground in Prison Drama

Pete and Andy discuss how Caged differs from later exploitation films by taking a serious dramatic approach. They explore how Cromwell crafts a devastating portrait of institutional corruption without relying on sensationalized violence. The hosts particularly praise the film's examination of how the prison system transforms Marie from an innocent newcomer into a hardened criminal.

Performance and Production

Eleanor Parker's nuanced performance as Marie draws high praise from both hosts, who find her character arc from naive innocent to hardened criminal entirely convincing. Hope Emerson's portrayal of the cruel matron Harper and Agnes Moorhead as the reform-minded superintendent create a compelling dramatic tension that drives the narrative.

Key discussion points include:

  • The film's influence on the women-in-prison genre
  • Cinematographer Carl Guthrie's use of stark lighting and compositions
  • The portrayal of institutional corruption versus overt violence
  • Eleanor Parker's Oscar-nominated performance
  • The film's commentary on systemic issues in women's prisons
  • John Cromwell's direction and careful handling of sensitive subject matter
  • The movie's enduring relevance to modern prison reform discussions

Legacy and Impact

Pete and Andy reflect on how Caged remains relevant 75 years later, discussing how many of the systemic issues it portrays persist in modern prisons. They note how the film's serious treatment of its subject matter set it apart from later exploitation films while establishing many of the genre's conventions. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 13 Nov 2025 03:00:00 -0800 TruStory FM TruStory FM 3506 “What I’d give for a sink full of dirty dishes.”
Women Behind Bars: A Groundbreaking Prison Drama

Caged (1950), directed by John Cromwell, established the template for women's prison films while earning three Academy Award nominations. Eleanor Parker stars as Marie Allen, a pregnant 19-year-old imprisoned as an accessory to her husband's failed robbery. The film's stark portrayal of prison life and institutional corruption marked a serious dramatic approach that would later influence exploitation films. Join us—Pete Wright and Andy Nelson—as we continue the Platinum Performances: The 1950 Best Actress Oscar Race series with a conversation about Caged.

Breaking New Ground in Prison Drama

Pete and Andy discuss how Caged differs from later exploitation films by taking a serious dramatic approach. They explore how Cromwell crafts a devastating portrait of institutional corruption without relying on sensationalized violence. The hosts particularly praise the film's examination of how the prison system transforms Marie from an innocent newcomer into a hardened criminal.

Performance and Production

Eleanor Parker's nuanced performance as Marie draws high praise from both hosts, who find her character arc from naive innocent to hardened criminal entirely convincing. Hope Emerson's portrayal of the cruel matron Harper and Agnes Moorhead as the reform-minded superintendent create a compelling dramatic tension that drives the narrative.

Key discussion points include:

  • The film's influence on the women-in-prison genre
  • Cinematographer Carl Guthrie's use of stark lighting and compositions
  • The portrayal of institutional corruption versus overt violence
  • Eleanor Parker's Oscar-nominated performance
  • The film's commentary on systemic issues in women's prisons
  • John Cromwell's direction and careful handling of sensitive subject matter
  • The movie's enduring relevance to modern prison reform discussions

Legacy and Impact

Pete and Andy reflect on how Caged remains relevant 75 years later, discussing how many of the systemic issues it portrays persist in modern prisons. They note how the film's serious treatment of its subject matter set it apart from later exploitation films while establishing many of the genre's conventions. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1950, 1950s, John Cromwell, Platinum Performances: The 1950 Best Actress Oscar Race No Andy Nelson Pete Wright Born Yesterday 15 15 16 16 Born Yesterday full f021a3d3-4eee-44ba-baa6-ec53bb1daee8 https://share.transistor.fm/s/4690cbd4 “I want everybody to be smart. I want 'em to be as smart as they can be. A world full of ignorant people is too dangerous to live in.”
A Comedy of Intelligence: Breaking Down Born Yesterday

George Cukor's 1950 comedy Born Yesterday stars Judy Holliday as Billie Dawn, a former showgirl who finds herself caught between her corrupt businessman boyfriend Harry Brock (Broderick Crawford) and Paul Verrall (William Holden), the journalist hired to educate her. Based on Garson Kanin's hit Broadway play, the film earned Holliday an Academy Award for Best Actress, beating out Gloria Swanson in Sunset Boulevard, Bette Davis in All About Eve, and other notable performances that year. Join us—Pete Wright and Andy Nelson—as we kick off our Platinum Performances: The 1950 Best Actress Oscar Race series with a conversation about Born Yesterday.

A Surprising Character Evolution

Both hosts initially approached Billie Dawn's character with trepidation, expecting a one-dimensional "dumb blonde" performance. However, they were quickly won over by Holliday's nuanced portrayal, which combines physical comedy with emotional depth. Andy particularly praised her comedic timing, while Pete noted how she transcends the script's limitations to create a fully realized character.

Political Relevance Then and Now

The film's exploration of political corruption through Harry's attempts to influence a congressman resonated strongly with both hosts. While Pete initially viewed these elements as "fossilized" 1950s commentary, Andy argued that the themes of lobbying and political manipulation remain remarkably relevant today. They discussed how the film's civics lessons, though potentially didactic, serve an important narrative purpose.

Key Discussion Points:

  • Judy Holliday's masterful performance balancing comedy and character development
  • The film's examination of education as a path to empowerment
  • William Holden's understated approach to his role as Paul... perhaps too understated?
  • Broderick Crawford's portrayal of Harry as an archetypal bully
  • The movie's progressive stance on gender politics for 1950
  • George Cukor's innovative rehearsal technique using live studio audiences
  • The Hayes Code's influence on the film's content and presentation

Legacy and Impact

We explored how Born Yesterday occupies a unique place in American cinema, combining elements of screwball comedy, romantic comedy, political satire, and social commentary. They noted its influence on later films dealing with similar themes of education and empowerment, while acknowledging its limitations as a product of its time. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I want everybody to be smart. I want 'em to be as smart as they can be. A world full of ignorant people is too dangerous to live in.”
A Comedy of Intelligence: Breaking Down Born Yesterday

George Cukor's 1950 comedy Born Yesterday stars Judy Holliday as Billie Dawn, a former showgirl who finds herself caught between her corrupt businessman boyfriend Harry Brock (Broderick Crawford) and Paul Verrall (William Holden), the journalist hired to educate her. Based on Garson Kanin's hit Broadway play, the film earned Holliday an Academy Award for Best Actress, beating out Gloria Swanson in Sunset Boulevard, Bette Davis in All About Eve, and other notable performances that year. Join us—Pete Wright and Andy Nelson—as we kick off our Platinum Performances: The 1950 Best Actress Oscar Race series with a conversation about Born Yesterday.

A Surprising Character Evolution

Both hosts initially approached Billie Dawn's character with trepidation, expecting a one-dimensional "dumb blonde" performance. However, they were quickly won over by Holliday's nuanced portrayal, which combines physical comedy with emotional depth. Andy particularly praised her comedic timing, while Pete noted how she transcends the script's limitations to create a fully realized character.

Political Relevance Then and Now

The film's exploration of political corruption through Harry's attempts to influence a congressman resonated strongly with both hosts. While Pete initially viewed these elements as "fossilized" 1950s commentary, Andy argued that the themes of lobbying and political manipulation remain remarkably relevant today. They discussed how the film's civics lessons, though potentially didactic, serve an important narrative purpose.

Key Discussion Points:

  • Judy Holliday's masterful performance balancing comedy and character development
  • The film's examination of education as a path to empowerment
  • William Holden's understated approach to his role as Paul... perhaps too understated?
  • Broderick Crawford's portrayal of Harry as an archetypal bully
  • The movie's progressive stance on gender politics for 1950
  • George Cukor's innovative rehearsal technique using live studio audiences
  • The Hayes Code's influence on the film's content and presentation

Legacy and Impact

We explored how Born Yesterday occupies a unique place in American cinema, combining elements of screwball comedy, romantic comedy, political satire, and social commentary. They noted its influence on later films dealing with similar themes of education and empowerment, while acknowledging its limitations as a product of its time. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 06 Nov 2025 03:00:00 -0800 TruStory FM TruStory FM 3590 “I want everybody to be smart. I want 'em to be as smart as they can be. A world full of ignorant people is too dangerous to live in.”
A Comedy of Intelligence: Breaking Down Born Yesterday

George Cukor's 1950 comedy Born Yesterday stars Judy Holliday as Billie Dawn, a former showgirl who finds herself caught between her corrupt businessman boyfriend Harry Brock (Broderick Crawford) and Paul Verrall (William Holden), the journalist hired to educate her. Based on Garson Kanin's hit Broadway play, the film earned Holliday an Academy Award for Best Actress, beating out Gloria Swanson in Sunset Boulevard, Bette Davis in All About Eve, and other notable performances that year. Join us—Pete Wright and Andy Nelson—as we kick off our Platinum Performances: The 1950 Best Actress Oscar Race series with a conversation about Born Yesterday.

A Surprising Character Evolution

Both hosts initially approached Billie Dawn's character with trepidation, expecting a one-dimensional "dumb blonde" performance. However, they were quickly won over by Holliday's nuanced portrayal, which combines physical comedy with emotional depth. Andy particularly praised her comedic timing, while Pete noted how she transcends the script's limitations to create a fully realized character.

Political Relevance Then and Now

The film's exploration of political corruption through Harry's attempts to influence a congressman resonated strongly with both hosts. While Pete initially viewed these elements as "fossilized" 1950s commentary, Andy argued that the themes of lobbying and political manipulation remain remarkably relevant today. They discussed how the film's civics lessons, though potentially didactic, serve an important narrative purpose.

Key Discussion Points:

  • Judy Holliday's masterful performance balancing comedy and character development
  • The film's examination of education as a path to empowerment
  • William Holden's understated approach to his role as Paul... perhaps too understated?
  • Broderick Crawford's portrayal of Harry as an archetypal bully
  • The movie's progressive stance on gender politics for 1950
  • George Cukor's innovative rehearsal technique using live studio audiences
  • The Hayes Code's influence on the film's content and presentation

Legacy and Impact

We explored how Born Yesterday occupies a unique place in American cinema, combining elements of screwball comedy, romantic comedy, political satire, and social commentary. They noted its influence on later films dealing with similar themes of education and empowerment, while acknowledging its limitations as a product of its time. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1950, 1950s, George Cukor, Platinum Performances: The 1950 Best Actress Oscar Race No Andy Nelson Pete Wright The Gunfighter • Member Bonus 15 15 17 17 The Gunfighter • Member Bonus full 56cb2289-83ec-46a5-879c-8a55adca33ca https://share.transistor.fm/s/5eafc5c7 “How come I've got to run into a squirt like you nearly every place I go these days? What are you trying to do? Show off for your friends?”
A Thoughtful Western About Fame's Heavy Burden

The Gunfighter (1950) emerged from an unexpected path to production, with the story originally written for John Wayne, who declined due to a grudge against Columbia Pictures. The film ultimately landed at 20th Century Fox with Gregory Peck in the lead role, much to Wayne's chagrin. Directed by Henry King, this "adult Western" marked a significant shift in the genre, focusing more on character psychology than action. Join us—Pete Wright and Andy Nelson—as we continue our Platinum Performances series, but for this member bonus episode, focusing on The 1950 Best Writing Oscar Race, with a conversation about The Gunfighter.

A Character Study in Black and White

Pete and Andy explore how the film's black-and-white cinematography enhances its themes, particularly in the contrast between interior and exterior scenes. They discuss how the saloon serves as a pressure cooker setting while the stark outdoor scenes create visual tension that mirrors the protagonist's predicament.

The Weight of Celebrity

The hosts delve deep into Jimmy Ringo's character, examining how Gregory Peck portrays a man trapped by his own reputation. They discuss how the film subverts traditional Western tropes by focusing on the psychological toll of gunfighter fame rather than glorifying violence.

Key Discussion Points

  • The significance of Millard Mitchell's Marshal character as both friend and foil
  • Helen Westcott's nuanced performance as Peggy
  • The film's innovative approach to Western storytelling
  • The impact of Alfred Newman's understated score
  • The powerful ending and its lasting implications
  • Skip Homeyer's portrayal of Hunt Bromley as Ringo's dark reflection

Legacy and Influence

Pete and Andy examine how The Gunfighter influenced subsequent Westerns and discuss its potential upcoming remake with Ethan Hawke. They note the film's unique position in the evolution of the Western genre, particularly its role in establishing more psychologically complex narratives.

A Western That Still Resonates

The hosts agree that The Gunfighter remains remarkably relevant, particularly in its exploration of celebrity culture and the impossibility of escaping one's past. They praise the film's tight pacing, thoughtful character development, and Gregory Peck's commanding performance. 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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> “How come I've got to run into a squirt like you nearly every place I go these days? What are you trying to do? Show off for your friends?”
A Thoughtful Western About Fame's Heavy Burden

The Gunfighter (1950) emerged from an unexpected path to production, with the story originally written for John Wayne, who declined due to a grudge against Columbia Pictures. The film ultimately landed at 20th Century Fox with Gregory Peck in the lead role, much to Wayne's chagrin. Directed by Henry King, this "adult Western" marked a significant shift in the genre, focusing more on character psychology than action. Join us—Pete Wright and Andy Nelson—as we continue our Platinum Performances series, but for this member bonus episode, focusing on The 1950 Best Writing Oscar Race, with a conversation about The Gunfighter.

A Character Study in Black and White

Pete and Andy explore how the film's black-and-white cinematography enhances its themes, particularly in the contrast between interior and exterior scenes. They discuss how the saloon serves as a pressure cooker setting while the stark outdoor scenes create visual tension that mirrors the protagonist's predicament.

The Weight of Celebrity

The hosts delve deep into Jimmy Ringo's character, examining how Gregory Peck portrays a man trapped by his own reputation. They discuss how the film subverts traditional Western tropes by focusing on the psychological toll of gunfighter fame rather than glorifying violence.

Key Discussion Points

  • The significance of Millard Mitchell's Marshal character as both friend and foil
  • Helen Westcott's nuanced performance as Peggy
  • The film's innovative approach to Western storytelling
  • The impact of Alfred Newman's understated score
  • The powerful ending and its lasting implications
  • Skip Homeyer's portrayal of Hunt Bromley as Ringo's dark reflection

Legacy and Influence

Pete and Andy examine how The Gunfighter influenced subsequent Westerns and discuss its potential upcoming remake with Ethan Hawke. They note the film's unique position in the evolution of the Western genre, particularly its role in establishing more psychologically complex narratives.

A Western That Still Resonates

The hosts agree that The Gunfighter remains remarkably relevant, particularly in its exploration of celebrity culture and the impossibility of escaping one's past. They praise the film's tight pacing, thoughtful character development, and Gregory Peck's commanding performance. 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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> Fri, 31 Oct 2025 02:00:00 -0700 TruStory FM TruStory FM 647 “How come I've got to run into a squirt like you nearly every place I go these days? What are you trying to do? Show off for your friends?”
A Thoughtful Western About Fame's Heavy Burden

The Gunfighter (1950) emerged from an unexpected path to production, with the story originally written for John Wayne, who declined due to a grudge against Columbia Pictures. The film ultimately landed at 20th Century Fox with Gregory Peck in the lead role, much to Wayne's chagrin. Directed by Henry King, this "adult Western" marked a significant shift in the genre, focusing more on character psychology than action. Join us—Pete Wright and Andy Nelson—as we continue our Platinum Performances series, but for this member bonus episode, focusing on The 1950 Best Writing Oscar Race, with a conversation about The Gunfighter.

A Character Study in Black and White

Pete and Andy explore how the film's black-and-white cinematography enhances its themes, particularly in the contrast between interior and exterior scenes. They discuss how the saloon serves as a pressure cooker setting while the stark outdoor scenes create visual tension that mirrors the protagonist's predicament.

The Weight of Celebrity

The hosts delve deep into Jimmy Ringo's character, examining how Gregory Peck portrays a man trapped by his own reputation. They discuss how the film subverts traditional Western tropes by focusing on the psychological toll of gunfighter fame rather than glorifying violence.

Key Discussion Points

  • The significance of Millard Mitchell's Marshal character as both friend and foil
  • Helen Westcott's nuanced performance as Peggy
  • The film's innovative approach to Western storytelling
  • The impact of Alfred Newman's understated score
  • The powerful ending and its lasting implications
  • Skip Homeyer's portrayal of Hunt Bromley as Ringo's dark reflection

Legacy and Influence

Pete and Andy examine how The Gunfighter influenced subsequent Westerns and discuss its potential upcoming remake with Ethan Hawke. They note the film's unique position in the evolution of the Western genre, particularly its role in establishing more psychologically complex narratives.

A Western That Still Resonates

The hosts agree that The Gunfighter remains remarkably relevant, particularly in its exploration of celebrity culture and the impossibility of escaping one's past. They praise the film's tight pacing, thoughtful character development, and Gregory Peck's commanding performance. 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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> 1950, 1950s, Henry King, Platinum Performances: The 1950 Best Writing Oscar Race, Member Bonus No Andy Nelson Pete Wright The Aura 15 15 15 15 The Aura full 95129102-88c1-4db9-83d7-6410c348c200 https://share.transistor.fm/s/cc2aa583 “I know when they're going to come because a few seconds earlier, I feel something. The doctors call it ‘aura’.”
Into the Mind of a Taxidermist: Exploring The Aura

Fabián Bielinsky's final film The Aura (2005) marked his second and tragically last collaboration with Argentine star Ricardo Darín before the director's untimely death at age 47. Following their success with Nine Queens, this psychological thriller follows an epileptic taxidermist who becomes entangled in a casino heist after accidentally killing a man during a hunting trip. The film showcases Bielinsky's masterful direction and Darín's nuanced performance in what would become one of Argentine cinema's most compelling neo-noir entries. Join us—Pete Wright and Andy Nelson—as we return to our Ricardo Darín series with a conversation about The Aura.

A Study in Point of View

Pete and Andy explore how Bielinsky crafted the film's unique perspective, particularly through the protagonist's epileptic seizures. The hosts discuss the innovative camera techniques used to convey these moments, including the circular dolly track combined with zoom effects that create a deeply unsettling viewer experience. They note how this technical prowess serves the larger narrative about perception and reality.

Criminal Aspirations vs. Reality

The conversation delves into Darín's character Esteban, a taxidermist who fantasizes about perfect heists but struggles with human relationships. Andy highlights how the film subverts heist movie tropes, while Pete observes how Esteban's professional isolation mirrors his social limitations. Both hosts praise the film's exploration of the gap between criminal fantasy and brutal reality.

Key Discussion Points:

  • The film's distinctive green color palette and its relationship to the protagonist's mental state
  • A masterful transition sequence between airplane and jeep that impressed both hosts
  • The significance of the protagonist's profession as a taxidermist
  • How the episodic structure of days creates distinct character studies
  • The role of the dog in the narrative's darker elements
  • Bielinsky's planned trilogy and what might have been

Visual Storytelling and Technical Achievement

The hosts examine how Bielinsky and cinematographer Checco Varese created the film's distinctive look, praising their ability to make the forest environment both beautiful and menacing. Pete particularly notes how the desaturated green palette reinforces the protagonist's alienation from his environment.

Legacy and Impact

Andy and Pete reflect on the film's place in Argentine cinema and its tragic position as Bielinsky's final work. They discuss how The Aura builds on themes from Nine Queens while creating something entirely unique in the crime genre. We have a great time talking about it, so check it out then tune in. The Next Reel—when the movie ends, our conversation begins!

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]]> “I know when they're going to come because a few seconds earlier, I feel something. The doctors call it ‘aura’.”
Into the Mind of a Taxidermist: Exploring The Aura

Fabián Bielinsky's final film The Aura (2005) marked his second and tragically last collaboration with Argentine star Ricardo Darín before the director's untimely death at age 47. Following their success with Nine Queens, this psychological thriller follows an epileptic taxidermist who becomes entangled in a casino heist after accidentally killing a man during a hunting trip. The film showcases Bielinsky's masterful direction and Darín's nuanced performance in what would become one of Argentine cinema's most compelling neo-noir entries. Join us—Pete Wright and Andy Nelson—as we return to our Ricardo Darín series with a conversation about The Aura.

A Study in Point of View

Pete and Andy explore how Bielinsky crafted the film's unique perspective, particularly through the protagonist's epileptic seizures. The hosts discuss the innovative camera techniques used to convey these moments, including the circular dolly track combined with zoom effects that create a deeply unsettling viewer experience. They note how this technical prowess serves the larger narrative about perception and reality.

Criminal Aspirations vs. Reality

The conversation delves into Darín's character Esteban, a taxidermist who fantasizes about perfect heists but struggles with human relationships. Andy highlights how the film subverts heist movie tropes, while Pete observes how Esteban's professional isolation mirrors his social limitations. Both hosts praise the film's exploration of the gap between criminal fantasy and brutal reality.

Key Discussion Points:

  • The film's distinctive green color palette and its relationship to the protagonist's mental state
  • A masterful transition sequence between airplane and jeep that impressed both hosts
  • The significance of the protagonist's profession as a taxidermist
  • How the episodic structure of days creates distinct character studies
  • The role of the dog in the narrative's darker elements
  • Bielinsky's planned trilogy and what might have been

Visual Storytelling and Technical Achievement

The hosts examine how Bielinsky and cinematographer Checco Varese created the film's distinctive look, praising their ability to make the forest environment both beautiful and menacing. Pete particularly notes how the desaturated green palette reinforces the protagonist's alienation from his environment.

Legacy and Impact

Andy and Pete reflect on the film's place in Argentine cinema and its tragic position as Bielinsky's final work. They discuss how The Aura builds on themes from Nine Queens while creating something entirely unique in the crime genre. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

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]]> Thu, 30 Oct 2025 03:00:00 -0700 TruStory FM TruStory FM 3917 “I know when they're going to come because a few seconds earlier, I feel something. The doctors call it ‘aura’.”
Into the Mind of a Taxidermist: Exploring The Aura

Fabián Bielinsky's final film The Aura (2005) marked his second and tragically last collaboration with Argentine star Ricardo Darín before the director's untimely death at age 47. Following their success with Nine Queens, this psychological thriller follows an epileptic taxidermist who becomes entangled in a casino heist after accidentally killing a man during a hunting trip. The film showcases Bielinsky's masterful direction and Darín's nuanced performance in what would become one of Argentine cinema's most compelling neo-noir entries. Join us—Pete Wright and Andy Nelson—as we return to our Ricardo Darín series with a conversation about The Aura.

A Study in Point of View

Pete and Andy explore how Bielinsky crafted the film's unique perspective, particularly through the protagonist's epileptic seizures. The hosts discuss the innovative camera techniques used to convey these moments, including the circular dolly track combined with zoom effects that create a deeply unsettling viewer experience. They note how this technical prowess serves the larger narrative about perception and reality.

Criminal Aspirations vs. Reality

The conversation delves into Darín's character Esteban, a taxidermist who fantasizes about perfect heists but struggles with human relationships. Andy highlights how the film subverts heist movie tropes, while Pete observes how Esteban's professional isolation mirrors his social limitations. Both hosts praise the film's exploration of the gap between criminal fantasy and brutal reality.

Key Discussion Points:

  • The film's distinctive green color palette and its relationship to the protagonist's mental state
  • A masterful transition sequence between airplane and jeep that impressed both hosts
  • The significance of the protagonist's profession as a taxidermist
  • How the episodic structure of days creates distinct character studies
  • The role of the dog in the narrative's darker elements
  • Bielinsky's planned trilogy and what might have been

Visual Storytelling and Technical Achievement

The hosts examine how Bielinsky and cinematographer Checco Varese created the film's distinctive look, praising their ability to make the forest environment both beautiful and menacing. Pete particularly notes how the desaturated green palette reinforces the protagonist's alienation from his environment.

Legacy and Impact

Andy and Pete reflect on the film's place in Argentine cinema and its tragic position as Bielinsky's final work. They discuss how The Aura builds on themes from Nine Queens while creating something entirely unique in the crime genre. 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!

🎬 Watch & Discover


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]]> 2005, 2000s, Fabián Bielinsky, Ricardo Darín No Andy Nelson Pete Wright The Invincible Six 15 15 14 14 The Invincible Six full 646abc88-cb8e-4bf9-a482-f393e49b7b8c https://share.transistor.fm/s/d2cdf954 “I tell you something, man, I’d really love to get my hands on that sleepy-eyed bastard.”
From Iran With Mayhem: The Curious Case of The Invincible Six

Jean Negulesco's 1970 action-adventure The Invincible Six represents a fascinating moment in Iranian cinema history. Shot during Iran's pre-revolution period of international co-productions, this Seven Samurai-inspired tale brought together an eclectic international cast including Stuart Whitman, Elke Sommer, and Curt Jurgens. The film, adapted from Michael Barrett's novel "The Heroes of Yuca," transplants its source material from South America to the Iranian desert, showcasing the country's dramatic landscapes through Negulesco's celebrated widescreen compositions. Join us—Pete Wright and Andy Nelson—as we wrap up our return to our Seven Samurai Family series with a conversation about The Invincible Six.

A Peculiar Addition to the Seven Samurai Legacy

Pete and Andy explore how this unique entry fits into their ongoing examination of Seven Samurai-inspired films. While acknowledging the film's numerous flaws, they find themselves surprisingly engaged by its peculiar charms, particularly the chemistry among its international ensemble cast and the film's ambitious use of Iranian locations.

Technical Achievement vs Narrative Struggles

Despite working with significant technical limitations (the only available version being a poor-quality 4:3 VHS transfer), the hosts recognize Negulesco's skilled visual composition and effective use of the Iranian landscape. They discuss how the director's expertise with CinemaScope potentially created a more visually striking film than what's currently available to viewers.

Key discussion points include:

  • The film's unusual opening heist sequence involving the Iranian crown jewels
  • The gradual team-building approach and character dynamics
  • James Mitchum's scene-chewing performance as the villain
  • The stark contrast between the film's representation of Iran and post-revolution Iranian cinema
  • The surprising violence and adult themes given the Iranian co-production status
  • The memorable final showdown and its unexpectedly brutal conclusion

Performance and Production Context

Pete and Andy spend considerable time discussing the cast's contributions, particularly highlighting Stuart Whitman's charismatic presence and Curt Jurgens' welcome appearance. They also explore the historical context of Iranian international co-productions and how The Invincible Six marked the end of Negulesco's ambitious plans for further Iranian-American collaborations.

We have a great time talking about it, so check it out then tune in. The Next Reel—when the movie ends, our conversation begins!

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]]> “I tell you something, man, I’d really love to get my hands on that sleepy-eyed bastard.”
From Iran With Mayhem: The Curious Case of The Invincible Six

Jean Negulesco's 1970 action-adventure The Invincible Six represents a fascinating moment in Iranian cinema history. Shot during Iran's pre-revolution period of international co-productions, this Seven Samurai-inspired tale brought together an eclectic international cast including Stuart Whitman, Elke Sommer, and Curt Jurgens. The film, adapted from Michael Barrett's novel "The Heroes of Yuca," transplants its source material from South America to the Iranian desert, showcasing the country's dramatic landscapes through Negulesco's celebrated widescreen compositions. Join us—Pete Wright and Andy Nelson—as we wrap up our return to our Seven Samurai Family series with a conversation about The Invincible Six.

A Peculiar Addition to the Seven Samurai Legacy

Pete and Andy explore how this unique entry fits into their ongoing examination of Seven Samurai-inspired films. While acknowledging the film's numerous flaws, they find themselves surprisingly engaged by its peculiar charms, particularly the chemistry among its international ensemble cast and the film's ambitious use of Iranian locations.

Technical Achievement vs Narrative Struggles

Despite working with significant technical limitations (the only available version being a poor-quality 4:3 VHS transfer), the hosts recognize Negulesco's skilled visual composition and effective use of the Iranian landscape. They discuss how the director's expertise with CinemaScope potentially created a more visually striking film than what's currently available to viewers.

Key discussion points include:

  • The film's unusual opening heist sequence involving the Iranian crown jewels
  • The gradual team-building approach and character dynamics
  • James Mitchum's scene-chewing performance as the villain
  • The stark contrast between the film's representation of Iran and post-revolution Iranian cinema
  • The surprising violence and adult themes given the Iranian co-production status
  • The memorable final showdown and its unexpectedly brutal conclusion

Performance and Production Context

Pete and Andy spend considerable time discussing the cast's contributions, particularly highlighting Stuart Whitman's charismatic presence and Curt Jurgens' welcome appearance. They also explore the historical context of Iranian international co-productions and how The Invincible Six marked the end of Negulesco's ambitious plans for further Iranian-American collaborations.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 23 Oct 2025 03:00:00 -0700 TruStory FM TruStory FM 3580 “I tell you something, man, I’d really love to get my hands on that sleepy-eyed bastard.”
From Iran With Mayhem: The Curious Case of The Invincible Six

Jean Negulesco's 1970 action-adventure The Invincible Six represents a fascinating moment in Iranian cinema history. Shot during Iran's pre-revolution period of international co-productions, this Seven Samurai-inspired tale brought together an eclectic international cast including Stuart Whitman, Elke Sommer, and Curt Jurgens. The film, adapted from Michael Barrett's novel "The Heroes of Yuca," transplants its source material from South America to the Iranian desert, showcasing the country's dramatic landscapes through Negulesco's celebrated widescreen compositions. Join us—Pete Wright and Andy Nelson—as we wrap up our return to our Seven Samurai Family series with a conversation about The Invincible Six.

A Peculiar Addition to the Seven Samurai Legacy

Pete and Andy explore how this unique entry fits into their ongoing examination of Seven Samurai-inspired films. While acknowledging the film's numerous flaws, they find themselves surprisingly engaged by its peculiar charms, particularly the chemistry among its international ensemble cast and the film's ambitious use of Iranian locations.

Technical Achievement vs Narrative Struggles

Despite working with significant technical limitations (the only available version being a poor-quality 4:3 VHS transfer), the hosts recognize Negulesco's skilled visual composition and effective use of the Iranian landscape. They discuss how the director's expertise with CinemaScope potentially created a more visually striking film than what's currently available to viewers.

Key discussion points include:

  • The film's unusual opening heist sequence involving the Iranian crown jewels
  • The gradual team-building approach and character dynamics
  • James Mitchum's scene-chewing performance as the villain
  • The stark contrast between the film's representation of Iran and post-revolution Iranian cinema
  • The surprising violence and adult themes given the Iranian co-production status
  • The memorable final showdown and its unexpectedly brutal conclusion

Performance and Production Context

Pete and Andy spend considerable time discussing the cast's contributions, particularly highlighting Stuart Whitman's charismatic presence and Curt Jurgens' welcome appearance. They also explore the historical context of Iranian international co-productions and how The Invincible Six marked the end of Negulesco's ambitious plans for further Iranian-American collaborations.

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!

🎬 Watch & Discover


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The Next Reel Family of Film Shows:

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]]> 1970, 1970s, Jean Negulesco, Seven Samurai Family No Andy Nelson Pete Wright Battle Beyond the Stars 15 15 13 13 Battle Beyond the Stars full c7af29ea-b933-42b2-b3dc-7a53afaa0a65 https://share.transistor.fm/s/90a0e5bc “Live fast, fight well, and have a beautiful ending.”
Space Cowboys and Samurai Meet in Roger Corman's Star Wars

Roger Corman's 1980 space opera Battle Beyond the Stars reimagines Akira Kurosawa's Seven Samurai with a distinctly B-movie flair. Directed by Jimmy T. Murakami from a John Sayles screenplay, this low-budget response to Star Wars features Richard Thomas as a young hero gathering warriors to defend his peaceful farming planet from an intergalactic warlord. With early work from James Cameron as art director and James Horner composing, the film showcases talent that would later define 1980s science fiction. Join us—Pete Wright and Andy Nelson—as we continue the Seven Samurai Family series with a conversation about Battle Beyond the Stars.

A Star-Studded B-Movie Cast

Pete and Andy explore the film's impressive ensemble, including George Peppard as Space Cowboy, Robert Vaughn essentially reprising his Magnificent Seven role, and Sybil Danning as a fierce Valkyrie warrior. They particularly praise John Saxon's scenery-chewing turn as the villainous Sador and discuss how Richard Thomas serves effectively as an audience surrogate despite a somewhat bland protagonist role.

Seven Samurai in Space

The hosts examine how Battle Beyond the Stars adapts the core elements of Seven Samurai while adding distinctly space opera touches. They note how the film manages to establish its diverse warrior characters and their motivations efficiently despite its shorter runtime, while maintaining the original's themes of sacrifice and community defense.

Key discussion points include:

  • James Cameron's distinctive production design, particularly the anatomically-inspired spacecraft
  • The innovative thermal aliens who communicate through temperature changes
  • James Horner's score and its reuse in later Corman productions
  • The film's successful blend of space opera tropes with samurai story elements
  • Early appearances by future Hollywood talents
  • George Peppard's scene-stealing performance as Space Cowboy
  • The effective use of practical effects despite budget constraints

Legacy and Impact

Pete and Andy discuss how Battle Beyond the Stars exemplifies Roger Corman's talent for maximizing limited resources while nurturing future talent. They explore how the film's assets were recycled in numerous subsequent productions, and its place in both the Corman filmography and space opera genre. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Live fast, fight well, and have a beautiful ending.”
Space Cowboys and Samurai Meet in Roger Corman's Star Wars

Roger Corman's 1980 space opera Battle Beyond the Stars reimagines Akira Kurosawa's Seven Samurai with a distinctly B-movie flair. Directed by Jimmy T. Murakami from a John Sayles screenplay, this low-budget response to Star Wars features Richard Thomas as a young hero gathering warriors to defend his peaceful farming planet from an intergalactic warlord. With early work from James Cameron as art director and James Horner composing, the film showcases talent that would later define 1980s science fiction. Join us—Pete Wright and Andy Nelson—as we continue the Seven Samurai Family series with a conversation about Battle Beyond the Stars.

A Star-Studded B-Movie Cast

Pete and Andy explore the film's impressive ensemble, including George Peppard as Space Cowboy, Robert Vaughn essentially reprising his Magnificent Seven role, and Sybil Danning as a fierce Valkyrie warrior. They particularly praise John Saxon's scenery-chewing turn as the villainous Sador and discuss how Richard Thomas serves effectively as an audience surrogate despite a somewhat bland protagonist role.

Seven Samurai in Space

The hosts examine how Battle Beyond the Stars adapts the core elements of Seven Samurai while adding distinctly space opera touches. They note how the film manages to establish its diverse warrior characters and their motivations efficiently despite its shorter runtime, while maintaining the original's themes of sacrifice and community defense.

Key discussion points include:

  • James Cameron's distinctive production design, particularly the anatomically-inspired spacecraft
  • The innovative thermal aliens who communicate through temperature changes
  • James Horner's score and its reuse in later Corman productions
  • The film's successful blend of space opera tropes with samurai story elements
  • Early appearances by future Hollywood talents
  • George Peppard's scene-stealing performance as Space Cowboy
  • The effective use of practical effects despite budget constraints

Legacy and Impact

Pete and Andy discuss how Battle Beyond the Stars exemplifies Roger Corman's talent for maximizing limited resources while nurturing future talent. They explore how the film's assets were recycled in numerous subsequent productions, and its place in both the Corman filmography and space opera genre. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 16 Oct 2025 03:00:00 -0700 TruStory FM TruStory FM 3412 “Live fast, fight well, and have a beautiful ending.”
Space Cowboys and Samurai Meet in Roger Corman's Star Wars

Roger Corman's 1980 space opera Battle Beyond the Stars reimagines Akira Kurosawa's Seven Samurai with a distinctly B-movie flair. Directed by Jimmy T. Murakami from a John Sayles screenplay, this low-budget response to Star Wars features Richard Thomas as a young hero gathering warriors to defend his peaceful farming planet from an intergalactic warlord. With early work from James Cameron as art director and James Horner composing, the film showcases talent that would later define 1980s science fiction. Join us—Pete Wright and Andy Nelson—as we continue the Seven Samurai Family series with a conversation about Battle Beyond the Stars.

A Star-Studded B-Movie Cast

Pete and Andy explore the film's impressive ensemble, including George Peppard as Space Cowboy, Robert Vaughn essentially reprising his Magnificent Seven role, and Sybil Danning as a fierce Valkyrie warrior. They particularly praise John Saxon's scenery-chewing turn as the villainous Sador and discuss how Richard Thomas serves effectively as an audience surrogate despite a somewhat bland protagonist role.

Seven Samurai in Space

The hosts examine how Battle Beyond the Stars adapts the core elements of Seven Samurai while adding distinctly space opera touches. They note how the film manages to establish its diverse warrior characters and their motivations efficiently despite its shorter runtime, while maintaining the original's themes of sacrifice and community defense.

Key discussion points include:

  • James Cameron's distinctive production design, particularly the anatomically-inspired spacecraft
  • The innovative thermal aliens who communicate through temperature changes
  • James Horner's score and its reuse in later Corman productions
  • The film's successful blend of space opera tropes with samurai story elements
  • Early appearances by future Hollywood talents
  • George Peppard's scene-stealing performance as Space Cowboy
  • The effective use of practical effects despite budget constraints

Legacy and Impact

Pete and Andy discuss how Battle Beyond the Stars exemplifies Roger Corman's talent for maximizing limited resources while nurturing future talent. They explore how the film's assets were recycled in numerous subsequent productions, and its place in both the Corman filmography and space opera genre. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1980, 1980s, Jimmy T. Murakami, Seven Samurai Family No Andy Nelson Pete Wright Sholay 15 15 12 12 Sholay full 8295df04-1bb6-4db2-a13c-babcec2040a1 https://share.transistor.fm/s/5732ffb1 “They are criminals, no doubt. But they’re brave. They’re dangerous because they know how to fight. They’re bad, but there’s a good side to them as well.”
From Curry Western to Cultural Phenomenon: Sholay at 50

Released in 1975, Ramesh Sippy's Sholay revolutionized Indian cinema by blending Western genre conventions with Bollywood sensibilities. This epic action-adventure, starring Amitabh Bachchan and Dharmendra, took the "dacoit Western" subgenre to new heights while drawing inspiration from Seven Samurai. Initially struggling at the box office, Sholay went on to become one of Indian cinema's most influential films, running continuously in theaters for over 19 years. Join us—Pete Wright and Andy Nelson—as we wrap up our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series and kick off our Seven Samurai Family series with a conversation about Sholay.

A Genre-Defying Masterpiece

Pete and Andy explore how Sholay successfully meshes multiple genres—western, action, musical, and comedy—while maintaining its distinct Indian identity. They discuss the film's stunning visual compositions, from the rocky terrain sequences to the vibrant Holi festival celebrations, noting how these contrasts enhance rather than detract from the narrative.

Character Dynamics and Performance

The hosts dive deep into the chemistry between Jai (Bachchan) and Veeru (Dharmendra), comparing their relationship to Butch Cassidy and the Sundance Kid. They examine how the film balances their playful friendship with serious dramatic moments, particularly highlighting the emotional impact of their final scene together.

Notable Discussion Points:

  • The significance of Gabbar Singh as one of Indian cinema's most memorable villains
  • The dual ending controversy and its thematic implications
  • The film's treatment of female characters through Basanti and Radha
  • The integration of musical numbers, including the iconic motorcycle sequence
  • Technical achievements on a modest budget of 3.3 million dollars
  • Cultural impact and lasting influence on Indian cinema

Legacy and Influence

Andy shares fascinating details about Sholay's enduring cultural impact, from its quotable dialogue becoming part of everyday Indian speech to its songs being used in diplomatic relations. Pete, new to Indian cinema, describes his complete enjoyment of the film despite cultural differences, highlighting its universal appeal.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “They are criminals, no doubt. But they’re brave. They’re dangerous because they know how to fight. They’re bad, but there’s a good side to them as well.”
From Curry Western to Cultural Phenomenon: Sholay at 50

Released in 1975, Ramesh Sippy's Sholay revolutionized Indian cinema by blending Western genre conventions with Bollywood sensibilities. This epic action-adventure, starring Amitabh Bachchan and Dharmendra, took the "dacoit Western" subgenre to new heights while drawing inspiration from Seven Samurai. Initially struggling at the box office, Sholay went on to become one of Indian cinema's most influential films, running continuously in theaters for over 19 years. Join us—Pete Wright and Andy Nelson—as we wrap up our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series and kick off our Seven Samurai Family series with a conversation about Sholay.

A Genre-Defying Masterpiece

Pete and Andy explore how Sholay successfully meshes multiple genres—western, action, musical, and comedy—while maintaining its distinct Indian identity. They discuss the film's stunning visual compositions, from the rocky terrain sequences to the vibrant Holi festival celebrations, noting how these contrasts enhance rather than detract from the narrative.

Character Dynamics and Performance

The hosts dive deep into the chemistry between Jai (Bachchan) and Veeru (Dharmendra), comparing their relationship to Butch Cassidy and the Sundance Kid. They examine how the film balances their playful friendship with serious dramatic moments, particularly highlighting the emotional impact of their final scene together.

Notable Discussion Points:

  • The significance of Gabbar Singh as one of Indian cinema's most memorable villains
  • The dual ending controversy and its thematic implications
  • The film's treatment of female characters through Basanti and Radha
  • The integration of musical numbers, including the iconic motorcycle sequence
  • Technical achievements on a modest budget of 3.3 million dollars
  • Cultural impact and lasting influence on Indian cinema

Legacy and Influence

Andy shares fascinating details about Sholay's enduring cultural impact, from its quotable dialogue becoming part of everyday Indian speech to its songs being used in diplomatic relations. Pete, new to Indian cinema, describes his complete enjoyment of the film despite cultural differences, highlighting its universal appeal.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 09 Oct 2025 03:00:00 -0700 TruStory FM TruStory FM 4237 “They are criminals, no doubt. But they’re brave. They’re dangerous because they know how to fight. They’re bad, but there’s a good side to them as well.”
From Curry Western to Cultural Phenomenon: Sholay at 50

Released in 1975, Ramesh Sippy's Sholay revolutionized Indian cinema by blending Western genre conventions with Bollywood sensibilities. This epic action-adventure, starring Amitabh Bachchan and Dharmendra, took the "dacoit Western" subgenre to new heights while drawing inspiration from Seven Samurai. Initially struggling at the box office, Sholay went on to become one of Indian cinema's most influential films, running continuously in theaters for over 19 years. Join us—Pete Wright and Andy Nelson—as we wrap up our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series and kick off our Seven Samurai Family series with a conversation about Sholay.

A Genre-Defying Masterpiece

Pete and Andy explore how Sholay successfully meshes multiple genres—western, action, musical, and comedy—while maintaining its distinct Indian identity. They discuss the film's stunning visual compositions, from the rocky terrain sequences to the vibrant Holi festival celebrations, noting how these contrasts enhance rather than detract from the narrative.

Character Dynamics and Performance

The hosts dive deep into the chemistry between Jai (Bachchan) and Veeru (Dharmendra), comparing their relationship to Butch Cassidy and the Sundance Kid. They examine how the film balances their playful friendship with serious dramatic moments, particularly highlighting the emotional impact of their final scene together.

Notable Discussion Points:

  • The significance of Gabbar Singh as one of Indian cinema's most memorable villains
  • The dual ending controversy and its thematic implications
  • The film's treatment of female characters through Basanti and Radha
  • The integration of musical numbers, including the iconic motorcycle sequence
  • Technical achievements on a modest budget of 3.3 million dollars
  • Cultural impact and lasting influence on Indian cinema

Legacy and Influence

Andy shares fascinating details about Sholay's enduring cultural impact, from its quotable dialogue becoming part of everyday Indian speech to its songs being used in diplomatic relations. Pete, new to Indian cinema, describes his complete enjoyment of the film despite cultural differences, highlighting its universal appeal.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1975, 1970s, Ramesh Sippy, Golden Jubilee: 1975's Pioneering Visions in Global Cinema, Seven Samurai Family No Andy Nelson Pete Wright Dog Day Afternoon 15 15 10 10 Dog Day Afternoon full 4cff82ad-1670-4769-b078-abbdbdec08dd https://share.transistor.fm/s/65f82a4e “He needed the money for the operation for you?”
Bank Robbery Meets Social Commentary in Lumet's Masterpiece

Sidney Lumet's Dog Day Afternoon (1975) dramatizes the true story of a Brooklyn bank robbery gone wrong, transforming a sensational crime into a penetrating study of media spectacle, sexual identity, and institutional power. Based on a 1972 robbery attempt by John Wojtowicz, the film stars Al Pacino as Sonny Wortzik, whose plan to steal money for his partner's gender confirmation surgery escalates into a day-long hostage situation and media circus. Join us—Pete Wright and Andy Nelson—as we continue the Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Dog Day Afternoon.

A Pioneering Vision of American Society

Pete and Andy explore how Lumet's documentary-style approach creates an intimate portrait of 1970s New York City, with the handheld cameras and long lenses making viewers feel like witnesses to the unfolding drama. They discuss how the film's lack of non-diegetic music enhances its verisimilitude, noting the director's careful choices about when to let performances stand alone.

Performance and Reality

The hosts delve into the remarkable performances, particularly praising John Cazale's portrayal of Sal as a quiet, intense presence that contrasts with Pacino's more theatrical Sonny. They examine how the film handles its queer storyline with surprising sensitivity for 1975, while acknowledging the historical context of both the actual events and the film's production.

Key discussion points include:

  • The film's treatment of law enforcement, from local police to the FBI's intervention
  • How Sonny's relationship with the hostages evolves throughout the day
  • The movie's exploration of media spectacle and public performance
  • Lumet's position in 1970s American cinema
  • The real-life aftermath for the people involved
  • Connections to other films in the director's body of work
  • The movie's influence on subsequent hostage dramas
  • Its upcoming stage adaptation announcement

Legacy and Impact

Pete and Andy reflect on how Dog Day Afternoon remains relevant today, particularly in its examination of institutional power, media influence, and social justice. They note how the film's themes of identity, authority, and spectacle continue to resonate with contemporary audiences.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “He needed the money for the operation for you?”
Bank Robbery Meets Social Commentary in Lumet's Masterpiece

Sidney Lumet's Dog Day Afternoon (1975) dramatizes the true story of a Brooklyn bank robbery gone wrong, transforming a sensational crime into a penetrating study of media spectacle, sexual identity, and institutional power. Based on a 1972 robbery attempt by John Wojtowicz, the film stars Al Pacino as Sonny Wortzik, whose plan to steal money for his partner's gender confirmation surgery escalates into a day-long hostage situation and media circus. Join us—Pete Wright and Andy Nelson—as we continue the Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Dog Day Afternoon.

A Pioneering Vision of American Society

Pete and Andy explore how Lumet's documentary-style approach creates an intimate portrait of 1970s New York City, with the handheld cameras and long lenses making viewers feel like witnesses to the unfolding drama. They discuss how the film's lack of non-diegetic music enhances its verisimilitude, noting the director's careful choices about when to let performances stand alone.

Performance and Reality

The hosts delve into the remarkable performances, particularly praising John Cazale's portrayal of Sal as a quiet, intense presence that contrasts with Pacino's more theatrical Sonny. They examine how the film handles its queer storyline with surprising sensitivity for 1975, while acknowledging the historical context of both the actual events and the film's production.

Key discussion points include:

  • The film's treatment of law enforcement, from local police to the FBI's intervention
  • How Sonny's relationship with the hostages evolves throughout the day
  • The movie's exploration of media spectacle and public performance
  • Lumet's position in 1970s American cinema
  • The real-life aftermath for the people involved
  • Connections to other films in the director's body of work
  • The movie's influence on subsequent hostage dramas
  • Its upcoming stage adaptation announcement

Legacy and Impact

Pete and Andy reflect on how Dog Day Afternoon remains relevant today, particularly in its examination of institutional power, media influence, and social justice. They note how the film's themes of identity, authority, and spectacle continue to resonate with contemporary audiences.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 02 Oct 2025 03:00:00 -0700 TruStory FM TruStory FM 3642 “He needed the money for the operation for you?”
Bank Robbery Meets Social Commentary in Lumet's Masterpiece

Sidney Lumet's Dog Day Afternoon (1975) dramatizes the true story of a Brooklyn bank robbery gone wrong, transforming a sensational crime into a penetrating study of media spectacle, sexual identity, and institutional power. Based on a 1972 robbery attempt by John Wojtowicz, the film stars Al Pacino as Sonny Wortzik, whose plan to steal money for his partner's gender confirmation surgery escalates into a day-long hostage situation and media circus. Join us—Pete Wright and Andy Nelson—as we continue the Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Dog Day Afternoon.

A Pioneering Vision of American Society

Pete and Andy explore how Lumet's documentary-style approach creates an intimate portrait of 1970s New York City, with the handheld cameras and long lenses making viewers feel like witnesses to the unfolding drama. They discuss how the film's lack of non-diegetic music enhances its verisimilitude, noting the director's careful choices about when to let performances stand alone.

Performance and Reality

The hosts delve into the remarkable performances, particularly praising John Cazale's portrayal of Sal as a quiet, intense presence that contrasts with Pacino's more theatrical Sonny. They examine how the film handles its queer storyline with surprising sensitivity for 1975, while acknowledging the historical context of both the actual events and the film's production.

Key discussion points include:

  • The film's treatment of law enforcement, from local police to the FBI's intervention
  • How Sonny's relationship with the hostages evolves throughout the day
  • The movie's exploration of media spectacle and public performance
  • Lumet's position in 1970s American cinema
  • The real-life aftermath for the people involved
  • Connections to other films in the director's body of work
  • The movie's influence on subsequent hostage dramas
  • Its upcoming stage adaptation announcement

Legacy and Impact

Pete and Andy reflect on how Dog Day Afternoon remains relevant today, particularly in its examination of institutional power, media influence, and social justice. They note how the film's themes of identity, authority, and spectacle continue to resonate with contemporary audiences.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1975, 1970s, Sidney Lumet, Golden Jubilee: 1975's Pioneering Visions in Global Cinema No Andy Nelson Pete Wright The Super Inframan • Member Bonus 15 15 11 11 The Super Inframan • Member Bonus full 998473d2-d867-4031-8bc3-4922e4bf1b02 https://share.transistor.fm/s/2bca003d “Listen, human beings. I’m Princess Elzebub. I’ve conquered the Earth. I’m your new master now.”
Hong Kong's Super-Powered Shaw Brothers Spectacle

The Super Inframan, released by Shaw Brothers Studio in 1975, represents a fascinating fusion of tokusatsu, kung fu, and superhero genres. Directed by Hua Shan, this Hong Kong science fiction action film emerged during a period when Asian cinema was actively experimenting with Western genre influences. The film follows a scientist who transforms a volunteer into a cyborg superhero to battle Princess Dragon Mom and her army of monsters. Join us—Pete Wright and Andy Nelson—as we continue the Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with this month's member bonus episode discussing The Super Inframan.

Monster Mayhem and Creative Chaos

Pete and Andy dive deep into the film's spectacular array of monsters, from the memorable "Boing Boing Boys" with their spring-loaded mace heads to Witch Eye with her laser-shooting hand-eyes. They particularly appreciate the creative costume design despite obvious budget constraints, noting how the film manages to create memorable characters through imaginative practical effects and enthusiastic performances.

Shaw Brothers' Influence and Legacy

The hosts explore how The Super Inframan fits into the larger Shaw Brothers catalog and its influence on later filmmakers like Robert Rodriguez and Quentin Tarantino, among others. They discuss how the studio's willingness to experiment with genre combinations helped pave the way for future martial arts and action cinema.

Key Discussion Points:

  • The film's ambitious 88-minute runtime packed with non-stop action
  • Danny Lee's performance as Rayma/Inframan and his transformation sequences
  • Terry Liu's memorable portrayal of Princess Dragon Mom
  • The creative but clearly budget-conscious special effects
  • The influence of Japanese tokusatsu on Hong Kong cinema
  • Geographic inconsistencies in the story that amused both hosts
  • The extensive use of practical effects and wire work
  • How the film balances martial arts action with science fiction elements

Final Thoughts

While Pete and Andy disagree on the exact star rating the film deserves, they both emphasize how thoroughly entertaining The Super Inframan remains, particularly in its commitment to spectacle and imagination over narrative coherence. They note how the film's influence can be seen in everything from Power Rangers to modern superhero 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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> “Listen, human beings. I’m Princess Elzebub. I’ve conquered the Earth. I’m your new master now.”
Hong Kong's Super-Powered Shaw Brothers Spectacle

The Super Inframan, released by Shaw Brothers Studio in 1975, represents a fascinating fusion of tokusatsu, kung fu, and superhero genres. Directed by Hua Shan, this Hong Kong science fiction action film emerged during a period when Asian cinema was actively experimenting with Western genre influences. The film follows a scientist who transforms a volunteer into a cyborg superhero to battle Princess Dragon Mom and her army of monsters. Join us—Pete Wright and Andy Nelson—as we continue the Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with this month's member bonus episode discussing The Super Inframan.

Monster Mayhem and Creative Chaos

Pete and Andy dive deep into the film's spectacular array of monsters, from the memorable "Boing Boing Boys" with their spring-loaded mace heads to Witch Eye with her laser-shooting hand-eyes. They particularly appreciate the creative costume design despite obvious budget constraints, noting how the film manages to create memorable characters through imaginative practical effects and enthusiastic performances.

Shaw Brothers' Influence and Legacy

The hosts explore how The Super Inframan fits into the larger Shaw Brothers catalog and its influence on later filmmakers like Robert Rodriguez and Quentin Tarantino, among others. They discuss how the studio's willingness to experiment with genre combinations helped pave the way for future martial arts and action cinema.

Key Discussion Points:

  • The film's ambitious 88-minute runtime packed with non-stop action
  • Danny Lee's performance as Rayma/Inframan and his transformation sequences
  • Terry Liu's memorable portrayal of Princess Dragon Mom
  • The creative but clearly budget-conscious special effects
  • The influence of Japanese tokusatsu on Hong Kong cinema
  • Geographic inconsistencies in the story that amused both hosts
  • The extensive use of practical effects and wire work
  • How the film balances martial arts action with science fiction elements

Final Thoughts

While Pete and Andy disagree on the exact star rating the film deserves, they both emphasize how thoroughly entertaining The Super Inframan remains, particularly in its commitment to spectacle and imagination over narrative coherence. They note how the film's influence can be seen in everything from Power Rangers to modern superhero 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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> Tue, 30 Sep 2025 03:00:00 -0700 TruStory FM TruStory FM 591 “Listen, human beings. I’m Princess Elzebub. I’ve conquered the Earth. I’m your new master now.”
Hong Kong's Super-Powered Shaw Brothers Spectacle

The Super Inframan, released by Shaw Brothers Studio in 1975, represents a fascinating fusion of tokusatsu, kung fu, and superhero genres. Directed by Hua Shan, this Hong Kong science fiction action film emerged during a period when Asian cinema was actively experimenting with Western genre influences. The film follows a scientist who transforms a volunteer into a cyborg superhero to battle Princess Dragon Mom and her army of monsters. Join us—Pete Wright and Andy Nelson—as we continue the Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with this month's member bonus episode discussing The Super Inframan.

Monster Mayhem and Creative Chaos

Pete and Andy dive deep into the film's spectacular array of monsters, from the memorable "Boing Boing Boys" with their spring-loaded mace heads to Witch Eye with her laser-shooting hand-eyes. They particularly appreciate the creative costume design despite obvious budget constraints, noting how the film manages to create memorable characters through imaginative practical effects and enthusiastic performances.

Shaw Brothers' Influence and Legacy

The hosts explore how The Super Inframan fits into the larger Shaw Brothers catalog and its influence on later filmmakers like Robert Rodriguez and Quentin Tarantino, among others. They discuss how the studio's willingness to experiment with genre combinations helped pave the way for future martial arts and action cinema.

Key Discussion Points:

  • The film's ambitious 88-minute runtime packed with non-stop action
  • Danny Lee's performance as Rayma/Inframan and his transformation sequences
  • Terry Liu's memorable portrayal of Princess Dragon Mom
  • The creative but clearly budget-conscious special effects
  • The influence of Japanese tokusatsu on Hong Kong cinema
  • Geographic inconsistencies in the story that amused both hosts
  • The extensive use of practical effects and wire work
  • How the film balances martial arts action with science fiction elements

Final Thoughts

While Pete and Andy disagree on the exact star rating the film deserves, they both emphasize how thoroughly entertaining The Super Inframan remains, particularly in its commitment to spectacle and imagination over narrative coherence. They note how the film's influence can be seen in everything from Power Rangers to modern superhero 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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> 1975. 1970s, Hua Shan, Golden Jubilee: 1975's Pioneering Visions in Global Cinema, Member Bonus No Andy Nelson Pete Wright Deep Red (Profondo Rosso) 15 15 9 9 Deep Red (Profondo Rosso) full f4766867-0882-42f0-a2ff-11967d180bef https://share.transistor.fm/s/69d3a2b3 “You have killed and you will kill again!”
Italian Horror Meets Murder Mystery in Dario Argento's Deep Red

Dario Argento's 1975 Deep Red (Profondo Rosso) stands as a defining example of Italian giallo cinema. The film follows a British jazz pianist who witnesses a brutal murder and becomes entangled in solving the crime, working alongside an investigative reporter to unravel a mystery involving childhood trauma, psychic phenomena, and a series of increasingly violent murders. Join us—Pete Wright and Andy Nelson—as we continue the Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Deep Red.

Defining the Giallo Style

Andy provides essential context about giallo films, explaining their origins in yellow-covered Italian crime novels and their evolution into a distinct cinematic style. The hosts discuss how Deep Red exemplifies classic giallo elements: black-gloved killers, elaborate murder sequences, and psychological complexity, while adding Argento's distinctive visual approach.

Visual Language and Cinematography

The conversation delves deep into Argento's unique visual approach, particularly his use of extreme close-ups and creative camera movements. Pete and Andy analyze memorable sequences, including the "knife cam" technique and the record player scene, discussing how these elements contribute to the film's unsettling atmosphere.

Key Discussion Points:
• The film's elaborate murder sequences and their artistic execution
• Goblin's progressive rock score and its impact on the film's tone
• The significance of the arm-wrestling scene between Marcus and Gianna
• Analysis of the mystery's resolution and its connection to childhood trauma
• Comparison of the international cut versus the Italian version
• The film's influence on future horror directors

Notable Elements:
• The House of the Screaming Child and its architectural significance
• The mechanical doll sequence and its psychological impact
• The balance between horror and humor in the narrative
• Gender dynamics and representation in the film
• The importance of memory and perception in the story

Both hosts express genuine enthusiasm for Deep Red, praising its artistic merits while acknowledging its more outrageous elements. They particularly appreciate how the film balances its murder-mystery elements with artistic innovation and psychological depth. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You have killed and you will kill again!”
Italian Horror Meets Murder Mystery in Dario Argento's Deep Red

Dario Argento's 1975 Deep Red (Profondo Rosso) stands as a defining example of Italian giallo cinema. The film follows a British jazz pianist who witnesses a brutal murder and becomes entangled in solving the crime, working alongside an investigative reporter to unravel a mystery involving childhood trauma, psychic phenomena, and a series of increasingly violent murders. Join us—Pete Wright and Andy Nelson—as we continue the Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Deep Red.

Defining the Giallo Style

Andy provides essential context about giallo films, explaining their origins in yellow-covered Italian crime novels and their evolution into a distinct cinematic style. The hosts discuss how Deep Red exemplifies classic giallo elements: black-gloved killers, elaborate murder sequences, and psychological complexity, while adding Argento's distinctive visual approach.

Visual Language and Cinematography

The conversation delves deep into Argento's unique visual approach, particularly his use of extreme close-ups and creative camera movements. Pete and Andy analyze memorable sequences, including the "knife cam" technique and the record player scene, discussing how these elements contribute to the film's unsettling atmosphere.

Key Discussion Points:
• The film's elaborate murder sequences and their artistic execution
• Goblin's progressive rock score and its impact on the film's tone
• The significance of the arm-wrestling scene between Marcus and Gianna
• Analysis of the mystery's resolution and its connection to childhood trauma
• Comparison of the international cut versus the Italian version
• The film's influence on future horror directors

Notable Elements:
• The House of the Screaming Child and its architectural significance
• The mechanical doll sequence and its psychological impact
• The balance between horror and humor in the narrative
• Gender dynamics and representation in the film
• The importance of memory and perception in the story

Both hosts express genuine enthusiasm for Deep Red, praising its artistic merits while acknowledging its more outrageous elements. They particularly appreciate how the film balances its murder-mystery elements with artistic innovation and psychological depth. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 25 Sep 2025 03:00:00 -0700 TruStory FM TruStory FM 3637 “You have killed and you will kill again!”
Italian Horror Meets Murder Mystery in Dario Argento's Deep Red

Dario Argento's 1975 Deep Red (Profondo Rosso) stands as a defining example of Italian giallo cinema. The film follows a British jazz pianist who witnesses a brutal murder and becomes entangled in solving the crime, working alongside an investigative reporter to unravel a mystery involving childhood trauma, psychic phenomena, and a series of increasingly violent murders. Join us—Pete Wright and Andy Nelson—as we continue the Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Deep Red.

Defining the Giallo Style

Andy provides essential context about giallo films, explaining their origins in yellow-covered Italian crime novels and their evolution into a distinct cinematic style. The hosts discuss how Deep Red exemplifies classic giallo elements: black-gloved killers, elaborate murder sequences, and psychological complexity, while adding Argento's distinctive visual approach.

Visual Language and Cinematography

The conversation delves deep into Argento's unique visual approach, particularly his use of extreme close-ups and creative camera movements. Pete and Andy analyze memorable sequences, including the "knife cam" technique and the record player scene, discussing how these elements contribute to the film's unsettling atmosphere.

Key Discussion Points:
• The film's elaborate murder sequences and their artistic execution
• Goblin's progressive rock score and its impact on the film's tone
• The significance of the arm-wrestling scene between Marcus and Gianna
• Analysis of the mystery's resolution and its connection to childhood trauma
• Comparison of the international cut versus the Italian version
• The film's influence on future horror directors

Notable Elements:
• The House of the Screaming Child and its architectural significance
• The mechanical doll sequence and its psychological impact
• The balance between horror and humor in the narrative
• Gender dynamics and representation in the film
• The importance of memory and perception in the story

Both hosts express genuine enthusiasm for Deep Red, praising its artistic merits while acknowledging its more outrageous elements. They particularly appreciate how the film balances its murder-mystery elements with artistic innovation and psychological depth. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1975, 1970s, Dario Argento, Golden Jubilee: 1975's Pioneering Visions in Global Cinema No Andy Nelson Pete Wright Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles 15 15 8 8 Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles full e58258b0-1fa9-4bef-96ae-8a0db3c74e18 https://share.transistor.fm/s/a2d9912b “I could have made mashed potatoes, but we’re having that tomorrow.”
When Routine Becomes Revolution: Chantal Akerman's Masterpiece

In 1975, Belgian filmmaker Chantal Akerman created Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, a groundbreaking examination of feminine domestic life that would later be named the greatest film of all time by Sight & Sound critics in 2022. With a modest budget of $120,000 from the Belgian government, Akerman assembled an all-female crew to create this 201-minute meditation on routine, featuring Delphine Seyrig as a widowed mother whose rigid daily schedule includes housework and afternoon sex work to support her teenage son. Join us—Pete Wright and Andy Nelson—as we continue our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles.

A Study in Slow Cinema

We discuss our initial reactions to the film's deliberately slow pacing, with Pete describing his evolution from frustration to fascination over the three-hour runtime. We explore how Akerman's "ethical editing" approach forces viewers to experience labor and routine exactly as Jeanne does, with no shortcuts, creating an unprecedented level of intimacy with the protagonist's daily life. (We also debate the concept of “ethical editing.”)

Performance and Technical Achievement

We praise Delphine Seyrig's subtle performance, noting how she communicates volumes through minimal expression and gesture. We examine Akerman's static camera work and deliberate framing choices, discussing how technical elements like selective focus in hallway scenes might reflect both intentional artistic choices and production circumstances.

Key Discussion Points:

  • The film's unique position as a feminist masterwork that examines domestic labor and capitalism
  • The complex mother-son relationship between Jeanne and Sylvain
  • How the film's structure builds tension through minimal disruptions to routine
  • The significance of the ending and its relationship to the preceding three hours
  • Comparisons to other films about domestic work, including Roma and Parasite
  • The film's journey to becoming Sight & Sound's #1 film and the implications of that recognition

Legacy and Impact

We reflect on how Jeanne Dielman creates a cinematic experience that could not be effectively translated to any other medium. We discuss its growing critical appreciation over decades and debate whether its recent coronation as "greatest film of all time" helps or hinders its accessibility to new viewers.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I could have made mashed potatoes, but we’re having that tomorrow.”
When Routine Becomes Revolution: Chantal Akerman's Masterpiece

In 1975, Belgian filmmaker Chantal Akerman created Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, a groundbreaking examination of feminine domestic life that would later be named the greatest film of all time by Sight & Sound critics in 2022. With a modest budget of $120,000 from the Belgian government, Akerman assembled an all-female crew to create this 201-minute meditation on routine, featuring Delphine Seyrig as a widowed mother whose rigid daily schedule includes housework and afternoon sex work to support her teenage son. Join us—Pete Wright and Andy Nelson—as we continue our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles.

A Study in Slow Cinema

We discuss our initial reactions to the film's deliberately slow pacing, with Pete describing his evolution from frustration to fascination over the three-hour runtime. We explore how Akerman's "ethical editing" approach forces viewers to experience labor and routine exactly as Jeanne does, with no shortcuts, creating an unprecedented level of intimacy with the protagonist's daily life. (We also debate the concept of “ethical editing.”)

Performance and Technical Achievement

We praise Delphine Seyrig's subtle performance, noting how she communicates volumes through minimal expression and gesture. We examine Akerman's static camera work and deliberate framing choices, discussing how technical elements like selective focus in hallway scenes might reflect both intentional artistic choices and production circumstances.

Key Discussion Points:

  • The film's unique position as a feminist masterwork that examines domestic labor and capitalism
  • The complex mother-son relationship between Jeanne and Sylvain
  • How the film's structure builds tension through minimal disruptions to routine
  • The significance of the ending and its relationship to the preceding three hours
  • Comparisons to other films about domestic work, including Roma and Parasite
  • The film's journey to becoming Sight & Sound's #1 film and the implications of that recognition

Legacy and Impact

We reflect on how Jeanne Dielman creates a cinematic experience that could not be effectively translated to any other medium. We discuss its growing critical appreciation over decades and debate whether its recent coronation as "greatest film of all time" helps or hinders its accessibility to new viewers.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 18 Sep 2025 03:00:00 -0700 TruStory FM TruStory FM 4063 “I could have made mashed potatoes, but we’re having that tomorrow.”
When Routine Becomes Revolution: Chantal Akerman's Masterpiece

In 1975, Belgian filmmaker Chantal Akerman created Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, a groundbreaking examination of feminine domestic life that would later be named the greatest film of all time by Sight & Sound critics in 2022. With a modest budget of $120,000 from the Belgian government, Akerman assembled an all-female crew to create this 201-minute meditation on routine, featuring Delphine Seyrig as a widowed mother whose rigid daily schedule includes housework and afternoon sex work to support her teenage son. Join us—Pete Wright and Andy Nelson—as we continue our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles.

A Study in Slow Cinema

We discuss our initial reactions to the film's deliberately slow pacing, with Pete describing his evolution from frustration to fascination over the three-hour runtime. We explore how Akerman's "ethical editing" approach forces viewers to experience labor and routine exactly as Jeanne does, with no shortcuts, creating an unprecedented level of intimacy with the protagonist's daily life. (We also debate the concept of “ethical editing.”)

Performance and Technical Achievement

We praise Delphine Seyrig's subtle performance, noting how she communicates volumes through minimal expression and gesture. We examine Akerman's static camera work and deliberate framing choices, discussing how technical elements like selective focus in hallway scenes might reflect both intentional artistic choices and production circumstances.

Key Discussion Points:

  • The film's unique position as a feminist masterwork that examines domestic labor and capitalism
  • The complex mother-son relationship between Jeanne and Sylvain
  • How the film's structure builds tension through minimal disruptions to routine
  • The significance of the ending and its relationship to the preceding three hours
  • Comparisons to other films about domestic work, including Roma and Parasite
  • The film's journey to becoming Sight & Sound's #1 film and the implications of that recognition

Legacy and Impact

We reflect on how Jeanne Dielman creates a cinematic experience that could not be effectively translated to any other medium. We discuss its growing critical appreciation over decades and debate whether its recent coronation as "greatest film of all time" helps or hinders its accessibility to new viewers.

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1975, 1970s, Chantal Akerman, Golden Jubilee: 1975's Pioneering Visions in Global Cinema No Andy Nelson Pete Wright Barry Lyndon 15 15 7 7 Barry Lyndon full b11f855f-f205-44d6-8a9c-1dd5f7f1e466 https://share.transistor.fm/s/d18c10f9 “How different Barry’s fate might have been had he not fallen in love with Nora and had he not flung the wine at Captain Quinn’s face, but he was destined to be a wanderer and the battle with Quinn set him on his travels at a very early age, as you shall soon see.”
From Novel to Screen: Kubrick's Aristocratic Satire

Stanley Kubrick's 1975 period drama Barry Lyndon transforms William Makepeace Thackeray's novel into a visually stunning examination of 18th-century European aristocracy. Starring Ryan O'Neal as the opportunistic Irish rogue Redmond Barry, the film employed groundbreaking NASA-developed lenses to capture authentic candlelit scenes. Originally met with mixed commercial success despite critical acclaim, the film has since been recognized as a masterpiece of cinematography and historical storytelling. Join us—Pete Wright and Andy Nelson—as we kick off our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Barry Lyndon.

The Power of Narration

We explore how the third-person narrator fundamentally shapes the film's storytelling, with Pete surprisingly defending its necessity—notable given his general skepticism toward voiceovers. We discuss Kubrick's deliberate deviation from Thackeray's first-person narrative, creating an omniscient perspective that enhances the film's satirical elements.

Character and Performance

We delve into Ryan O'Neal's portrayal of Barry, examining how his sometimes vacant performance effectively serves the character's journey from ambitious young man to failed aristocrat. We analyze Barry's relationship with Lord Bullingdon and the complex family dynamics that ultimately lead to his downfall.

Technical Mastery

Discussion points include:

  • The revolutionary use of NASA-developed Zeiss lenses for candlelit scenes
  • Kubrick's distinctive application of zoom shots and tracking shots
  • The effective use of classical music, particularly Handel's Sarabande
  • The film's painterly composition, inspired by period artwork
  • The meticulous attention to period detail in costumes and sets

Contemporary Relevance

Pete draws fascinating parallels between Barry's story and modern capitalism, comparing him to a "18th-century gig worker" while Andy explores how the film's themes of social climbing and aristocratic fragility remain relevant today.

Final Thoughts

We both express deep appreciation for the film's artistic achievements and thematic complexity, despite its deliberate pacing. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “How different Barry’s fate might have been had he not fallen in love with Nora and had he not flung the wine at Captain Quinn’s face, but he was destined to be a wanderer and the battle with Quinn set him on his travels at a very early age, as you shall soon see.”
From Novel to Screen: Kubrick's Aristocratic Satire

Stanley Kubrick's 1975 period drama Barry Lyndon transforms William Makepeace Thackeray's novel into a visually stunning examination of 18th-century European aristocracy. Starring Ryan O'Neal as the opportunistic Irish rogue Redmond Barry, the film employed groundbreaking NASA-developed lenses to capture authentic candlelit scenes. Originally met with mixed commercial success despite critical acclaim, the film has since been recognized as a masterpiece of cinematography and historical storytelling. Join us—Pete Wright and Andy Nelson—as we kick off our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Barry Lyndon.

The Power of Narration

We explore how the third-person narrator fundamentally shapes the film's storytelling, with Pete surprisingly defending its necessity—notable given his general skepticism toward voiceovers. We discuss Kubrick's deliberate deviation from Thackeray's first-person narrative, creating an omniscient perspective that enhances the film's satirical elements.

Character and Performance

We delve into Ryan O'Neal's portrayal of Barry, examining how his sometimes vacant performance effectively serves the character's journey from ambitious young man to failed aristocrat. We analyze Barry's relationship with Lord Bullingdon and the complex family dynamics that ultimately lead to his downfall.

Technical Mastery

Discussion points include:

  • The revolutionary use of NASA-developed Zeiss lenses for candlelit scenes
  • Kubrick's distinctive application of zoom shots and tracking shots
  • The effective use of classical music, particularly Handel's Sarabande
  • The film's painterly composition, inspired by period artwork
  • The meticulous attention to period detail in costumes and sets

Contemporary Relevance

Pete draws fascinating parallels between Barry's story and modern capitalism, comparing him to a "18th-century gig worker" while Andy explores how the film's themes of social climbing and aristocratic fragility remain relevant today.

Final Thoughts

We both express deep appreciation for the film's artistic achievements and thematic complexity, despite its deliberate pacing. We have a great time talking about it, so check it out then tune in. The Next Reel—when the movie ends, our conversation begins!

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The Next Reel Family of Film Shows:

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]]> Thu, 11 Sep 2025 03:00:00 -0700 TruStory FM TruStory FM 3716 “How different Barry’s fate might have been had he not fallen in love with Nora and had he not flung the wine at Captain Quinn’s face, but he was destined to be a wanderer and the battle with Quinn set him on his travels at a very early age, as you shall soon see.”
From Novel to Screen: Kubrick's Aristocratic Satire

Stanley Kubrick's 1975 period drama Barry Lyndon transforms William Makepeace Thackeray's novel into a visually stunning examination of 18th-century European aristocracy. Starring Ryan O'Neal as the opportunistic Irish rogue Redmond Barry, the film employed groundbreaking NASA-developed lenses to capture authentic candlelit scenes. Originally met with mixed commercial success despite critical acclaim, the film has since been recognized as a masterpiece of cinematography and historical storytelling. Join us—Pete Wright and Andy Nelson—as we kick off our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Barry Lyndon.

The Power of Narration

We explore how the third-person narrator fundamentally shapes the film's storytelling, with Pete surprisingly defending its necessity—notable given his general skepticism toward voiceovers. We discuss Kubrick's deliberate deviation from Thackeray's first-person narrative, creating an omniscient perspective that enhances the film's satirical elements.

Character and Performance

We delve into Ryan O'Neal's portrayal of Barry, examining how his sometimes vacant performance effectively serves the character's journey from ambitious young man to failed aristocrat. We analyze Barry's relationship with Lord Bullingdon and the complex family dynamics that ultimately lead to his downfall.

Technical Mastery

Discussion points include:

  • The revolutionary use of NASA-developed Zeiss lenses for candlelit scenes
  • Kubrick's distinctive application of zoom shots and tracking shots
  • The effective use of classical music, particularly Handel's Sarabande
  • The film's painterly composition, inspired by period artwork
  • The meticulous attention to period detail in costumes and sets

Contemporary Relevance

Pete draws fascinating parallels between Barry's story and modern capitalism, comparing him to a "18th-century gig worker" while Andy explores how the film's themes of social climbing and aristocratic fragility remain relevant today.

Final Thoughts

We both express deep appreciation for the film's artistic achievements and thematic complexity, despite its deliberate pacing. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1975, 1970s, Stanley Kubrick, Golden Jubilee: 1975’s Pioneering Visions in Global Cinema No Andy Nelson Pete Wright Ju-on: The Grudge 2 15 15 5 5 Ju-on: The Grudge 2 full ed31a114-13e6-4873-a88f-1c3223647913 https://share.transistor.fm/s/97fefa1b “When you do horror films, do you go through a ritual purification before filming?”
When Hair Attacks and Time Loops: Ju-on: The Grudge 2 Brings Spectacle to the Franchise

Ju-on: The Grudge 2, released in 2003 and directed by Takashi Shimizu, marked a significant evolution in the franchise that began with the original short films. As the fourth installment in Shimizu's growing horror universe, this film followed a film crew working on a haunted house television show who become entangled in Kayako's curse. Join us—Pete Wright and Andy Nelson—as we wrap up our Silver Screams: 25 Years of Ju-on series with a conversation about Ju-on: The Grudge 2.

A Shift Toward Spectacle

We immediately noticed how this installment departed from the restrained approach of previous films. Rather than building slowly toward brief moments of terror, Ju-on: The Grudge 2 maintains higher intensity throughout, leaning into more elaborate supernatural sequences. Pete found himself both impressed by the conceptual ambition and amused by the execution, particularly noting how Kayako's increasingly active hair effects veered between genuinely creepy and unintentionally comedic.

One of the most significant changes we identified was the narrative structure focusing on a film crew rather than disconnected individuals. This approach allows viewers to follow relationships between characters over extended periods, creating stronger emotional investment than the vignette-style storytelling of previous films. Pete particularly appreciated how seeing characters interact with each other before encountering supernatural elements made their eventual fates more impactful.

Time Manipulation and Innovation

We spent considerable time discussing Shimizu's sophisticated approach to temporal storytelling. The sequence where characters hear mysterious thumping against walls, only to discover it’s something from their own future, exemplified this innovative approach. We found these temporal loops conceptually brilliant, even when execution didn't always meet expectations.

Notable Discussion Points:

  • Pete's shift from dismissing Kayako as a threat to finding her appearances comedic
  • How the film crew setting provides better character development than previous domestic settings
  • The climactic birth sequence as symbolic rebirth of evil
  • Toshio's continued effectiveness compared to Kayako's diminishing returns
  • The challenge of maintaining freshness across multiple franchise entries

Final Assessment

Despite Pete's ongoing struggles with Kayako as a supernatural threat, we both found Ju-on: The Grudge 2 more engaging than its predecessors. The film's willingness to embrace larger-scale horror and develop complex character relationships created a viewing experience that felt both familiar and refreshingly different. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “When you do horror films, do you go through a ritual purification before filming?”
When Hair Attacks and Time Loops: Ju-on: The Grudge 2 Brings Spectacle to the Franchise

Ju-on: The Grudge 2, released in 2003 and directed by Takashi Shimizu, marked a significant evolution in the franchise that began with the original short films. As the fourth installment in Shimizu's growing horror universe, this film followed a film crew working on a haunted house television show who become entangled in Kayako's curse. Join us—Pete Wright and Andy Nelson—as we wrap up our Silver Screams: 25 Years of Ju-on series with a conversation about Ju-on: The Grudge 2.

A Shift Toward Spectacle

We immediately noticed how this installment departed from the restrained approach of previous films. Rather than building slowly toward brief moments of terror, Ju-on: The Grudge 2 maintains higher intensity throughout, leaning into more elaborate supernatural sequences. Pete found himself both impressed by the conceptual ambition and amused by the execution, particularly noting how Kayako's increasingly active hair effects veered between genuinely creepy and unintentionally comedic.

One of the most significant changes we identified was the narrative structure focusing on a film crew rather than disconnected individuals. This approach allows viewers to follow relationships between characters over extended periods, creating stronger emotional investment than the vignette-style storytelling of previous films. Pete particularly appreciated how seeing characters interact with each other before encountering supernatural elements made their eventual fates more impactful.

Time Manipulation and Innovation

We spent considerable time discussing Shimizu's sophisticated approach to temporal storytelling. The sequence where characters hear mysterious thumping against walls, only to discover it’s something from their own future, exemplified this innovative approach. We found these temporal loops conceptually brilliant, even when execution didn't always meet expectations.

Notable Discussion Points:

  • Pete's shift from dismissing Kayako as a threat to finding her appearances comedic
  • How the film crew setting provides better character development than previous domestic settings
  • The climactic birth sequence as symbolic rebirth of evil
  • Toshio's continued effectiveness compared to Kayako's diminishing returns
  • The challenge of maintaining freshness across multiple franchise entries

Final Assessment

Despite Pete's ongoing struggles with Kayako as a supernatural threat, we both found Ju-on: The Grudge 2 more engaging than its predecessors. The film's willingness to embrace larger-scale horror and develop complex character relationships created a viewing experience that felt both familiar and refreshingly different. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 04 Sep 2025 03:00:00 -0700 TruStory FM TruStory FM 3892 “When you do horror films, do you go through a ritual purification before filming?”
When Hair Attacks and Time Loops: Ju-on: The Grudge 2 Brings Spectacle to the Franchise

Ju-on: The Grudge 2, released in 2003 and directed by Takashi Shimizu, marked a significant evolution in the franchise that began with the original short films. As the fourth installment in Shimizu's growing horror universe, this film followed a film crew working on a haunted house television show who become entangled in Kayako's curse. Join us—Pete Wright and Andy Nelson—as we wrap up our Silver Screams: 25 Years of Ju-on series with a conversation about Ju-on: The Grudge 2.

A Shift Toward Spectacle

We immediately noticed how this installment departed from the restrained approach of previous films. Rather than building slowly toward brief moments of terror, Ju-on: The Grudge 2 maintains higher intensity throughout, leaning into more elaborate supernatural sequences. Pete found himself both impressed by the conceptual ambition and amused by the execution, particularly noting how Kayako's increasingly active hair effects veered between genuinely creepy and unintentionally comedic.

One of the most significant changes we identified was the narrative structure focusing on a film crew rather than disconnected individuals. This approach allows viewers to follow relationships between characters over extended periods, creating stronger emotional investment than the vignette-style storytelling of previous films. Pete particularly appreciated how seeing characters interact with each other before encountering supernatural elements made their eventual fates more impactful.

Time Manipulation and Innovation

We spent considerable time discussing Shimizu's sophisticated approach to temporal storytelling. The sequence where characters hear mysterious thumping against walls, only to discover it’s something from their own future, exemplified this innovative approach. We found these temporal loops conceptually brilliant, even when execution didn't always meet expectations.

Notable Discussion Points:

  • Pete's shift from dismissing Kayako as a threat to finding her appearances comedic
  • How the film crew setting provides better character development than previous domestic settings
  • The climactic birth sequence as symbolic rebirth of evil
  • Toshio's continued effectiveness compared to Kayako's diminishing returns
  • The challenge of maintaining freshness across multiple franchise entries

Final Assessment

Despite Pete's ongoing struggles with Kayako as a supernatural threat, we both found Ju-on: The Grudge 2 more engaging than its predecessors. The film's willingness to embrace larger-scale horror and develop complex character relationships created a viewing experience that felt both familiar and refreshingly different. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 2003, 2000s, Takashi Shimizu, Silver Screams: 25 Years of Ju-on No Andy Nelson Pete Wright Night Moves • Member Bonus 15 15 6 6 Night Moves • Member Bonus full 6ba90c30-9d18-46f1-a4ca-3da632eedd53 https://share.transistor.fm/s/f2f3624b “C’mon! Take a swing at me the way Sam Spade would!”
A Detective Story Lost in the Florida Sun

Night Moves emerged from the politically charged atmosphere of early 1970s Hollywood, with screenwriter Alan Sharp crafting a neo-noir that deliberately subverted detective story conventions. Filmed in fall 1973 but delayed until 1975, Arthur Penn's direction paired Gene Hackman with Jennifer Warren in what would become a fascinating study of post-Watergate disillusionment wrapped in sun-drenched Florida locations rather than traditional noir shadows. Join us—Pete Wright and Andy Nelson—for this member bonus entry in our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Night Moves.

Character-Driven Neo-Noir Excellence

Pete and Andy discover unexpected depth in this deliberately confusing detective story, finding that Night Moves succeeds most when character development drives plot mechanics. We particularly praise Gene Hackman's portrayal of Harry Moseby, a former football star turned private investigator who proves remarkably inept at connecting dots in both his professional cases and personal relationships. Andy notes how Hackman transforms what could have been a standard detective role into something much darker and more psychologically complex, embodying a man who excels at solving other people's problems while remaining completely unable to address his own internal conflicts.

The Jennifer Warren Factor

We both express genuine enthusiasm for Jennifer Warren's magnetic screen presence as Paula, calling her performance electric and commanding. Pete draws comparisons to young Jane Fonda, highlighting Warren's ability to deliver dialogue that's simultaneously flirty and hostile. Their discussion reveals how Warren's natural charisma elevates what could have been a standard femme fatale role into something more nuanced and compelling, making them wish she had appeared in more films during this era.

Plot Mechanics vs. Thematic Ambitions

The conversation reveals a central tension in Night Moves between its deliberately obfuscated plot and its thematic goals. While Andy initially struggled with the film's confusing criminal mechanics involving stolen artifacts and Florida smuggling operations, we both ultimately appreciate how the narrative confusion serves the larger themes about post-Watergate uncertainty and the impossibility of complete understanding. Pete acknowledges the script's weakness in certain areas while praising Alan Sharp's naturalistic dialogue and character interactions.

Key Discussion Points:

  • The film's relationship to 1970s political disillusionment and Watergate-era paranoia
  • Comparisons to Chinatown and how both films handle moral ambiguity and incomplete understanding
  • The problematic casting of 16-year-old Melanie Griffith and how the film handles her character's sexuality
  • Arthur Penn's direction compared to his more celebrated works like Bonnie and Clyde
  • The supporting cast including Harris Yulin, James Woods, and Susan Clark
  • Michael Small's 1970s minimalist score and its effectiveness
  • The significance of chess metaphors and Harry Mosby's tendency to replay famous games rather than create his own
  • How the sun-drenched Florida setting subverts traditional noir visual conventions

A Successful Revisit

Andy's dramatic reassessment demonstrates how Night Moves rewards patient viewing and acceptance of its deliberately frustrating structure. We both conclude that while the film's criminal plot remains unnecessarily convoluted, the character work and thematic ambitions create a compelling meditation on uncertainty, moral compromise, and the impossibility of heroic resolution in 1970s America. 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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> “C’mon! Take a swing at me the way Sam Spade would!”
A Detective Story Lost in the Florida Sun

Night Moves emerged from the politically charged atmosphere of early 1970s Hollywood, with screenwriter Alan Sharp crafting a neo-noir that deliberately subverted detective story conventions. Filmed in fall 1973 but delayed until 1975, Arthur Penn's direction paired Gene Hackman with Jennifer Warren in what would become a fascinating study of post-Watergate disillusionment wrapped in sun-drenched Florida locations rather than traditional noir shadows. Join us—Pete Wright and Andy Nelson—for this member bonus entry in our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Night Moves.

Character-Driven Neo-Noir Excellence

Pete and Andy discover unexpected depth in this deliberately confusing detective story, finding that Night Moves succeeds most when character development drives plot mechanics. We particularly praise Gene Hackman's portrayal of Harry Moseby, a former football star turned private investigator who proves remarkably inept at connecting dots in both his professional cases and personal relationships. Andy notes how Hackman transforms what could have been a standard detective role into something much darker and more psychologically complex, embodying a man who excels at solving other people's problems while remaining completely unable to address his own internal conflicts.

The Jennifer Warren Factor

We both express genuine enthusiasm for Jennifer Warren's magnetic screen presence as Paula, calling her performance electric and commanding. Pete draws comparisons to young Jane Fonda, highlighting Warren's ability to deliver dialogue that's simultaneously flirty and hostile. Their discussion reveals how Warren's natural charisma elevates what could have been a standard femme fatale role into something more nuanced and compelling, making them wish she had appeared in more films during this era.

Plot Mechanics vs. Thematic Ambitions

The conversation reveals a central tension in Night Moves between its deliberately obfuscated plot and its thematic goals. While Andy initially struggled with the film's confusing criminal mechanics involving stolen artifacts and Florida smuggling operations, we both ultimately appreciate how the narrative confusion serves the larger themes about post-Watergate uncertainty and the impossibility of complete understanding. Pete acknowledges the script's weakness in certain areas while praising Alan Sharp's naturalistic dialogue and character interactions.

Key Discussion Points:

  • The film's relationship to 1970s political disillusionment and Watergate-era paranoia
  • Comparisons to Chinatown and how both films handle moral ambiguity and incomplete understanding
  • The problematic casting of 16-year-old Melanie Griffith and how the film handles her character's sexuality
  • Arthur Penn's direction compared to his more celebrated works like Bonnie and Clyde
  • The supporting cast including Harris Yulin, James Woods, and Susan Clark
  • Michael Small's 1970s minimalist score and its effectiveness
  • The significance of chess metaphors and Harry Mosby's tendency to replay famous games rather than create his own
  • How the sun-drenched Florida setting subverts traditional noir visual conventions

A Successful Revisit

Andy's dramatic reassessment demonstrates how Night Moves rewards patient viewing and acceptance of its deliberately frustrating structure. We both conclude that while the film's criminal plot remains unnecessarily convoluted, the character work and thematic ambitions create a compelling meditation on uncertainty, moral compromise, and the impossibility of heroic resolution in 1970s America. 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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> Sun, 31 Aug 2025 03:00:00 -0700 TruStory FM TruStory FM 459 “C’mon! Take a swing at me the way Sam Spade would!”
A Detective Story Lost in the Florida Sun

Night Moves emerged from the politically charged atmosphere of early 1970s Hollywood, with screenwriter Alan Sharp crafting a neo-noir that deliberately subverted detective story conventions. Filmed in fall 1973 but delayed until 1975, Arthur Penn's direction paired Gene Hackman with Jennifer Warren in what would become a fascinating study of post-Watergate disillusionment wrapped in sun-drenched Florida locations rather than traditional noir shadows. Join us—Pete Wright and Andy Nelson—for this member bonus entry in our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Night Moves.

Character-Driven Neo-Noir Excellence

Pete and Andy discover unexpected depth in this deliberately confusing detective story, finding that Night Moves succeeds most when character development drives plot mechanics. We particularly praise Gene Hackman's portrayal of Harry Moseby, a former football star turned private investigator who proves remarkably inept at connecting dots in both his professional cases and personal relationships. Andy notes how Hackman transforms what could have been a standard detective role into something much darker and more psychologically complex, embodying a man who excels at solving other people's problems while remaining completely unable to address his own internal conflicts.

The Jennifer Warren Factor

We both express genuine enthusiasm for Jennifer Warren's magnetic screen presence as Paula, calling her performance electric and commanding. Pete draws comparisons to young Jane Fonda, highlighting Warren's ability to deliver dialogue that's simultaneously flirty and hostile. Their discussion reveals how Warren's natural charisma elevates what could have been a standard femme fatale role into something more nuanced and compelling, making them wish she had appeared in more films during this era.

Plot Mechanics vs. Thematic Ambitions

The conversation reveals a central tension in Night Moves between its deliberately obfuscated plot and its thematic goals. While Andy initially struggled with the film's confusing criminal mechanics involving stolen artifacts and Florida smuggling operations, we both ultimately appreciate how the narrative confusion serves the larger themes about post-Watergate uncertainty and the impossibility of complete understanding. Pete acknowledges the script's weakness in certain areas while praising Alan Sharp's naturalistic dialogue and character interactions.

Key Discussion Points:

  • The film's relationship to 1970s political disillusionment and Watergate-era paranoia
  • Comparisons to Chinatown and how both films handle moral ambiguity and incomplete understanding
  • The problematic casting of 16-year-old Melanie Griffith and how the film handles her character's sexuality
  • Arthur Penn's direction compared to his more celebrated works like Bonnie and Clyde
  • The supporting cast including Harris Yulin, James Woods, and Susan Clark
  • Michael Small's 1970s minimalist score and its effectiveness
  • The significance of chess metaphors and Harry Mosby's tendency to replay famous games rather than create his own
  • How the sun-drenched Florida setting subverts traditional noir visual conventions

A Successful Revisit

Andy's dramatic reassessment demonstrates how Night Moves rewards patient viewing and acceptance of its deliberately frustrating structure. We both conclude that while the film's criminal plot remains unnecessarily convoluted, the character work and thematic ambitions create a compelling meditation on uncertainty, moral compromise, and the impossibility of heroic resolution in 1970s America. 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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> 1975, 1970s, Golden Jubilee: 1975’s Pioneering Visions in Global Cinema, Arthur Penn, Member Bonus No Andy Nelson Pete Wright Ju-on: The Grudge 15 15 4 4 Ju-on: The Grudge full c5106691-8581-4567-bd72-efcdf0353976 https://share.transistor.fm/s/50f07ed2 “Please stop tormenting me!”
From V-Cinema to Theatrical Horror: The Evolution of Ju-on: The Grudge

After finding success with his V-Cinema entries Ju-on: The Curse and its sequel, director Takashi Shimizu brought his haunting vision to theaters in 2002 with Ju-on: The Grudge. This theatrical adaptation expanded on his original concept while introducing new audiences to the cursed Saeki house and its vengeful spirits. Join us—Pete Wright and Andy Nelson—as we continue the Silver Screams: 25 Years of Ju-on series with a conversation about Ju-on: The Grudge.

A Tale of Two Viewings

We approach the film from distinctly different perspectives, with Andy having seen this theatrical version first, while Pete’s experience is largely based on his recent watches of the two previous V-Cinema entries. This colors their discussion as we explore how the increased budget and production values affected the scares and overall impact of the story.

Evolving Horror Elements

We dive deep into how Shimizu expanded his supernatural toolkit, from the addition of the three schoolgirl ghosts to new manifestations of Kayako's curse. Andy particularly appreciates these innovations, while Pete finds the original V-Cinema versions more effectively haunting, leading to an interesting debate about horror presentation in different formats.

Cultural Context and Interpretation

A fascinating tangent emerges as Pete proposes viewing the film as a metaphor for dementia, connecting various elements from the older characters' interactions with the spirits to the disorienting non-linear structure. This interpretation opens new ways of understanding the film's approach to horror.

Key discussion points include:

  • The film's non-linear storytelling and how it affects audience engagement
  • Evolution of supernatural elements from the V-Cinema versions
  • Use of sound design and its role in creating effective scares
  • The significance of the "normal" house as a horror setting
  • Treatment of older characters and their connection to the spirit world
  • Comparison to American remakes and adaptation choices
  • Technical innovations in ghost appearances and manifestations
  • Cultural differences in horror presentation and expectations

Final Thoughts

While Andy finds it the strongest entry in the franchise thus far, Pete is less positive but finds a slightly growing appreciation through the discussion. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Please stop tormenting me!”
From V-Cinema to Theatrical Horror: The Evolution of Ju-on: The Grudge

After finding success with his V-Cinema entries Ju-on: The Curse and its sequel, director Takashi Shimizu brought his haunting vision to theaters in 2002 with Ju-on: The Grudge. This theatrical adaptation expanded on his original concept while introducing new audiences to the cursed Saeki house and its vengeful spirits. Join us—Pete Wright and Andy Nelson—as we continue the Silver Screams: 25 Years of Ju-on series with a conversation about Ju-on: The Grudge.

A Tale of Two Viewings

We approach the film from distinctly different perspectives, with Andy having seen this theatrical version first, while Pete’s experience is largely based on his recent watches of the two previous V-Cinema entries. This colors their discussion as we explore how the increased budget and production values affected the scares and overall impact of the story.

Evolving Horror Elements

We dive deep into how Shimizu expanded his supernatural toolkit, from the addition of the three schoolgirl ghosts to new manifestations of Kayako's curse. Andy particularly appreciates these innovations, while Pete finds the original V-Cinema versions more effectively haunting, leading to an interesting debate about horror presentation in different formats.

Cultural Context and Interpretation

A fascinating tangent emerges as Pete proposes viewing the film as a metaphor for dementia, connecting various elements from the older characters' interactions with the spirits to the disorienting non-linear structure. This interpretation opens new ways of understanding the film's approach to horror.

Key discussion points include:

  • The film's non-linear storytelling and how it affects audience engagement
  • Evolution of supernatural elements from the V-Cinema versions
  • Use of sound design and its role in creating effective scares
  • The significance of the "normal" house as a horror setting
  • Treatment of older characters and their connection to the spirit world
  • Comparison to American remakes and adaptation choices
  • Technical innovations in ghost appearances and manifestations
  • Cultural differences in horror presentation and expectations

Final Thoughts

While Andy finds it the strongest entry in the franchise thus far, Pete is less positive but finds a slightly growing appreciation through the discussion. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 28 Aug 2025 03:00:00 -0700 TruStory FM TruStory FM 4296 “Please stop tormenting me!”
From V-Cinema to Theatrical Horror: The Evolution of Ju-on: The Grudge

After finding success with his V-Cinema entries Ju-on: The Curse and its sequel, director Takashi Shimizu brought his haunting vision to theaters in 2002 with Ju-on: The Grudge. This theatrical adaptation expanded on his original concept while introducing new audiences to the cursed Saeki house and its vengeful spirits. Join us—Pete Wright and Andy Nelson—as we continue the Silver Screams: 25 Years of Ju-on series with a conversation about Ju-on: The Grudge.

A Tale of Two Viewings

We approach the film from distinctly different perspectives, with Andy having seen this theatrical version first, while Pete’s experience is largely based on his recent watches of the two previous V-Cinema entries. This colors their discussion as we explore how the increased budget and production values affected the scares and overall impact of the story.

Evolving Horror Elements

We dive deep into how Shimizu expanded his supernatural toolkit, from the addition of the three schoolgirl ghosts to new manifestations of Kayako's curse. Andy particularly appreciates these innovations, while Pete finds the original V-Cinema versions more effectively haunting, leading to an interesting debate about horror presentation in different formats.

Cultural Context and Interpretation

A fascinating tangent emerges as Pete proposes viewing the film as a metaphor for dementia, connecting various elements from the older characters' interactions with the spirits to the disorienting non-linear structure. This interpretation opens new ways of understanding the film's approach to horror.

Key discussion points include:

  • The film's non-linear storytelling and how it affects audience engagement
  • Evolution of supernatural elements from the V-Cinema versions
  • Use of sound design and its role in creating effective scares
  • The significance of the "normal" house as a horror setting
  • Treatment of older characters and their connection to the spirit world
  • Comparison to American remakes and adaptation choices
  • Technical innovations in ghost appearances and manifestations
  • Cultural differences in horror presentation and expectations

Final Thoughts

While Andy finds it the strongest entry in the franchise thus far, Pete is less positive but finds a slightly growing appreciation through the discussion. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Silver Screams: 25 Years of Ju-on, Takashi Shimizu, 2000s, 2002 No Andy Nelson Pete Wright Ju-on: The Curse 2 15 15 3 3 Ju-on: The Curse 2 full 662bda55-44d4-461d-9eb0-57d89fe773c5 https://share.transistor.fm/s/380c6447 “You’ll die if you remain here!”
Expanding the Curse: Exploring Ju-on: The Curse 2

Released just one month after its predecessor in March 2000, Ju-on: The Curse 2 continues director Takashi Shimizu's haunting tale of a curse born from powerful rage. Made for Japanese V-cinema (direct-to-video) with an extremely tight nine-day shooting schedule shared with the first film, this second installment notably incorporates about 30 minutes of footage from Ju-on: The Curse before launching into new territory. Join us—Pete Wright and Andy Nelson—as we continue the Silver Screams: 25 Years of Ju-on series with a conversation about Ju-on: The Curse 2.

A Curse Continues

Pete and Andy discuss the unusual structure of incorporating so much footage from the first film, with Pete noting this choice makes more sense given the V-cinema market's typical viewing patterns. Andy appreciates how this approach allows Shimizu to lean into repetition as a storytelling device, reflecting the cyclical nature of the curse itself.

Evolution of Horror

The hosts explore how Ju-on: The Curse 2 expands its supernatural elements, particularly in the multiplication of Kayako's appearances. They debate whether this evolution serves the story or potentially diminishes the impact of the original's more focused approach. Both agree the film's daytime horror sequences remain particularly effective.

Key Discussion Points

  • The film's innovative use of multiple Kayakos in the classroom scene
  • How the curse extends beyond the house to affect connected individuals
  • The effectiveness of minimal exposition in creating tension
  • The hosts' differing views on whether this should have been combined with the first film
  • Shimizu's creative solutions to budget constraints, particularly in the final scene
  • The impact of daytime horror sequences
  • The significance of unexplained elements in Japanese horror storytelling
  • Character development and narrative progression debates
  • The film's position within the larger Ju-on franchise

Final Thoughts

While Pete struggles with the film's structure and recycled content, both hosts appreciate Shimizu's ability to create effective horror sequences on a minimal budget. Andy particularly enjoys how the film expands the curse's mythology, even if some elements remain deliberately unexplained. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “You’ll die if you remain here!”
Expanding the Curse: Exploring Ju-on: The Curse 2

Released just one month after its predecessor in March 2000, Ju-on: The Curse 2 continues director Takashi Shimizu's haunting tale of a curse born from powerful rage. Made for Japanese V-cinema (direct-to-video) with an extremely tight nine-day shooting schedule shared with the first film, this second installment notably incorporates about 30 minutes of footage from Ju-on: The Curse before launching into new territory. Join us—Pete Wright and Andy Nelson—as we continue the Silver Screams: 25 Years of Ju-on series with a conversation about Ju-on: The Curse 2.

A Curse Continues

Pete and Andy discuss the unusual structure of incorporating so much footage from the first film, with Pete noting this choice makes more sense given the V-cinema market's typical viewing patterns. Andy appreciates how this approach allows Shimizu to lean into repetition as a storytelling device, reflecting the cyclical nature of the curse itself.

Evolution of Horror

The hosts explore how Ju-on: The Curse 2 expands its supernatural elements, particularly in the multiplication of Kayako's appearances. They debate whether this evolution serves the story or potentially diminishes the impact of the original's more focused approach. Both agree the film's daytime horror sequences remain particularly effective.

Key Discussion Points

  • The film's innovative use of multiple Kayakos in the classroom scene
  • How the curse extends beyond the house to affect connected individuals
  • The effectiveness of minimal exposition in creating tension
  • The hosts' differing views on whether this should have been combined with the first film
  • Shimizu's creative solutions to budget constraints, particularly in the final scene
  • The impact of daytime horror sequences
  • The significance of unexplained elements in Japanese horror storytelling
  • Character development and narrative progression debates
  • The film's position within the larger Ju-on franchise

Final Thoughts

While Pete struggles with the film's structure and recycled content, both hosts appreciate Shimizu's ability to create effective horror sequences on a minimal budget. Andy particularly enjoys how the film expands the curse's mythology, even if some elements remain deliberately unexplained. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 21 Aug 2025 03:00:00 -0700 TruStory FM TruStory FM 3643 “You’ll die if you remain here!”
Expanding the Curse: Exploring Ju-on: The Curse 2

Released just one month after its predecessor in March 2000, Ju-on: The Curse 2 continues director Takashi Shimizu's haunting tale of a curse born from powerful rage. Made for Japanese V-cinema (direct-to-video) with an extremely tight nine-day shooting schedule shared with the first film, this second installment notably incorporates about 30 minutes of footage from Ju-on: The Curse before launching into new territory. Join us—Pete Wright and Andy Nelson—as we continue the Silver Screams: 25 Years of Ju-on series with a conversation about Ju-on: The Curse 2.

A Curse Continues

Pete and Andy discuss the unusual structure of incorporating so much footage from the first film, with Pete noting this choice makes more sense given the V-cinema market's typical viewing patterns. Andy appreciates how this approach allows Shimizu to lean into repetition as a storytelling device, reflecting the cyclical nature of the curse itself.

Evolution of Horror

The hosts explore how Ju-on: The Curse 2 expands its supernatural elements, particularly in the multiplication of Kayako's appearances. They debate whether this evolution serves the story or potentially diminishes the impact of the original's more focused approach. Both agree the film's daytime horror sequences remain particularly effective.

Key Discussion Points

  • The film's innovative use of multiple Kayakos in the classroom scene
  • How the curse extends beyond the house to affect connected individuals
  • The effectiveness of minimal exposition in creating tension
  • The hosts' differing views on whether this should have been combined with the first film
  • Shimizu's creative solutions to budget constraints, particularly in the final scene
  • The impact of daytime horror sequences
  • The significance of unexplained elements in Japanese horror storytelling
  • Character development and narrative progression debates
  • The film's position within the larger Ju-on franchise

Final Thoughts

While Pete struggles with the film's structure and recycled content, both hosts appreciate Shimizu's ability to create effective horror sequences on a minimal budget. Andy particularly enjoys how the film expands the curse's mythology, even if some elements remain deliberately unexplained. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2000, Takashi Shimizu, Silver Screams: 25 Years of Ju-on, 2000s No Andy Nelson Pete Wright Ju-on: The Curse 15 15 2 2 Ju-on: The Curse full b18926f3-2c5e-4e36-96e2-3770c426c824 https://trustory.fm/thenextreel/ju-on-the-curse/ “The family that used to live there, they all either died or went missing.”
From V-Cinema to Global Horror: The Birth of Ju-on

Takashi Shimizu's Ju-on: The Curse (2000) emerged from two successful short films to launch one of Japan's most influential horror franchises. Originally released direct-to-video as part of Japan's V-Cinema movement, this low-budget supernatural horror film established the haunting mythology of Kayako, Toshio, and their curse that would eventually reach global audiences. Join us—Pete Wright and Andy Nelson—as we kick off our Silver Screams: 25 Years of Ju-on series with a conversation about Ju-on: The Curse.

Breaking Down the Curse

We dive deep into the film's non-linear narrative structure, discussing how the six interconnected stories build a compelling mythology around the cursed house. We explore how Shimizu masterfully creates tension through minimal effects and strategic camera placement, particularly praising the effective use of still shots and lighting to build dread.

Narrative Complexity and Character Connections

We spend considerable time untangling the film's timeline, tracking how characters like Kobayashi, the Murakami family, and the real estate siblings connect to the central curse. Andy particularly appreciates how the film subverts traditional ghost story resolution tropes, while Pete notes the innovative approach to spiritual connection through the sake-drinking test.

Key discussion points include:

  •  The original curse's creation through Takeo's jealous rage
  • How the curse spreads beyond the house's physical boundaries
  • The significance of Toshio's cat sounds and appearances
  • Cultural context of home visits by teachers
  • The effectiveness of low-budget horror techniques
  • Comparison to other J-horror franchises like Ring

Technical Achievement and Legacy

We both praise Shimizu's ability to create genuinely unsettling moments despite budget constraints, particularly highlighting scenes like Kayako's stair-crawl and Toshio's classroom appearance. We discuss how these techniques would influence both future installments and Western horror cinema.

A Franchise Foundation

While acknowledging some rough edges in dialogue and performance, we agree that Ju-on: The Curse successfully establishes the franchise's core elements of cyclical fatalism and inescapable supernatural vengeance. The conversation touches on how these themes would be developed in subsequent films and international remakes. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “The family that used to live there, they all either died or went missing.”
From V-Cinema to Global Horror: The Birth of Ju-on

Takashi Shimizu's Ju-on: The Curse (2000) emerged from two successful short films to launch one of Japan's most influential horror franchises. Originally released direct-to-video as part of Japan's V-Cinema movement, this low-budget supernatural horror film established the haunting mythology of Kayako, Toshio, and their curse that would eventually reach global audiences. Join us—Pete Wright and Andy Nelson—as we kick off our Silver Screams: 25 Years of Ju-on series with a conversation about Ju-on: The Curse.

Breaking Down the Curse

We dive deep into the film's non-linear narrative structure, discussing how the six interconnected stories build a compelling mythology around the cursed house. We explore how Shimizu masterfully creates tension through minimal effects and strategic camera placement, particularly praising the effective use of still shots and lighting to build dread.

Narrative Complexity and Character Connections

We spend considerable time untangling the film's timeline, tracking how characters like Kobayashi, the Murakami family, and the real estate siblings connect to the central curse. Andy particularly appreciates how the film subverts traditional ghost story resolution tropes, while Pete notes the innovative approach to spiritual connection through the sake-drinking test.

Key discussion points include:

  •  The original curse's creation through Takeo's jealous rage
  • How the curse spreads beyond the house's physical boundaries
  • The significance of Toshio's cat sounds and appearances
  • Cultural context of home visits by teachers
  • The effectiveness of low-budget horror techniques
  • Comparison to other J-horror franchises like Ring

Technical Achievement and Legacy

We both praise Shimizu's ability to create genuinely unsettling moments despite budget constraints, particularly highlighting scenes like Kayako's stair-crawl and Toshio's classroom appearance. We discuss how these techniques would influence both future installments and Western horror cinema.

A Franchise Foundation

While acknowledging some rough edges in dialogue and performance, we agree that Ju-on: The Curse successfully establishes the franchise's core elements of cyclical fatalism and inescapable supernatural vengeance. The conversation touches on how these themes would be developed in subsequent films and international remakes. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 14 Aug 2025 03:00:00 -0700 TruStory FM TruStory FM 4087 “The family that used to live there, they all either died or went missing.”
From V-Cinema to Global Horror: The Birth of Ju-on

Takashi Shimizu's Ju-on: The Curse (2000) emerged from two successful short films to launch one of Japan's most influential horror franchises. Originally released direct-to-video as part of Japan's V-Cinema movement, this low-budget supernatural horror film established the haunting mythology of Kayako, Toshio, and their curse that would eventually reach global audiences. Join us—Pete Wright and Andy Nelson—as we kick off our Silver Screams: 25 Years of Ju-on series with a conversation about Ju-on: The Curse.

Breaking Down the Curse

We dive deep into the film's non-linear narrative structure, discussing how the six interconnected stories build a compelling mythology around the cursed house. We explore how Shimizu masterfully creates tension through minimal effects and strategic camera placement, particularly praising the effective use of still shots and lighting to build dread.

Narrative Complexity and Character Connections

We spend considerable time untangling the film's timeline, tracking how characters like Kobayashi, the Murakami family, and the real estate siblings connect to the central curse. Andy particularly appreciates how the film subverts traditional ghost story resolution tropes, while Pete notes the innovative approach to spiritual connection through the sake-drinking test.

Key discussion points include:

  •  The original curse's creation through Takeo's jealous rage
  • How the curse spreads beyond the house's physical boundaries
  • The significance of Toshio's cat sounds and appearances
  • Cultural context of home visits by teachers
  • The effectiveness of low-budget horror techniques
  • Comparison to other J-horror franchises like Ring

Technical Achievement and Legacy

We both praise Shimizu's ability to create genuinely unsettling moments despite budget constraints, particularly highlighting scenes like Kayako's stair-crawl and Toshio's classroom appearance. We discuss how these techniques would influence both future installments and Western horror cinema.

A Franchise Foundation

While acknowledging some rough edges in dialogue and performance, we agree that Ju-on: The Curse successfully establishes the franchise's core elements of cyclical fatalism and inescapable supernatural vengeance. The conversation touches on how these themes would be developed in subsequent films and international remakes. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2000, 2000s, Takashi Shimizu, Silver Screams: 25 Years of Ju-on No Andy Nelson Pete Wright Ballerina 15 15 1 1 Ballerina full 94bdc2e8-1f45-441a-b5e0-abe5ee533a6b https://trustory.fm/thenextreel/ballerina/ “Fight like a girl.”
Dancing with Assassins: The Latest Chapter in the John Wick Universe

Ballerina, released in 2025, expands the John Wick universe with Ana de Armas stepping into the lead role as Eve, a trained assassin seeking revenge. Director Len Wiseman, known for the Underworld series, takes the helm with a reported $90 million budget. The film, originally a spec script by Shay Hatten, was adapted to fit within the John Wick timeline, specifically during the events of John Wick: Chapter 3 - Parabellum. Join us—Pete Wright and Andy Nelson—as we continue the John Wick series with a conversation about Ballerina.

A Complicated Dance with Continuity

We explore how Ballerina integrates into the established John Wick timeline, with particular attention to the film's placement during the events of Chapter 3. We discuss the challenges of maintaining continuity while expanding the universe, especially regarding John Wick's involvement despite his excommunicado status.

Action Sequences and Choreography

We highlight several standout action sequences, including the innovative plate fight in an Alpine restaurant, the grenade battle with the arms dealer, and the climactic flamethrower sequence. We both agree that while the stunts may not reach the heights of previous John Wick entries, they maintain the franchise's high standards for action choreography.

Script and Story Elements

Pete expresses concerns about the script's dialogue and character development, while Andy finds the writing serviceable within the established universe. They debate the effectiveness of the Cult as antagonists and the integration of Eve's personal story into the broader John Wick mythology.

Key discussion points include:

  • The integration of ballet themes and training into the assassination world
  • Ana de Armas's performance and physical commitment to the role
  • The expansion of the John Wick universe beyond Keanu Reeves
  • The potential future of the franchise and announced spinoff projects
  • The film's box office performance and implications for future installments
  • The role of Winston and the Continental in the broader narrative
  • Technical achievements in stunt work and practical effects

Final Thoughts

While we both agree Ballerina may be the weakest entry in the franchise thus far, we find enough merit in its action sequences and world-building to recommend it as a worthy addition to the John Wick universe. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Fight like a girl.”
Dancing with Assassins: The Latest Chapter in the John Wick Universe

Ballerina, released in 2025, expands the John Wick universe with Ana de Armas stepping into the lead role as Eve, a trained assassin seeking revenge. Director Len Wiseman, known for the Underworld series, takes the helm with a reported $90 million budget. The film, originally a spec script by Shay Hatten, was adapted to fit within the John Wick timeline, specifically during the events of John Wick: Chapter 3 - Parabellum. Join us—Pete Wright and Andy Nelson—as we continue the John Wick series with a conversation about Ballerina.

A Complicated Dance with Continuity

We explore how Ballerina integrates into the established John Wick timeline, with particular attention to the film's placement during the events of Chapter 3. We discuss the challenges of maintaining continuity while expanding the universe, especially regarding John Wick's involvement despite his excommunicado status.

Action Sequences and Choreography

We highlight several standout action sequences, including the innovative plate fight in an Alpine restaurant, the grenade battle with the arms dealer, and the climactic flamethrower sequence. We both agree that while the stunts may not reach the heights of previous John Wick entries, they maintain the franchise's high standards for action choreography.

Script and Story Elements

Pete expresses concerns about the script's dialogue and character development, while Andy finds the writing serviceable within the established universe. They debate the effectiveness of the Cult as antagonists and the integration of Eve's personal story into the broader John Wick mythology.

Key discussion points include:

  • The integration of ballet themes and training into the assassination world
  • Ana de Armas's performance and physical commitment to the role
  • The expansion of the John Wick universe beyond Keanu Reeves
  • The potential future of the franchise and announced spinoff projects
  • The film's box office performance and implications for future installments
  • The role of Winston and the Continental in the broader narrative
  • Technical achievements in stunt work and practical effects

Final Thoughts

While we both agree Ballerina may be the weakest entry in the franchise thus far, we find enough merit in its action sequences and world-building to recommend it as a worthy addition to the John Wick universe. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 07 Aug 2025 03:00:00 -0700 TruStory FM TruStory FM 4199 “Fight like a girl.”
Dancing with Assassins: The Latest Chapter in the John Wick Universe

Ballerina, released in 2025, expands the John Wick universe with Ana de Armas stepping into the lead role as Eve, a trained assassin seeking revenge. Director Len Wiseman, known for the Underworld series, takes the helm with a reported $90 million budget. The film, originally a spec script by Shay Hatten, was adapted to fit within the John Wick timeline, specifically during the events of John Wick: Chapter 3 - Parabellum. Join us—Pete Wright and Andy Nelson—as we continue the John Wick series with a conversation about Ballerina.

A Complicated Dance with Continuity

We explore how Ballerina integrates into the established John Wick timeline, with particular attention to the film's placement during the events of Chapter 3. We discuss the challenges of maintaining continuity while expanding the universe, especially regarding John Wick's involvement despite his excommunicado status.

Action Sequences and Choreography

We highlight several standout action sequences, including the innovative plate fight in an Alpine restaurant, the grenade battle with the arms dealer, and the climactic flamethrower sequence. We both agree that while the stunts may not reach the heights of previous John Wick entries, they maintain the franchise's high standards for action choreography.

Script and Story Elements

Pete expresses concerns about the script's dialogue and character development, while Andy finds the writing serviceable within the established universe. They debate the effectiveness of the Cult as antagonists and the integration of Eve's personal story into the broader John Wick mythology.

Key discussion points include:

  • The integration of ballet themes and training into the assassination world
  • Ana de Armas's performance and physical commitment to the role
  • The expansion of the John Wick universe beyond Keanu Reeves
  • The potential future of the franchise and announced spinoff projects
  • The film's box office performance and implications for future installments
  • The role of Winston and the Continental in the broader narrative
  • Technical achievements in stunt work and practical effects

Final Thoughts

While we both agree Ballerina may be the weakest entry in the franchise thus far, we find enough merit in its action sequences and world-building to recommend it as a worthy addition to the John Wick universe. 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2025, 2020s, Len Wiseman, John Wick No Andy Nelson Pete Wright Rock ’n’ Roll High School • Member Bonus 14 14 62 62 Rock ’n’ Roll High School • Member Bonus full ae0b578c-7e0f-45ae-b45a-f80db23a07dd https://share.transistor.fm/s/42faccb5 “On behalf of the students from Vince Lombardi High who are here tonight, I'd just like to say one thing: Screw you, Principal Togar, we made it to the concert anyway!”
Rock 'n' Roll Rules the School: A Corman Classic Gets Wild

Rock 'n' Roll High School (1979) emerged from Roger Corman's desire to tap into the teen movie craze following the success of Grease. Originally conceived as "Disco High," the project evolved when director Allan Arkush convinced Corman to feature punk rock instead, ultimately landing The Ramones as the film's musical stars. With a modest budget of $200,000, Arkush (with uncredited help from Joe Dante) crafted a frenetic comedy that would become a beloved cult classic. Join us—Pete Wright and Andy Nelson—as we continue the Roger Corman series with a conversation about Rock 'n' Roll High School.

A Perfect Storm of Punk and Comedy

Pete and Andy dive into their shared enthusiasm for this high-energy film, with both hosts expressing particular delight in its escalating absurdity. They discuss how the movie consistently takes every scene one step further than expected, from exploding mice to Eaglebauer's elaborate underground operation run from a TARDIS-like bathroom stall complete with his own secretary.

Performance and Characters

The hosts praise P.J. Soles' performance as Riff Randall, noting how effectively she carries the film despite being 29 playing a teenager. They discuss Mary Woronov's memorable turn as Principal Togar, and Clint Howard's scene-stealing role as Eaglebauer, the school's underground fixer.

Key Discussion Points:

  • The film's surprisingly chaste nature for a Corman production
  • The Ramones' presence and performance throughout the film
  • The movie's unique position in the teen film genre
  • The satirical elements of high school authority
  • The film's remarkable influence on later teen comedies

Legacy and Impact

Pete and Andy reflect on how Rock 'n' Roll High School fits into both the teen movie genre and the Corman catalogue, noting its distinctive blend of music, comedy, and rebellion. They discuss its theatrical release strategy and eventual success as a midnight movie favorite.

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

]]> “On behalf of the students from Vince Lombardi High who are here tonight, I'd just like to say one thing: Screw you, Principal Togar, we made it to the concert anyway!”
Rock 'n' Roll Rules the School: A Corman Classic Gets Wild

Rock 'n' Roll High School (1979) emerged from Roger Corman's desire to tap into the teen movie craze following the success of Grease. Originally conceived as "Disco High," the project evolved when director Allan Arkush convinced Corman to feature punk rock instead, ultimately landing The Ramones as the film's musical stars. With a modest budget of $200,000, Arkush (with uncredited help from Joe Dante) crafted a frenetic comedy that would become a beloved cult classic. Join us—Pete Wright and Andy Nelson—as we continue the Roger Corman series with a conversation about Rock 'n' Roll High School.

A Perfect Storm of Punk and Comedy

Pete and Andy dive into their shared enthusiasm for this high-energy film, with both hosts expressing particular delight in its escalating absurdity. They discuss how the movie consistently takes every scene one step further than expected, from exploding mice to Eaglebauer's elaborate underground operation run from a TARDIS-like bathroom stall complete with his own secretary.

Performance and Characters

The hosts praise P.J. Soles' performance as Riff Randall, noting how effectively she carries the film despite being 29 playing a teenager. They discuss Mary Woronov's memorable turn as Principal Togar, and Clint Howard's scene-stealing role as Eaglebauer, the school's underground fixer.

Key Discussion Points:

  • The film's surprisingly chaste nature for a Corman production
  • The Ramones' presence and performance throughout the film
  • The movie's unique position in the teen film genre
  • The satirical elements of high school authority
  • The film's remarkable influence on later teen comedies

Legacy and Impact

Pete and Andy reflect on how Rock 'n' Roll High School fits into both the teen movie genre and the Corman catalogue, noting its distinctive blend of music, comedy, and rebellion. They discuss its theatrical release strategy and eventual success as a midnight movie favorite.

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

]]> Thu, 31 Jul 2025 03:00:00 -0700 TruStory FM TruStory FM 716 “On behalf of the students from Vince Lombardi High who are here tonight, I'd just like to say one thing: Screw you, Principal Togar, we made it to the concert anyway!”
Rock 'n' Roll Rules the School: A Corman Classic Gets Wild

Rock 'n' Roll High School (1979) emerged from Roger Corman's desire to tap into the teen movie craze following the success of Grease. Originally conceived as "Disco High," the project evolved when director Allan Arkush convinced Corman to feature punk rock instead, ultimately landing The Ramones as the film's musical stars. With a modest budget of $200,000, Arkush (with uncredited help from Joe Dante) crafted a frenetic comedy that would become a beloved cult classic. Join us—Pete Wright and Andy Nelson—as we continue the Roger Corman series with a conversation about Rock 'n' Roll High School.

A Perfect Storm of Punk and Comedy

Pete and Andy dive into their shared enthusiasm for this high-energy film, with both hosts expressing particular delight in its escalating absurdity. They discuss how the movie consistently takes every scene one step further than expected, from exploding mice to Eaglebauer's elaborate underground operation run from a TARDIS-like bathroom stall complete with his own secretary.

Performance and Characters

The hosts praise P.J. Soles' performance as Riff Randall, noting how effectively she carries the film despite being 29 playing a teenager. They discuss Mary Woronov's memorable turn as Principal Togar, and Clint Howard's scene-stealing role as Eaglebauer, the school's underground fixer.

Key Discussion Points:

  • The film's surprisingly chaste nature for a Corman production
  • The Ramones' presence and performance throughout the film
  • The movie's unique position in the teen film genre
  • The satirical elements of high school authority
  • The film's remarkable influence on later teen comedies

Legacy and Impact

Pete and Andy reflect on how Rock 'n' Roll High School fits into both the teen movie genre and the Corman catalogue, noting its distinctive blend of music, comedy, and rebellion. They discuss its theatrical release strategy and eventual success as a midnight movie favorite.

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

]]> 1979, 1970s, Allan Arkush, Roger Corman, Member Bonus No Andy Nelson Pete Wright F1 • Member Bonus 14 14 61 61 F1 • Member Bonus full 19a20506-1256-41c1-ad61-0f393d795dfd https://share.transistor.fm/s/74590c12 “When was the last time you won a race?”
Racing to Victory: Apple's F1 Brings Hollywood Formula to the Track

Joseph Kosinski's 2023 film F1 represents Apple's ambitious entry into big-budget theatrical releases, with a reported $300 million budget and unprecedented integration of real F1 racing footage, teams, and personalities. Starring Brad Pitt as aging driver Sonny Hayes alongside Damson Idris as hotshot rookie Joshua Pearce, the film follows the struggling Apex racing team's efforts to avoid being sold off by winning races in their final season. Join us—Pete Wright and Andy Nelson—as we add a member bonus episode to our Car Racing series with a conversation about F1.

Technical Achievement Meets Hollywood Formula

Pete and Andy explore how F1 breaks new ground in racing cinematography while adhering to familiar storytelling tropes. Pete celebrates the film's unprecedented access to actual F1 races and integration of real personalities like Lewis Hamilton, while Andy notes the predictable character arcs and relationship dynamics.

Team Dynamics Take Center Stage

The hosts dive deep into how F1 uniquely showcases the team aspect of Formula One racing, from the intricate pit crew choreography to the engineering challenges faced by Kerry Condon's character Kate. They discuss how the film illuminates the massive financial stakes and technical complexity of modern F1 racing.

Key Discussion Points:

  • The innovative filming techniques used to capture authentic race footage
  • Brad Pitt's character as an agent of controlled chaos on the track
  • The integration of real F1 personalities and locations
  • Apple's unprecedented marketing approach including haptic trailers
  • The balance between technical authenticity and Hollywood conventions
  • The not-so-great representation of female characters, particularly Kerry Condon's role
  • The film's handling of team dynamics versus individual achievement

Final Thoughts

While Pete enthusiastically embraces the film's technical achievements and racing sequences, Andy appreciates the detailed look at F1 team operations while expressing frustration with conventional plot elements. Both hosts agree the film succeeds in showcasing the collaborative nature of modern Formula One racing. 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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> “When was the last time you won a race?”
Racing to Victory: Apple's F1 Brings Hollywood Formula to the Track

Joseph Kosinski's 2023 film F1 represents Apple's ambitious entry into big-budget theatrical releases, with a reported $300 million budget and unprecedented integration of real F1 racing footage, teams, and personalities. Starring Brad Pitt as aging driver Sonny Hayes alongside Damson Idris as hotshot rookie Joshua Pearce, the film follows the struggling Apex racing team's efforts to avoid being sold off by winning races in their final season. Join us—Pete Wright and Andy Nelson—as we add a member bonus episode to our Car Racing series with a conversation about F1.

Technical Achievement Meets Hollywood Formula

Pete and Andy explore how F1 breaks new ground in racing cinematography while adhering to familiar storytelling tropes. Pete celebrates the film's unprecedented access to actual F1 races and integration of real personalities like Lewis Hamilton, while Andy notes the predictable character arcs and relationship dynamics.

Team Dynamics Take Center Stage

The hosts dive deep into how F1 uniquely showcases the team aspect of Formula One racing, from the intricate pit crew choreography to the engineering challenges faced by Kerry Condon's character Kate. They discuss how the film illuminates the massive financial stakes and technical complexity of modern F1 racing.

Key Discussion Points:

  • The innovative filming techniques used to capture authentic race footage
  • Brad Pitt's character as an agent of controlled chaos on the track
  • The integration of real F1 personalities and locations
  • Apple's unprecedented marketing approach including haptic trailers
  • The balance between technical authenticity and Hollywood conventions
  • The not-so-great representation of female characters, particularly Kerry Condon's role
  • The film's handling of team dynamics versus individual achievement

Final Thoughts

While Pete enthusiastically embraces the film's technical achievements and racing sequences, Andy appreciates the detailed look at F1 team operations while expressing frustration with conventional plot elements. Both hosts agree the film succeeds in showcasing the collaborative nature of modern Formula One racing. 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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> Mon, 30 Jun 2025 15:00:00 -0700 TruStory FM TruStory FM 4407 “When was the last time you won a race?”
Racing to Victory: Apple's F1 Brings Hollywood Formula to the Track

Joseph Kosinski's 2023 film F1 represents Apple's ambitious entry into big-budget theatrical releases, with a reported $300 million budget and unprecedented integration of real F1 racing footage, teams, and personalities. Starring Brad Pitt as aging driver Sonny Hayes alongside Damson Idris as hotshot rookie Joshua Pearce, the film follows the struggling Apex racing team's efforts to avoid being sold off by winning races in their final season. Join us—Pete Wright and Andy Nelson—as we add a member bonus episode to our Car Racing series with a conversation about F1.

Technical Achievement Meets Hollywood Formula

Pete and Andy explore how F1 breaks new ground in racing cinematography while adhering to familiar storytelling tropes. Pete celebrates the film's unprecedented access to actual F1 races and integration of real personalities like Lewis Hamilton, while Andy notes the predictable character arcs and relationship dynamics.

Team Dynamics Take Center Stage

The hosts dive deep into how F1 uniquely showcases the team aspect of Formula One racing, from the intricate pit crew choreography to the engineering challenges faced by Kerry Condon's character Kate. They discuss how the film illuminates the massive financial stakes and technical complexity of modern F1 racing.

Key Discussion Points:

  • The innovative filming techniques used to capture authentic race footage
  • Brad Pitt's character as an agent of controlled chaos on the track
  • The integration of real F1 personalities and locations
  • Apple's unprecedented marketing approach including haptic trailers
  • The balance between technical authenticity and Hollywood conventions
  • The not-so-great representation of female characters, particularly Kerry Condon's role
  • The film's handling of team dynamics versus individual achievement

Final Thoughts

While Pete enthusiastically embraces the film's technical achievements and racing sequences, Andy appreciates the detailed look at F1 team operations while expressing frustration with conventional plot elements. Both hosts agree the film succeeds in showcasing the collaborative nature of modern Formula One racing. 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!

🎬 Watch & Discover

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> 2025, 2020s, Joseph Kosinski, Car Racing, Member Bonus No Andy Nelson Pete Wright Forbidden World • Member Bonus 14 14 60 60 Forbidden World • Member Bonus full c7fc4fee-fd7b-49a6-b860-25a44a25c70f https://share.transistor.fm/s/78602467 “It's simplifying the cells, until there's no difference between a cell in your eye or your toe.”
Alien Ripoffs, Mutations, and Space Station Romance

In 1982, legendary B-movie producer Roger Corman released Forbidden World, a low-budget sci-fi horror film that shamelessly borrowed elements from Ridley Scott's 1979 classic Alien. Directed by Allan Holzman and starring Jesse Vint and June Chadwick, this exploitation flick follows a space marshal investigating a deadly mutant creature on a remote research station. Join us—Pete Wright and Andy Nelson—as we continue the Roger Corman series with a conversation about Forbidden World.

We dive into the schlocky delights of this Alien knockoff, from its cheap special effects to its gratuitous nudity. We discuss the film's place in Corman's canon of quickly produced, low-budget genre fare, and how it compares to other Alien imitators of the era.

We highlight some of the more memorable aspects of Forbidden World, including:

  • The film's creative use of recycled sets and footage from other Corman productions like Battle Beyond the Stars
  • The surprisingly effective creature effects, despite the obvious budget constraints
  • The scene-stealing performance of Fox Harris as the eccentric Dr. Cal
  • The copious amounts of female nudity, a hallmark of many Corman productions

We also touch on some of the film's shortcomings, such as its derivative plot, uneven pacing, and occasional lapses in logic. However, we both agree that Forbidden World delivers exactly what it promises—a cheesy, exploitation-laden sci-fi romp that's perfect for fans of low-budget genre cinema.

Additional topics covered in the conversation include:

  • The film's not-so-subtle sexual undertones
  • Corman's influence on the careers of many notable filmmakers, including James Cameron, who worked on Forbidden World's art direction
  • The effectiveness of the film's practical effects, particularly the gory scenes involving the mutant creature

In conclusion, while Forbidden World may not be a cinematic masterpiece, it's an entertaining example of the type of low-budget genre filmmaking that Roger Corman excelled at producing. We have a great time discussing this schlocky 1982 Alien knockoff, praising its creative practical effects and cheesy exploitation elements while also acknowledging its numerous flaws. 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

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> “It's simplifying the cells, until there's no difference between a cell in your eye or your toe.”
Alien Ripoffs, Mutations, and Space Station Romance

In 1982, legendary B-movie producer Roger Corman released Forbidden World, a low-budget sci-fi horror film that shamelessly borrowed elements from Ridley Scott's 1979 classic Alien. Directed by Allan Holzman and starring Jesse Vint and June Chadwick, this exploitation flick follows a space marshal investigating a deadly mutant creature on a remote research station. Join us—Pete Wright and Andy Nelson—as we continue the Roger Corman series with a conversation about Forbidden World.

We dive into the schlocky delights of this Alien knockoff, from its cheap special effects to its gratuitous nudity. We discuss the film's place in Corman's canon of quickly produced, low-budget genre fare, and how it compares to other Alien imitators of the era.

We highlight some of the more memorable aspects of Forbidden World, including:

  • The film's creative use of recycled sets and footage from other Corman productions like Battle Beyond the Stars
  • The surprisingly effective creature effects, despite the obvious budget constraints
  • The scene-stealing performance of Fox Harris as the eccentric Dr. Cal
  • The copious amounts of female nudity, a hallmark of many Corman productions

We also touch on some of the film's shortcomings, such as its derivative plot, uneven pacing, and occasional lapses in logic. However, we both agree that Forbidden World delivers exactly what it promises—a cheesy, exploitation-laden sci-fi romp that's perfect for fans of low-budget genre cinema.

Additional topics covered in the conversation include:

  • The film's not-so-subtle sexual undertones
  • Corman's influence on the careers of many notable filmmakers, including James Cameron, who worked on Forbidden World's art direction
  • The effectiveness of the film's practical effects, particularly the gory scenes involving the mutant creature

In conclusion, while Forbidden World may not be a cinematic masterpiece, it's an entertaining example of the type of low-budget genre filmmaking that Roger Corman excelled at producing. We have a great time discussing this schlocky 1982 Alien knockoff, praising its creative practical effects and cheesy exploitation elements while also acknowledging its numerous flaws. 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

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> Mon, 30 Jun 2025 03:00:00 -0700 TruStory FM TruStory FM 792 “It's simplifying the cells, until there's no difference between a cell in your eye or your toe.”
Alien Ripoffs, Mutations, and Space Station Romance

In 1982, legendary B-movie producer Roger Corman released Forbidden World, a low-budget sci-fi horror film that shamelessly borrowed elements from Ridley Scott's 1979 classic Alien. Directed by Allan Holzman and starring Jesse Vint and June Chadwick, this exploitation flick follows a space marshal investigating a deadly mutant creature on a remote research station. Join us—Pete Wright and Andy Nelson—as we continue the Roger Corman series with a conversation about Forbidden World.

We dive into the schlocky delights of this Alien knockoff, from its cheap special effects to its gratuitous nudity. We discuss the film's place in Corman's canon of quickly produced, low-budget genre fare, and how it compares to other Alien imitators of the era.

We highlight some of the more memorable aspects of Forbidden World, including:

  • The film's creative use of recycled sets and footage from other Corman productions like Battle Beyond the Stars
  • The surprisingly effective creature effects, despite the obvious budget constraints
  • The scene-stealing performance of Fox Harris as the eccentric Dr. Cal
  • The copious amounts of female nudity, a hallmark of many Corman productions

We also touch on some of the film's shortcomings, such as its derivative plot, uneven pacing, and occasional lapses in logic. However, we both agree that Forbidden World delivers exactly what it promises—a cheesy, exploitation-laden sci-fi romp that's perfect for fans of low-budget genre cinema.

Additional topics covered in the conversation include:

  • The film's not-so-subtle sexual undertones
  • Corman's influence on the careers of many notable filmmakers, including James Cameron, who worked on Forbidden World's art direction
  • The effectiveness of the film's practical effects, particularly the gory scenes involving the mutant creature

In conclusion, while Forbidden World may not be a cinematic masterpiece, it's an entertaining example of the type of low-budget genre filmmaking that Roger Corman excelled at producing. We have a great time discussing this schlocky 1982 Alien knockoff, praising its creative practical effects and cheesy exploitation elements while also acknowledging its numerous flaws. 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

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> 1982, 1980s, Allan Holzman, Roger Corman, Member Bonus No Andy Nelson Pete Wright The Art of Racing in the Rain 14 14 59 59 The Art of Racing in the Rain full a9c8b6b3-6f3a-44b8-aada-41cde80da5db https://share.transistor.fm/s/98721f98 “Somewhere, the zebra was dancing.”
Racing Through Emotions: A Dog's Tale of Life on and off the Track

The Art of Racing in the Rain, Simon Curtis's 2019 adaptation of Garth Stein's beloved novel, brings together the worlds of professional racing and canine companionship. With Milo Ventimiglia as aspiring race car driver Denny Swift and Kevin Costner as the voice of his philosophical dog Enzo, the film attempts to merge multiple genres while exploring life's deeper meanings through the unique perspective of man's best friend. Originally developed in 2009 with Patrick Dempsey attached to star, the project ultimately became the first film released by Fox after Disney's acquisition. Join us—Pete Wright and Andy Nelson—as we continue the Car Racing series with a conversation about The Art of Racing in the Rain.

A Different Kind of Racing Film

We discuss how The Art of Racing in the Rain diverges significantly from traditional racing films, focusing more on relationships and life lessons than actual racing. We explore how the film's title, while creative, may have set incorrect expectations for viewers seeking high-octane racing action. In our discussion, we examine how director Simon Curtis handles the balance between the racing elements and the more emotional family story.

Narrative Choices and Character Development

We dive deep into the film's narrative structure, particularly questioning the effectiveness of Kevin Costner's voicework as Enzo. We debate the decision to maintain Costner's mature voice throughout the dog's life and discuss how the highly sophisticated vocabulary and philosophical musings of the canine narrator impact the viewing experience. Our conversation explores whether the anthropomorphization of Enzo helps or hinders the story's emotional impact.

Key Discussion Points:

  • The film's position as both a racing movie and a dog movie
  • The effectiveness of the racing sequences versus the family drama
  • The surreal zebra hallucination sequence as a standout moment
  • The handling of serious themes like illness and custody battles
  • How the movie handles its metaphysical elements

Final Thoughts

While we acknowledge the film's appeal to certain audiences, we ultimately find ourselves disconnected from its emotional core. We discuss how The Art of Racing in the Rain represents a departure from traditional racing films and debate whether its attempts to blend genres succeed. Regardless, we have a great time talking about it, so check it out then tune in. The Next Reel—when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Somewhere, the zebra was dancing.”
Racing Through Emotions: A Dog's Tale of Life on and off the Track

The Art of Racing in the Rain, Simon Curtis's 2019 adaptation of Garth Stein's beloved novel, brings together the worlds of professional racing and canine companionship. With Milo Ventimiglia as aspiring race car driver Denny Swift and Kevin Costner as the voice of his philosophical dog Enzo, the film attempts to merge multiple genres while exploring life's deeper meanings through the unique perspective of man's best friend. Originally developed in 2009 with Patrick Dempsey attached to star, the project ultimately became the first film released by Fox after Disney's acquisition. Join us—Pete Wright and Andy Nelson—as we continue the Car Racing series with a conversation about The Art of Racing in the Rain.

A Different Kind of Racing Film

We discuss how The Art of Racing in the Rain diverges significantly from traditional racing films, focusing more on relationships and life lessons than actual racing. We explore how the film's title, while creative, may have set incorrect expectations for viewers seeking high-octane racing action. In our discussion, we examine how director Simon Curtis handles the balance between the racing elements and the more emotional family story.

Narrative Choices and Character Development

We dive deep into the film's narrative structure, particularly questioning the effectiveness of Kevin Costner's voicework as Enzo. We debate the decision to maintain Costner's mature voice throughout the dog's life and discuss how the highly sophisticated vocabulary and philosophical musings of the canine narrator impact the viewing experience. Our conversation explores whether the anthropomorphization of Enzo helps or hinders the story's emotional impact.

Key Discussion Points:

  • The film's position as both a racing movie and a dog movie
  • The effectiveness of the racing sequences versus the family drama
  • The surreal zebra hallucination sequence as a standout moment
  • The handling of serious themes like illness and custody battles
  • How the movie handles its metaphysical elements

Final Thoughts

While we acknowledge the film's appeal to certain audiences, we ultimately find ourselves disconnected from its emotional core. We discuss how The Art of Racing in the Rain represents a departure from traditional racing films and debate whether its attempts to blend genres succeed. Regardless, we have a great time talking about it, so check it out then tune in. The Next Reel—when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 26 Jun 2025 03:00:00 -0700 TruStory FM TruStory FM 3664 “Somewhere, the zebra was dancing.”
Racing Through Emotions: A Dog's Tale of Life on and off the Track

The Art of Racing in the Rain, Simon Curtis's 2019 adaptation of Garth Stein's beloved novel, brings together the worlds of professional racing and canine companionship. With Milo Ventimiglia as aspiring race car driver Denny Swift and Kevin Costner as the voice of his philosophical dog Enzo, the film attempts to merge multiple genres while exploring life's deeper meanings through the unique perspective of man's best friend. Originally developed in 2009 with Patrick Dempsey attached to star, the project ultimately became the first film released by Fox after Disney's acquisition. Join us—Pete Wright and Andy Nelson—as we continue the Car Racing series with a conversation about The Art of Racing in the Rain.

A Different Kind of Racing Film

We discuss how The Art of Racing in the Rain diverges significantly from traditional racing films, focusing more on relationships and life lessons than actual racing. We explore how the film's title, while creative, may have set incorrect expectations for viewers seeking high-octane racing action. In our discussion, we examine how director Simon Curtis handles the balance between the racing elements and the more emotional family story.

Narrative Choices and Character Development

We dive deep into the film's narrative structure, particularly questioning the effectiveness of Kevin Costner's voicework as Enzo. We debate the decision to maintain Costner's mature voice throughout the dog's life and discuss how the highly sophisticated vocabulary and philosophical musings of the canine narrator impact the viewing experience. Our conversation explores whether the anthropomorphization of Enzo helps or hinders the story's emotional impact.

Key Discussion Points:

  • The film's position as both a racing movie and a dog movie
  • The effectiveness of the racing sequences versus the family drama
  • The surreal zebra hallucination sequence as a standout moment
  • The handling of serious themes like illness and custody battles
  • How the movie handles its metaphysical elements

Final Thoughts

While we acknowledge the film's appeal to certain audiences, we ultimately find ourselves disconnected from its emotional core. We discuss how The Art of Racing in the Rain represents a departure from traditional racing films and debate whether its attempts to blend genres succeed. Regardless, we have a great time talking about it, so check it out then tune in. The Next Reel—when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2019, 2010s, Simon Curtis, Car Racing No Andy Nelson Pete Wright Ford v Ferrari 14 14 58 58 Ford v Ferrari full be58c175-8f18-4fd1-adfe-96651d008dc7 https://share.transistor.fm/s/11758480 “We're lighter, we're faster, and if that don't work, we're nastier.”
Racing Against Corporate Politics: Ford v Ferrari (2019)

James Mangold's Ford v Ferrari dramatizes the true story of Carroll Shelby and Ken Miles' quest to build a Ford race car capable of defeating Ferrari at the 24 Hours of Le Mans. Originally developed under the title "Go Like Hell" with Michael Mann attached to direct, the film evolved into a $97.6 million production examining the tension between passionate racers and corporate oversight. Join us—Pete Wright and Andy Nelson—as we continue the Car Racing series with a conversation about Ford v Ferrari.

Corporate Dynamics vs Racing Spirit

Pete and Andy explore how the film's real conflict isn't between Ford and Ferrari but rather between passionate racers and corporate bureaucracy. They discuss how Josh Lucas's portrayal of Leo Beebe represents the film's true antagonist, though historical accounts differ on the extent of his interference. The hosts particularly appreciate Tracy Letts' nuanced performance as Henry Ford II, especially the emotional test drive scene that reveals the human side of the corporate titan.

Technical Achievement and Historical Accuracy

The conversation delves into the film's impressive racing sequences, which combined practical effects, camera rigs, and minimal CGI to create authentic period racing footage. Pete notes how the film manages to make the potentially tedious 24-hour race engaging while maintaining historical accuracy about Ferrari's mechanical failures and the controversial photo finish ending.

Key discussion points include:

  • Christian Bale's embodiment of Ken Miles versus Matt Damon's interpretation of Carroll Shelby
  • The family dynamics between Miles, his wife Molly, and son Peter
  • How the film explains complex racing concepts through natural character interactions
  • The significance of the "7000 RPM" moment as both character development and historical commentary
  • The hosts' differing views on whether the title Ford v Ferrari accurately represents the film's core conflict

Legacy and Impact

Pete and Andy reflect on how Ford v Ferrari succeeds where previous racing films struggled, balancing technical detail with emotional depth. It was quite a successful film, and provides lots 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “We're lighter, we're faster, and if that don't work, we're nastier.”
Racing Against Corporate Politics: Ford v Ferrari (2019)

James Mangold's Ford v Ferrari dramatizes the true story of Carroll Shelby and Ken Miles' quest to build a Ford race car capable of defeating Ferrari at the 24 Hours of Le Mans. Originally developed under the title "Go Like Hell" with Michael Mann attached to direct, the film evolved into a $97.6 million production examining the tension between passionate racers and corporate oversight. Join us—Pete Wright and Andy Nelson—as we continue the Car Racing series with a conversation about Ford v Ferrari.

Corporate Dynamics vs Racing Spirit

Pete and Andy explore how the film's real conflict isn't between Ford and Ferrari but rather between passionate racers and corporate bureaucracy. They discuss how Josh Lucas's portrayal of Leo Beebe represents the film's true antagonist, though historical accounts differ on the extent of his interference. The hosts particularly appreciate Tracy Letts' nuanced performance as Henry Ford II, especially the emotional test drive scene that reveals the human side of the corporate titan.

Technical Achievement and Historical Accuracy

The conversation delves into the film's impressive racing sequences, which combined practical effects, camera rigs, and minimal CGI to create authentic period racing footage. Pete notes how the film manages to make the potentially tedious 24-hour race engaging while maintaining historical accuracy about Ferrari's mechanical failures and the controversial photo finish ending.

Key discussion points include:

  • Christian Bale's embodiment of Ken Miles versus Matt Damon's interpretation of Carroll Shelby
  • The family dynamics between Miles, his wife Molly, and son Peter
  • How the film explains complex racing concepts through natural character interactions
  • The significance of the "7000 RPM" moment as both character development and historical commentary
  • The hosts' differing views on whether the title Ford v Ferrari accurately represents the film's core conflict

Legacy and Impact

Pete and Andy reflect on how Ford v Ferrari succeeds where previous racing films struggled, balancing technical detail with emotional depth. It was quite a successful film, and provides lots 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 19 Jun 2025 03:00:00 -0700 TruStory FM TruStory FM 3622 “We're lighter, we're faster, and if that don't work, we're nastier.”
Racing Against Corporate Politics: Ford v Ferrari (2019)

James Mangold's Ford v Ferrari dramatizes the true story of Carroll Shelby and Ken Miles' quest to build a Ford race car capable of defeating Ferrari at the 24 Hours of Le Mans. Originally developed under the title "Go Like Hell" with Michael Mann attached to direct, the film evolved into a $97.6 million production examining the tension between passionate racers and corporate oversight. Join us—Pete Wright and Andy Nelson—as we continue the Car Racing series with a conversation about Ford v Ferrari.

Corporate Dynamics vs Racing Spirit

Pete and Andy explore how the film's real conflict isn't between Ford and Ferrari but rather between passionate racers and corporate bureaucracy. They discuss how Josh Lucas's portrayal of Leo Beebe represents the film's true antagonist, though historical accounts differ on the extent of his interference. The hosts particularly appreciate Tracy Letts' nuanced performance as Henry Ford II, especially the emotional test drive scene that reveals the human side of the corporate titan.

Technical Achievement and Historical Accuracy

The conversation delves into the film's impressive racing sequences, which combined practical effects, camera rigs, and minimal CGI to create authentic period racing footage. Pete notes how the film manages to make the potentially tedious 24-hour race engaging while maintaining historical accuracy about Ferrari's mechanical failures and the controversial photo finish ending.

Key discussion points include:

  • Christian Bale's embodiment of Ken Miles versus Matt Damon's interpretation of Carroll Shelby
  • The family dynamics between Miles, his wife Molly, and son Peter
  • How the film explains complex racing concepts through natural character interactions
  • The significance of the "7000 RPM" moment as both character development and historical commentary
  • The hosts' differing views on whether the title Ford v Ferrari accurately represents the film's core conflict

Legacy and Impact

Pete and Andy reflect on how Ford v Ferrari succeeds where previous racing films struggled, balancing technical detail with emotional depth. It was quite a successful film, and provides lots 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Car Racing, James Mangold, 2019, 2010s No Andy Nelson Pete Wright Rush (2013) 14 14 57 57 Rush (2013) full 59cb0776-e6ce-4439-8c2d-e259c1c6c251 https://share.transistor.fm/s/a9bd5907 “The closer you are to death, the more alive you feel. It's a wonderful way to live. It's the only way to drive.”
Racing Against Reality: Ron Howard's High-Speed Drama

Ron Howard's Rush (2013) dramatizes the intense 1976 Formula One rivalry between James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl). The film garnered attention for its stylized portrayal of the racing world, though Howard's approach to the true story sparked debate about historical accuracy versus cinematic entertainment. Join us—Pete Wright and Andy Nelson—as we continue the Car Racing series with a conversation about Rush (2013).

The Racing vs. The Reality

Pete and Andy explore how Howard's direction prioritizes dramatic tension over historical authenticity, particularly in the portrayal of Hunt and Lauda's relationship. Pete, an F1 enthusiast, notes that the film's decision to amplify their rivalry undermines the fascinating complexity of their actual collegial off-track relationship. Andy appreciates the performances but questions the narrative's divided focus between the two drivers.

Technical Execution and Storytelling

The hosts debate Howard's racing sequences, with Pete finding them overly stylized and "Michael Bay-esque," while Andy acknowledges their effectiveness for general audiences unfamiliar with F1. They discuss how the film's voice-over narration and character development choices impact the overall storytelling.

Key Discussion Points

  • The film's unclear protagonist focus, splitting attention between Hunt and Lauda
  • Daniel Brühl's acclaimed performance and physical transformation
  • The film's handling of the racing team dynamics and season structure
  • Howard's visualization of the sport compared to earlier racing films
  • The relationship portrayals, including Olivia Wilde as Suzy Miller and Alexandra Maria Lara as Marlene Lauda
  • The balance between racing sequences and character development
  • The simplification of F1's complex point system and team strategies
  • The impact of Howard's stylistic choices on the film's authenticity

Final Thoughts

While both hosts appreciate elements of Rush, particularly Brühl's performance, they agree the film sacrifices some of the most interesting aspects of the true story in favor of more conventional dramatic beats. The conversation highlights how the film serves better as general entertainment than as a faithful portrayal of F1 racing history.

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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “The closer you are to death, the more alive you feel. It's a wonderful way to live. It's the only way to drive.”
Racing Against Reality: Ron Howard's High-Speed Drama

Ron Howard's Rush (2013) dramatizes the intense 1976 Formula One rivalry between James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl). The film garnered attention for its stylized portrayal of the racing world, though Howard's approach to the true story sparked debate about historical accuracy versus cinematic entertainment. Join us—Pete Wright and Andy Nelson—as we continue the Car Racing series with a conversation about Rush (2013).

The Racing vs. The Reality

Pete and Andy explore how Howard's direction prioritizes dramatic tension over historical authenticity, particularly in the portrayal of Hunt and Lauda's relationship. Pete, an F1 enthusiast, notes that the film's decision to amplify their rivalry undermines the fascinating complexity of their actual collegial off-track relationship. Andy appreciates the performances but questions the narrative's divided focus between the two drivers.

Technical Execution and Storytelling

The hosts debate Howard's racing sequences, with Pete finding them overly stylized and "Michael Bay-esque," while Andy acknowledges their effectiveness for general audiences unfamiliar with F1. They discuss how the film's voice-over narration and character development choices impact the overall storytelling.

Key Discussion Points

  • The film's unclear protagonist focus, splitting attention between Hunt and Lauda
  • Daniel Brühl's acclaimed performance and physical transformation
  • The film's handling of the racing team dynamics and season structure
  • Howard's visualization of the sport compared to earlier racing films
  • The relationship portrayals, including Olivia Wilde as Suzy Miller and Alexandra Maria Lara as Marlene Lauda
  • The balance between racing sequences and character development
  • The simplification of F1's complex point system and team strategies
  • The impact of Howard's stylistic choices on the film's authenticity

Final Thoughts

While both hosts appreciate elements of Rush, particularly Brühl's performance, they agree the film sacrifices some of the most interesting aspects of the true story in favor of more conventional dramatic beats. The conversation highlights how the film serves better as general entertainment than as a faithful portrayal of F1 racing history.

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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 12 Jun 2025 03:00:00 -0700 TruStory FM TruStory FM 3445 “The closer you are to death, the more alive you feel. It's a wonderful way to live. It's the only way to drive.”
Racing Against Reality: Ron Howard's High-Speed Drama

Ron Howard's Rush (2013) dramatizes the intense 1976 Formula One rivalry between James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl). The film garnered attention for its stylized portrayal of the racing world, though Howard's approach to the true story sparked debate about historical accuracy versus cinematic entertainment. Join us—Pete Wright and Andy Nelson—as we continue the Car Racing series with a conversation about Rush (2013).

The Racing vs. The Reality

Pete and Andy explore how Howard's direction prioritizes dramatic tension over historical authenticity, particularly in the portrayal of Hunt and Lauda's relationship. Pete, an F1 enthusiast, notes that the film's decision to amplify their rivalry undermines the fascinating complexity of their actual collegial off-track relationship. Andy appreciates the performances but questions the narrative's divided focus between the two drivers.

Technical Execution and Storytelling

The hosts debate Howard's racing sequences, with Pete finding them overly stylized and "Michael Bay-esque," while Andy acknowledges their effectiveness for general audiences unfamiliar with F1. They discuss how the film's voice-over narration and character development choices impact the overall storytelling.

Key Discussion Points

  • The film's unclear protagonist focus, splitting attention between Hunt and Lauda
  • Daniel Brühl's acclaimed performance and physical transformation
  • The film's handling of the racing team dynamics and season structure
  • Howard's visualization of the sport compared to earlier racing films
  • The relationship portrayals, including Olivia Wilde as Suzy Miller and Alexandra Maria Lara as Marlene Lauda
  • The balance between racing sequences and character development
  • The simplification of F1's complex point system and team strategies
  • The impact of Howard's stylistic choices on the film's authenticity

Final Thoughts

While both hosts appreciate elements of Rush, particularly Brühl's performance, they agree the film sacrifices some of the most interesting aspects of the true story in favor of more conventional dramatic beats. The conversation highlights how the film serves better as general entertainment than as a faithful portrayal of F1 racing history.

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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2013, 2010s, Ron Howard, Car Racing No Andy Nelson Pete Wright Le Mans 14 14 54 54 Le Mans full 69baf8eb-f548-4efc-8511-30d50c06e2a7 https://share.transistor.fm/s/c6d4fd28 “It’s a long race.”
Racing to Nowhere: Steve McQueen's Polarizing Vision of Le Mans

Steve McQueen's passion project Le Mans (1971) emerged from a tumultuous production history, shifting from its original incarnation as "Day of the Champion" with director John Sturges to a more experimental documentary-style racing film under Lee H. Katzin. After losing creative control and his salary to keep the project alive, McQueen delivered a divisive exploration of the legendary 24-hour endurance race that would ultimately lead to his production company's bankruptcy. Join us—Pete Wright and Andy Nelson—as we continue the Car Racing series with a conversation about Le Mans.

The Documentary Approach

Pete and Andy explore how Le Mans takes a radical departure from traditional racing film narratives, eschewing conventional storytelling in favor of an immersive, documentary-style experience. While Pete appreciates the authenticity of being inside the claustrophobic racing vehicles, Andy struggles with the film's glacial pacing and minimal dialogue, finding the experimental approach more frustrating than enlightening.

Racing Without Story

The hosts debate the film's unique structure, with only approximately 12 lines of dialogue for McQueen and virtually no traditional character development. Pete, as a racing enthusiast, finds value in the technical accuracy and racing footage, while Andy laments the lack of coherent storytelling and character relationships.

Key Discussion Points:

  • The complex production history involving multiple directors and McQueen's creative vision
  • Comparison to Grand Prix and their different approaches to racing films
  • The documentary-style filming techniques and their effectiveness
  • The minimal dialogue and character development choices
  • The authenticity of the racing experience versus narrative engagement
  • Technical achievements in capturing the race environment
  • The film's influence on future racing movies
  • The hosts' dramatically different ratings

Legacy and Impact

Despite its commercial failure, Le Mans has gained a cult following among racing enthusiasts for its authentic portrayal of the legendary endurance race. The hosts discuss how the film's experimental approach influenced future racing films and documentaries, while debating whether its artistic choices ultimately serve or hinder the viewing experience.

We have a great time talking about it, so check it out then tune in. The Next Reel—when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “It’s a long race.”
Racing to Nowhere: Steve McQueen's Polarizing Vision of Le Mans

Steve McQueen's passion project Le Mans (1971) emerged from a tumultuous production history, shifting from its original incarnation as "Day of the Champion" with director John Sturges to a more experimental documentary-style racing film under Lee H. Katzin. After losing creative control and his salary to keep the project alive, McQueen delivered a divisive exploration of the legendary 24-hour endurance race that would ultimately lead to his production company's bankruptcy. Join us—Pete Wright and Andy Nelson—as we continue the Car Racing series with a conversation about Le Mans.

The Documentary Approach

Pete and Andy explore how Le Mans takes a radical departure from traditional racing film narratives, eschewing conventional storytelling in favor of an immersive, documentary-style experience. While Pete appreciates the authenticity of being inside the claustrophobic racing vehicles, Andy struggles with the film's glacial pacing and minimal dialogue, finding the experimental approach more frustrating than enlightening.

Racing Without Story

The hosts debate the film's unique structure, with only approximately 12 lines of dialogue for McQueen and virtually no traditional character development. Pete, as a racing enthusiast, finds value in the technical accuracy and racing footage, while Andy laments the lack of coherent storytelling and character relationships.

Key Discussion Points:

  • The complex production history involving multiple directors and McQueen's creative vision
  • Comparison to Grand Prix and their different approaches to racing films
  • The documentary-style filming techniques and their effectiveness
  • The minimal dialogue and character development choices
  • The authenticity of the racing experience versus narrative engagement
  • Technical achievements in capturing the race environment
  • The film's influence on future racing movies
  • The hosts' dramatically different ratings

Legacy and Impact

Despite its commercial failure, Le Mans has gained a cult following among racing enthusiasts for its authentic portrayal of the legendary endurance race. The hosts discuss how the film's experimental approach influenced future racing films and documentaries, while debating whether its artistic choices ultimately serve or hinder the viewing experience.

We have a great time talking about it, so check it out then tune in. The Next Reel—when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 05 Jun 2025 03:00:00 -0700 TruStory FM TruStory FM 3461 “It’s a long race.”
Racing to Nowhere: Steve McQueen's Polarizing Vision of Le Mans

Steve McQueen's passion project Le Mans (1971) emerged from a tumultuous production history, shifting from its original incarnation as "Day of the Champion" with director John Sturges to a more experimental documentary-style racing film under Lee H. Katzin. After losing creative control and his salary to keep the project alive, McQueen delivered a divisive exploration of the legendary 24-hour endurance race that would ultimately lead to his production company's bankruptcy. Join us—Pete Wright and Andy Nelson—as we continue the Car Racing series with a conversation about Le Mans.

The Documentary Approach

Pete and Andy explore how Le Mans takes a radical departure from traditional racing film narratives, eschewing conventional storytelling in favor of an immersive, documentary-style experience. While Pete appreciates the authenticity of being inside the claustrophobic racing vehicles, Andy struggles with the film's glacial pacing and minimal dialogue, finding the experimental approach more frustrating than enlightening.

Racing Without Story

The hosts debate the film's unique structure, with only approximately 12 lines of dialogue for McQueen and virtually no traditional character development. Pete, as a racing enthusiast, finds value in the technical accuracy and racing footage, while Andy laments the lack of coherent storytelling and character relationships.

Key Discussion Points:

  • The complex production history involving multiple directors and McQueen's creative vision
  • Comparison to Grand Prix and their different approaches to racing films
  • The documentary-style filming techniques and their effectiveness
  • The minimal dialogue and character development choices
  • The authenticity of the racing experience versus narrative engagement
  • Technical achievements in capturing the race environment
  • The film's influence on future racing movies
  • The hosts' dramatically different ratings

Legacy and Impact

Despite its commercial failure, Le Mans has gained a cult following among racing enthusiasts for its authentic portrayal of the legendary endurance race. The hosts discuss how the film's experimental approach influenced future racing films and documentaries, while debating whether its artistic choices ultimately serve or hinder the viewing experience.

We have a great time talking about it, so check it out then tune in. The Next Reel—when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1971, 1970s, Lee H. Katzin, Car Racing No Andy Nelson Pete Wright Mission: Impossible - The Final Reckoning • Member Bonus 14 14 56 56 Mission: Impossible - The Final Reckoning • Member Bonus full 1e270ed1-3929-4507-bc6e-74b021af065f https://share.transistor.fm/s/f31c7c9f “Our lives are the sum of our choices.”
The Final Mission: Breaking Down Mission: Impossible - The Final Reckoning

Christopher McQuarrie's Mission: Impossible - The Final Reckoning (2025) marks the ambitious conclusion to Tom Cruise's 29-year tenure as IMF agent Ethan Hunt. With a reported budget of $400 million, making it one of the most expensive films ever produced, this eighth installment brings together elements from across the franchise while pushing the boundaries of practical stunt work. The film faced multiple production delays due to COVID-19 and the 2023 SAG-AFTRA strike before finally reaching theaters in May 2025. Join us—Pete Wright and Andy Nelson—as we return to the Mission: Impossible series in a surprise member bonus episode with a conversation about Mission: Impossible - The Final Reckoning.

A Measured Opening Act

Pete and Andy discuss the film's extended opening sequence, with Pete finding the first hour somewhat bloated while Andy appreciates the careful franchise connections being established. Both hosts note how the film works to integrate elements from previous installments, particularly callbacks to the first and third films in the series.

Standout Sequences

The hosts spend considerable time analyzing two major action sequences: the submarine recovery mission and the climactic biplane chase. Both agree these represent some of the most impressive practical stunt work in the franchise, with particular praise for Tom Cruise's commitment to performing his own stunts even at age 60+.

Character Development and Callbacks

An unexpected highlight for both hosts was the return of a particular character from the first film, with Pete particularly praising how his scene with Ethan Hunt emphasized emotional weight over comedy. They also discuss Hayley Atwell's Grace taking up the mantle from Rebecca Ferguson's character, agreeing her presence felt natural within the team dynamic.

Key Discussion Points:

  • The revelation of the Rabbit's Foot's true nature from Mission: Impossible III
  • Gabriel's evolution as an antagonist after being abandoned by the Entity
  • The emotional resonance of Luther's sacrifice
  • The practical versus CGI elements in the major stunt sequences
  • The film's approach to providing closure while leaving possibilities open
  • How the movie handles its connections to previous installments
  • The evolution of the IMF team dynamic
  • Tom Cruise's dedication to practical stunt work

Final Thoughts

While Pete and Andy differ slightly on the pacing of the opening act, both agree Mission: Impossible - The Final Reckoning delivers a satisfying conclusion to the franchise. The combination of practical stunt work, emotional depth, and franchise connectivity creates what they consider a fitting send-off for Tom Cruise's Ethan Hunt. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> “Our lives are the sum of our choices.”
The Final Mission: Breaking Down Mission: Impossible - The Final Reckoning

Christopher McQuarrie's Mission: Impossible - The Final Reckoning (2025) marks the ambitious conclusion to Tom Cruise's 29-year tenure as IMF agent Ethan Hunt. With a reported budget of $400 million, making it one of the most expensive films ever produced, this eighth installment brings together elements from across the franchise while pushing the boundaries of practical stunt work. The film faced multiple production delays due to COVID-19 and the 2023 SAG-AFTRA strike before finally reaching theaters in May 2025. Join us—Pete Wright and Andy Nelson—as we return to the Mission: Impossible series in a surprise member bonus episode with a conversation about Mission: Impossible - The Final Reckoning.

A Measured Opening Act

Pete and Andy discuss the film's extended opening sequence, with Pete finding the first hour somewhat bloated while Andy appreciates the careful franchise connections being established. Both hosts note how the film works to integrate elements from previous installments, particularly callbacks to the first and third films in the series.

Standout Sequences

The hosts spend considerable time analyzing two major action sequences: the submarine recovery mission and the climactic biplane chase. Both agree these represent some of the most impressive practical stunt work in the franchise, with particular praise for Tom Cruise's commitment to performing his own stunts even at age 60+.

Character Development and Callbacks

An unexpected highlight for both hosts was the return of a particular character from the first film, with Pete particularly praising how his scene with Ethan Hunt emphasized emotional weight over comedy. They also discuss Hayley Atwell's Grace taking up the mantle from Rebecca Ferguson's character, agreeing her presence felt natural within the team dynamic.

Key Discussion Points:

  • The revelation of the Rabbit's Foot's true nature from Mission: Impossible III
  • Gabriel's evolution as an antagonist after being abandoned by the Entity
  • The emotional resonance of Luther's sacrifice
  • The practical versus CGI elements in the major stunt sequences
  • The film's approach to providing closure while leaving possibilities open
  • How the movie handles its connections to previous installments
  • The evolution of the IMF team dynamic
  • Tom Cruise's dedication to practical stunt work

Final Thoughts

While Pete and Andy differ slightly on the pacing of the opening act, both agree Mission: Impossible - The Final Reckoning delivers a satisfying conclusion to the franchise. The combination of practical stunt work, emotional depth, and franchise connectivity creates what they consider a fitting send-off for Tom Cruise's Ethan Hunt. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> Sat, 31 May 2025 04:00:00 -0700 TruStory FM TruStory FM 4951 “Our lives are the sum of our choices.”
The Final Mission: Breaking Down Mission: Impossible - The Final Reckoning

Christopher McQuarrie's Mission: Impossible - The Final Reckoning (2025) marks the ambitious conclusion to Tom Cruise's 29-year tenure as IMF agent Ethan Hunt. With a reported budget of $400 million, making it one of the most expensive films ever produced, this eighth installment brings together elements from across the franchise while pushing the boundaries of practical stunt work. The film faced multiple production delays due to COVID-19 and the 2023 SAG-AFTRA strike before finally reaching theaters in May 2025. Join us—Pete Wright and Andy Nelson—as we return to the Mission: Impossible series in a surprise member bonus episode with a conversation about Mission: Impossible - The Final Reckoning.

A Measured Opening Act

Pete and Andy discuss the film's extended opening sequence, with Pete finding the first hour somewhat bloated while Andy appreciates the careful franchise connections being established. Both hosts note how the film works to integrate elements from previous installments, particularly callbacks to the first and third films in the series.

Standout Sequences

The hosts spend considerable time analyzing two major action sequences: the submarine recovery mission and the climactic biplane chase. Both agree these represent some of the most impressive practical stunt work in the franchise, with particular praise for Tom Cruise's commitment to performing his own stunts even at age 60+.

Character Development and Callbacks

An unexpected highlight for both hosts was the return of a particular character from the first film, with Pete particularly praising how his scene with Ethan Hunt emphasized emotional weight over comedy. They also discuss Hayley Atwell's Grace taking up the mantle from Rebecca Ferguson's character, agreeing her presence felt natural within the team dynamic.

Key Discussion Points:

  • The revelation of the Rabbit's Foot's true nature from Mission: Impossible III
  • Gabriel's evolution as an antagonist after being abandoned by the Entity
  • The emotional resonance of Luther's sacrifice
  • The practical versus CGI elements in the major stunt sequences
  • The film's approach to providing closure while leaving possibilities open
  • How the movie handles its connections to previous installments
  • The evolution of the IMF team dynamic
  • Tom Cruise's dedication to practical stunt work

Final Thoughts

While Pete and Andy differ slightly on the pacing of the opening act, both agree Mission: Impossible - The Final Reckoning delivers a satisfying conclusion to the franchise. The combination of practical stunt work, emotional depth, and franchise connectivity creates what they consider a fitting send-off for Tom Cruise's Ethan Hunt. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> 2025, 2020s, Christopher McQuarrie, Mission: Impossible, Member Bonus No Andy Nelson Pete Wright Cannonball • Member Bonus 14 14 55 55 Cannonball • Member Bonus full e9878248-36b1-4b65-b10a-2b9423bbf3df https://share.transistor.fm/s/72dbfb5a “I got a better chance of handling him when he's pie-eyed. The front seat don't know it, but the back is still pulling the strings.”
Racing Across America with Roger Corman's Cannonball

In our latest member bonus episode, we dive into Paul Bartel's 1976 action comedy Cannonball, produced by Roger Corman's New World Pictures. Made with a modest budget of $780,000, this unauthorized take on the real-life Cannonball Baker Sea-to-Shining-Sea Memorial Trophy Dash features David Carradine as a recently released convict entering an illegal cross-country race from Santa Monica Pier to New York. Join us—Pete Wright and Andy Nelson—as we continue our Roger Corman celebration with this early entry in the cross-country racing genre.

A Race Without a Country

Pete and Andy discuss how Cannonball struggles to create a genuine sense of cross-country scope, with the film seemingly transitioning directly from Los Angeles to New York with little in between. Despite this limitation, they find entertainment value in Paul Bartel's character-focused approach, particularly his own memorable performance as a lounge-singing mobster.

Characters Over Cars

The hosts explore how the film compensates for its modest racing sequences by focusing on its eccentric cast of characters. From David Carradine's brooding anti-hero to the three women in their van and Beutell Morris's car thief with questionable pickup lines, the film succeeds more as a character study than as a racing film.

Key Discussion Points:
• The surprising involvement of the Shaw Brothers Studio as co-producers
• Notable cameos including Martin Scorsese, Sylvester Stallone, Roger Corman, Don Simpson, Joe Dante, Allan Arkush, and Jonathan Kaplan
• The film's influence on later cross-country racing films like The Cannonball Run
• Paul Bartel's apparent disinterest in car racing affecting the final product
• The real history of the Cannonball Baker race and its enduring legacy
• The impressive array of vehicles featured, including the 1968 Dodge Charger, Pontiac Trans Am, De Tomaso Pantera, Chevrolet Corvette, and 1969 Ford Mustang
• How the film balances action with character development
• The odd subplot involving identical cars and mysterious motivations

The Legacy of Cannonball

While both hosts found entertainment value in the film, they agree it falls short of both serious racing films and pure chaos movies like Death Race 2000. However, they appreciate its place in racing film history and its influence on later, bigger-budget cross-country racing 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!

Film Sundries

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> “I got a better chance of handling him when he's pie-eyed. The front seat don't know it, but the back is still pulling the strings.”
Racing Across America with Roger Corman's Cannonball

In our latest member bonus episode, we dive into Paul Bartel's 1976 action comedy Cannonball, produced by Roger Corman's New World Pictures. Made with a modest budget of $780,000, this unauthorized take on the real-life Cannonball Baker Sea-to-Shining-Sea Memorial Trophy Dash features David Carradine as a recently released convict entering an illegal cross-country race from Santa Monica Pier to New York. Join us—Pete Wright and Andy Nelson—as we continue our Roger Corman celebration with this early entry in the cross-country racing genre.

A Race Without a Country

Pete and Andy discuss how Cannonball struggles to create a genuine sense of cross-country scope, with the film seemingly transitioning directly from Los Angeles to New York with little in between. Despite this limitation, they find entertainment value in Paul Bartel's character-focused approach, particularly his own memorable performance as a lounge-singing mobster.

Characters Over Cars

The hosts explore how the film compensates for its modest racing sequences by focusing on its eccentric cast of characters. From David Carradine's brooding anti-hero to the three women in their van and Beutell Morris's car thief with questionable pickup lines, the film succeeds more as a character study than as a racing film.

Key Discussion Points:
• The surprising involvement of the Shaw Brothers Studio as co-producers
• Notable cameos including Martin Scorsese, Sylvester Stallone, Roger Corman, Don Simpson, Joe Dante, Allan Arkush, and Jonathan Kaplan
• The film's influence on later cross-country racing films like The Cannonball Run
• Paul Bartel's apparent disinterest in car racing affecting the final product
• The real history of the Cannonball Baker race and its enduring legacy
• The impressive array of vehicles featured, including the 1968 Dodge Charger, Pontiac Trans Am, De Tomaso Pantera, Chevrolet Corvette, and 1969 Ford Mustang
• How the film balances action with character development
• The odd subplot involving identical cars and mysterious motivations

The Legacy of Cannonball

While both hosts found entertainment value in the film, they agree it falls short of both serious racing films and pure chaos movies like Death Race 2000. However, they appreciate its place in racing film history and its influence on later, bigger-budget cross-country racing 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!

Film Sundries

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> Sat, 31 May 2025 03:00:00 -0700 TruStory FM TruStory FM 652 “I got a better chance of handling him when he's pie-eyed. The front seat don't know it, but the back is still pulling the strings.”
Racing Across America with Roger Corman's Cannonball

In our latest member bonus episode, we dive into Paul Bartel's 1976 action comedy Cannonball, produced by Roger Corman's New World Pictures. Made with a modest budget of $780,000, this unauthorized take on the real-life Cannonball Baker Sea-to-Shining-Sea Memorial Trophy Dash features David Carradine as a recently released convict entering an illegal cross-country race from Santa Monica Pier to New York. Join us—Pete Wright and Andy Nelson—as we continue our Roger Corman celebration with this early entry in the cross-country racing genre.

A Race Without a Country

Pete and Andy discuss how Cannonball struggles to create a genuine sense of cross-country scope, with the film seemingly transitioning directly from Los Angeles to New York with little in between. Despite this limitation, they find entertainment value in Paul Bartel's character-focused approach, particularly his own memorable performance as a lounge-singing mobster.

Characters Over Cars

The hosts explore how the film compensates for its modest racing sequences by focusing on its eccentric cast of characters. From David Carradine's brooding anti-hero to the three women in their van and Beutell Morris's car thief with questionable pickup lines, the film succeeds more as a character study than as a racing film.

Key Discussion Points:
• The surprising involvement of the Shaw Brothers Studio as co-producers
• Notable cameos including Martin Scorsese, Sylvester Stallone, Roger Corman, Don Simpson, Joe Dante, Allan Arkush, and Jonathan Kaplan
• The film's influence on later cross-country racing films like The Cannonball Run
• Paul Bartel's apparent disinterest in car racing affecting the final product
• The real history of the Cannonball Baker race and its enduring legacy
• The impressive array of vehicles featured, including the 1968 Dodge Charger, Pontiac Trans Am, De Tomaso Pantera, Chevrolet Corvette, and 1969 Ford Mustang
• How the film balances action with character development
• The odd subplot involving identical cars and mysterious motivations

The Legacy of Cannonball

While both hosts found entertainment value in the film, they agree it falls short of both serious racing films and pure chaos movies like Death Race 2000. However, they appreciate its place in racing film history and its influence on later, bigger-budget cross-country racing 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!

Film Sundries

Want More?

This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.

Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

]]> 1976, 1970s, Paul Bartel, Roger Corman, Member Bonus No Andy Nelson Pete Wright Grand Prix 14 14 53 53 Grand Prix full f8a0ab53-3cd7-44e4-b09a-0ae737eec1b6 https://share.transistor.fm/s/d57c9655 “All of us, proving what? That we can go faster, and perhaps remain alive?”
Racing to Glory: John Frankenheimer's Grand Prix (1966)

When director John Frankenheimer set out to make Grand Prix in 1966, he faced competition from Steve McQueen's planned racing film. Through strategic negotiations and groundbreaking technical innovations, Frankenheimer created what would become the definitive Formula One racing film of its era, pioneering new camera techniques and shooting during actual F1 races. Join us—Pete Wright and Andy Nelson—as we kick off our Car Racing series with a conversation about Grand Prix.

A Technical Marvel on the Track

Andy and Pete dive deep into Frankenheimer's revolutionary filming techniques, particularly the mounted cameras that could pan and tilt while cars raced at full speed. The hosts marvel at how the film captures the intense vibrations and physical demands of banking turns at Monza, with Andy noting how this technical authenticity remains impressive even by modern standards.

Melodrama vs. Racing Excellence

While both hosts praise the racing sequences, they share frustrations with the film's romantic subplots. Pete and Andy point out how the relationships involving James Garner, Yves Montand, Brian Bedford, Eva Marie Saint, and Jessica Walter often drag down the pacing, though these elements help illustrate the psychological toll of the sport.

Team Dynamics and Sport Evolution

Pete provides fascinating context about how F1 team structures have evolved since the 1960s, explaining how Grand Prix accurately captured the complex relationships between drivers, engineers, and team owners. The hosts discuss how the film's portrayal of team conflicts remains relevant to modern F1 racing.

Key Discussion Points:

  • Revolutionary split-screen techniques and their increasing effectiveness throughout the film
  • The authenticity of racing sequences filmed during actual F1 events
  • Strong performances from Yves Montand and Jessica Walter
  • Technical innovations in racing cinematography
  • The film's influence on modern racing movies
  • Portrayal of team dynamics and driver relationships
  • The ending involving the black flag
  • Frankenheimer's successful negotiation with Ferrari and other racing teams
  • The physical and psychological demands of F1 racing
  • Complex relationships between drivers and their romantic partners

Legacy and Impact

Both hosts agree that while the melodrama may date the film, the racing sequences remain extraordinary achievements in filmmaking. The technical innovations and authentic portrayal of Formula One racing continue to influence modern motorsport 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “All of us, proving what? That we can go faster, and perhaps remain alive?”
Racing to Glory: John Frankenheimer's Grand Prix (1966)

When director John Frankenheimer set out to make Grand Prix in 1966, he faced competition from Steve McQueen's planned racing film. Through strategic negotiations and groundbreaking technical innovations, Frankenheimer created what would become the definitive Formula One racing film of its era, pioneering new camera techniques and shooting during actual F1 races. Join us—Pete Wright and Andy Nelson—as we kick off our Car Racing series with a conversation about Grand Prix.

A Technical Marvel on the Track

Andy and Pete dive deep into Frankenheimer's revolutionary filming techniques, particularly the mounted cameras that could pan and tilt while cars raced at full speed. The hosts marvel at how the film captures the intense vibrations and physical demands of banking turns at Monza, with Andy noting how this technical authenticity remains impressive even by modern standards.

Melodrama vs. Racing Excellence

While both hosts praise the racing sequences, they share frustrations with the film's romantic subplots. Pete and Andy point out how the relationships involving James Garner, Yves Montand, Brian Bedford, Eva Marie Saint, and Jessica Walter often drag down the pacing, though these elements help illustrate the psychological toll of the sport.

Team Dynamics and Sport Evolution

Pete provides fascinating context about how F1 team structures have evolved since the 1960s, explaining how Grand Prix accurately captured the complex relationships between drivers, engineers, and team owners. The hosts discuss how the film's portrayal of team conflicts remains relevant to modern F1 racing.

Key Discussion Points:

  • Revolutionary split-screen techniques and their increasing effectiveness throughout the film
  • The authenticity of racing sequences filmed during actual F1 events
  • Strong performances from Yves Montand and Jessica Walter
  • Technical innovations in racing cinematography
  • The film's influence on modern racing movies
  • Portrayal of team dynamics and driver relationships
  • The ending involving the black flag
  • Frankenheimer's successful negotiation with Ferrari and other racing teams
  • The physical and psychological demands of F1 racing
  • Complex relationships between drivers and their romantic partners

Legacy and Impact

Both hosts agree that while the melodrama may date the film, the racing sequences remain extraordinary achievements in filmmaking. The technical innovations and authentic portrayal of Formula One racing continue to influence modern motorsport 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 29 May 2025 03:00:00 -0700 TruStory FM TruStory FM 4939 “All of us, proving what? That we can go faster, and perhaps remain alive?”
Racing to Glory: John Frankenheimer's Grand Prix (1966)

When director John Frankenheimer set out to make Grand Prix in 1966, he faced competition from Steve McQueen's planned racing film. Through strategic negotiations and groundbreaking technical innovations, Frankenheimer created what would become the definitive Formula One racing film of its era, pioneering new camera techniques and shooting during actual F1 races. Join us—Pete Wright and Andy Nelson—as we kick off our Car Racing series with a conversation about Grand Prix.

A Technical Marvel on the Track

Andy and Pete dive deep into Frankenheimer's revolutionary filming techniques, particularly the mounted cameras that could pan and tilt while cars raced at full speed. The hosts marvel at how the film captures the intense vibrations and physical demands of banking turns at Monza, with Andy noting how this technical authenticity remains impressive even by modern standards.

Melodrama vs. Racing Excellence

While both hosts praise the racing sequences, they share frustrations with the film's romantic subplots. Pete and Andy point out how the relationships involving James Garner, Yves Montand, Brian Bedford, Eva Marie Saint, and Jessica Walter often drag down the pacing, though these elements help illustrate the psychological toll of the sport.

Team Dynamics and Sport Evolution

Pete provides fascinating context about how F1 team structures have evolved since the 1960s, explaining how Grand Prix accurately captured the complex relationships between drivers, engineers, and team owners. The hosts discuss how the film's portrayal of team conflicts remains relevant to modern F1 racing.

Key Discussion Points:

  • Revolutionary split-screen techniques and their increasing effectiveness throughout the film
  • The authenticity of racing sequences filmed during actual F1 events
  • Strong performances from Yves Montand and Jessica Walter
  • Technical innovations in racing cinematography
  • The film's influence on modern racing movies
  • Portrayal of team dynamics and driver relationships
  • The ending involving the black flag
  • Frankenheimer's successful negotiation with Ferrari and other racing teams
  • The physical and psychological demands of F1 racing
  • Complex relationships between drivers and their romantic partners

Legacy and Impact

Both hosts agree that while the melodrama may date the film, the racing sequences remain extraordinary achievements in filmmaking. The technical innovations and authentic portrayal of Formula One racing continue to influence modern motorsport 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!

Film Sundries


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]]> 1966, 1960s, John Frankenheimer, Car Racing No Andy Nelson Pete Wright The Last Man on Earth 14 14 52 52 The Last Man on Earth full ff64358a-f5cb-4c8e-b17a-be74d7953a63 https://share.transistor.fm/s/4a8023b5 “I just can’t accept the idea of universal disease.”
When Science Meets Survival

Vincent Price stars in the first adaptation of Richard Matheson's influential novel I Am Legend, bringing to screen a post-apocalyptic tale that would help define both vampire and zombie genres for decades to come. Directed by Sidney Salkow and Ubaldo Ragona, The Last Man on Earth follows Dr. Robert Morgan as he navigates a world where a mysterious plague has turned the population into vampire-like creatures. Shot in Italy on a modest budget, this AIP production would go on to influence filmmakers from George Romero to Stephen King. Join us—Pete Wright and Andy Nelson—as we continue the I Am Legend series with a conversation about the 1964 film The Last Man on Earth.

Scientific Survival vs. Gothic Horror

Pete and Andy explore how Vincent Price delivers an unusually restrained performance, trading his typical gothic flourishes for the bone-weary routine of a scientist trying to survive. While Andy found Price's portrayal somewhat lacking in emotional depth, Pete appreciated seeing a different side of the horror icon, particularly in scenes showing the mundane aspects of post-apocalyptic life.

The Evolution of Monster Movies

The hosts discuss how The Last Man on Earth bridges vampire and zombie genres, with creatures that display characteristics of both. They note how the film's scientific approach to vampirism was groundbreaking for its time, though the execution of the monsters themselves often falls short of threatening.

Key Discussion Points:

  • The film's influence on George Romero's Night of the Living Dead
  • Comparing adaptations of I Am Legend across different decades
  • The moral implications of survival in a changed world
  • Technical aspects of filming in Italy with a limited budget
  • The effectiveness of black-and-white cinematography

Adaptation and Innovation

Both hosts agree that while The Last Man on Earth may not be the definitive adaptation of Matheson's novel, it remains the most faithful attempt. They particularly praise the film's exploration of isolation and humanity's capacity for adaptation, even as they critique its rushed pacing and underdeveloped character moments.

Notable Elements:

  • Vincent Price's lathe workshop scenes
  • The empty streets of Rome as a haunting backdrop
  • The scientific approach to vampire mythology
  • The film's influence on subsequent post-apocalyptic narratives

The Last Man on Earth emerges as a fascinating historical piece that, despite its limitations, helped establish many tropes we now associate with both vampire and zombie genres. 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!

Additional Resources


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “I just can’t accept the idea of universal disease.”
When Science Meets Survival

Vincent Price stars in the first adaptation of Richard Matheson's influential novel I Am Legend, bringing to screen a post-apocalyptic tale that would help define both vampire and zombie genres for decades to come. Directed by Sidney Salkow and Ubaldo Ragona, The Last Man on Earth follows Dr. Robert Morgan as he navigates a world where a mysterious plague has turned the population into vampire-like creatures. Shot in Italy on a modest budget, this AIP production would go on to influence filmmakers from George Romero to Stephen King. Join us—Pete Wright and Andy Nelson—as we continue the I Am Legend series with a conversation about the 1964 film The Last Man on Earth.

Scientific Survival vs. Gothic Horror

Pete and Andy explore how Vincent Price delivers an unusually restrained performance, trading his typical gothic flourishes for the bone-weary routine of a scientist trying to survive. While Andy found Price's portrayal somewhat lacking in emotional depth, Pete appreciated seeing a different side of the horror icon, particularly in scenes showing the mundane aspects of post-apocalyptic life.

The Evolution of Monster Movies

The hosts discuss how The Last Man on Earth bridges vampire and zombie genres, with creatures that display characteristics of both. They note how the film's scientific approach to vampirism was groundbreaking for its time, though the execution of the monsters themselves often falls short of threatening.

Key Discussion Points:

  • The film's influence on George Romero's Night of the Living Dead
  • Comparing adaptations of I Am Legend across different decades
  • The moral implications of survival in a changed world
  • Technical aspects of filming in Italy with a limited budget
  • The effectiveness of black-and-white cinematography

Adaptation and Innovation

Both hosts agree that while The Last Man on Earth may not be the definitive adaptation of Matheson's novel, it remains the most faithful attempt. They particularly praise the film's exploration of isolation and humanity's capacity for adaptation, even as they critique its rushed pacing and underdeveloped character moments.

Notable Elements:

  • Vincent Price's lathe workshop scenes
  • The empty streets of Rome as a haunting backdrop
  • The scientific approach to vampire mythology
  • The film's influence on subsequent post-apocalyptic narratives

The Last Man on Earth emerges as a fascinating historical piece that, despite its limitations, helped establish many tropes we now associate with both vampire and zombie genres. 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!

Additional Resources


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 22 May 2025 03:00:00 -0700 TruStory FM TruStory FM 3338 “I just can’t accept the idea of universal disease.”
When Science Meets Survival

Vincent Price stars in the first adaptation of Richard Matheson's influential novel I Am Legend, bringing to screen a post-apocalyptic tale that would help define both vampire and zombie genres for decades to come. Directed by Sidney Salkow and Ubaldo Ragona, The Last Man on Earth follows Dr. Robert Morgan as he navigates a world where a mysterious plague has turned the population into vampire-like creatures. Shot in Italy on a modest budget, this AIP production would go on to influence filmmakers from George Romero to Stephen King. Join us—Pete Wright and Andy Nelson—as we continue the I Am Legend series with a conversation about the 1964 film The Last Man on Earth.

Scientific Survival vs. Gothic Horror

Pete and Andy explore how Vincent Price delivers an unusually restrained performance, trading his typical gothic flourishes for the bone-weary routine of a scientist trying to survive. While Andy found Price's portrayal somewhat lacking in emotional depth, Pete appreciated seeing a different side of the horror icon, particularly in scenes showing the mundane aspects of post-apocalyptic life.

The Evolution of Monster Movies

The hosts discuss how The Last Man on Earth bridges vampire and zombie genres, with creatures that display characteristics of both. They note how the film's scientific approach to vampirism was groundbreaking for its time, though the execution of the monsters themselves often falls short of threatening.

Key Discussion Points:

  • The film's influence on George Romero's Night of the Living Dead
  • Comparing adaptations of I Am Legend across different decades
  • The moral implications of survival in a changed world
  • Technical aspects of filming in Italy with a limited budget
  • The effectiveness of black-and-white cinematography

Adaptation and Innovation

Both hosts agree that while The Last Man on Earth may not be the definitive adaptation of Matheson's novel, it remains the most faithful attempt. They particularly praise the film's exploration of isolation and humanity's capacity for adaptation, even as they critique its rushed pacing and underdeveloped character moments.

Notable Elements:

  • Vincent Price's lathe workshop scenes
  • The empty streets of Rome as a haunting backdrop
  • The scientific approach to vampire mythology
  • The film's influence on subsequent post-apocalyptic narratives

The Last Man on Earth emerges as a fascinating historical piece that, despite its limitations, helped establish many tropes we now associate with both vampire and zombie genres. 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!

Additional Resources


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1964, 1960s, Sidney Salkow, Ubaldo B. Ragona, I Am Legend No Andy Nelson Pete Wright Road House (2024) 14 14 51 51 Road House (2024) full f47978a8-bcab-4c08-9a11-737195d479dc https://share.transistor.fm/s/96cd0999 “You sure you thought this all the way through?”
From UFC to the Big Screen: How Amazon's Remake Came to Be

After years of development, Amazon Studios greenlit a modern remake of the 1989 cult classic Road House with Jake Gyllenhaal stepping into Patrick Swayze's shoes. Doug Liman signed on to direct, bringing his action expertise to the project. The production made headlines when they secured UFC star Conor McGregor for his acting debut, adding authenticity to the film's fight sequences. However, controversy emerged when Amazon decided to skip a theatrical release in favor of streaming, leading to public disagreement between Liman and the studio. Join us – Pete Wright and Andy Nelson – as we wrap up this return to our Movies and Their Remakes series with a conversation about Road House (2024).

Fighting Talk: Breaking Down This Modern Take

In our discussion, we explore how this remake both honors and diverges from the original. While Gyllenhaal brings his own charming interpretation to the role of Dalton, the film makes significant changes to the character's backstory that didn't necessarily improve upon the source material. We debate the effectiveness of these changes and whether they serve the story or simply modernize it for the sake of change.

Key Elements That Pack a Punch

  • Doug Liman's dynamic direction and innovative fight scene cinematography
  • The chemistry between Gyllenhaal and McGregor, despite the latter's controversial casting
  • Billy Magnussen's entertaining performance as the antagonist
  • The shift from the original's Missouri setting to the Florida Keys
  • Changes to the musical elements that defined the original

Despite some missteps in attempting to "fix" elements of the original that weren't broken, Road House (2024) delivers as an entertaining action film that stands on its own merits. While we both enjoyed the movie, we recognize it may not quite reach the cult status of its predecessor. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You sure you thought this all the way through?”
From UFC to the Big Screen: How Amazon's Remake Came to Be

After years of development, Amazon Studios greenlit a modern remake of the 1989 cult classic Road House with Jake Gyllenhaal stepping into Patrick Swayze's shoes. Doug Liman signed on to direct, bringing his action expertise to the project. The production made headlines when they secured UFC star Conor McGregor for his acting debut, adding authenticity to the film's fight sequences. However, controversy emerged when Amazon decided to skip a theatrical release in favor of streaming, leading to public disagreement between Liman and the studio. Join us – Pete Wright and Andy Nelson – as we wrap up this return to our Movies and Their Remakes series with a conversation about Road House (2024).

Fighting Talk: Breaking Down This Modern Take

In our discussion, we explore how this remake both honors and diverges from the original. While Gyllenhaal brings his own charming interpretation to the role of Dalton, the film makes significant changes to the character's backstory that didn't necessarily improve upon the source material. We debate the effectiveness of these changes and whether they serve the story or simply modernize it for the sake of change.

Key Elements That Pack a Punch

  • Doug Liman's dynamic direction and innovative fight scene cinematography
  • The chemistry between Gyllenhaal and McGregor, despite the latter's controversial casting
  • Billy Magnussen's entertaining performance as the antagonist
  • The shift from the original's Missouri setting to the Florida Keys
  • Changes to the musical elements that defined the original

Despite some missteps in attempting to "fix" elements of the original that weren't broken, Road House (2024) delivers as an entertaining action film that stands on its own merits. While we both enjoyed the movie, we recognize it may not quite reach the cult status of its predecessor. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 15 May 2025 03:00:00 -0700 TruStory FM TruStory FM 3970 “You sure you thought this all the way through?”
From UFC to the Big Screen: How Amazon's Remake Came to Be

After years of development, Amazon Studios greenlit a modern remake of the 1989 cult classic Road House with Jake Gyllenhaal stepping into Patrick Swayze's shoes. Doug Liman signed on to direct, bringing his action expertise to the project. The production made headlines when they secured UFC star Conor McGregor for his acting debut, adding authenticity to the film's fight sequences. However, controversy emerged when Amazon decided to skip a theatrical release in favor of streaming, leading to public disagreement between Liman and the studio. Join us – Pete Wright and Andy Nelson – as we wrap up this return to our Movies and Their Remakes series with a conversation about Road House (2024).

Fighting Talk: Breaking Down This Modern Take

In our discussion, we explore how this remake both honors and diverges from the original. While Gyllenhaal brings his own charming interpretation to the role of Dalton, the film makes significant changes to the character's backstory that didn't necessarily improve upon the source material. We debate the effectiveness of these changes and whether they serve the story or simply modernize it for the sake of change.

Key Elements That Pack a Punch

  • Doug Liman's dynamic direction and innovative fight scene cinematography
  • The chemistry between Gyllenhaal and McGregor, despite the latter's controversial casting
  • Billy Magnussen's entertaining performance as the antagonist
  • The shift from the original's Missouri setting to the Florida Keys
  • Changes to the musical elements that defined the original

Despite some missteps in attempting to "fix" elements of the original that weren't broken, Road House (2024) delivers as an entertaining action film that stands on its own merits. While we both enjoyed the movie, we recognize it may not quite reach the cult status of its predecessor. 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


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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 2024, 2020s, Doug Liman, Movies and Their Remakes No Andy Nelson Pete Wright Road House (1989) 14 14 50 50 Road House (1989) full 8c9c6ab8-4290-471a-b135-67452bc9964f https://share.transistor.fm/s/09d29732 “I want you to be nice, until it’s time to NOT be nice.”
From Bar Fights to Box Office: The Making of a Cult Classic

In the late 1980s, United Artists sought to capitalize on Patrick Swayze's rising star power following the success of Dirty Dancing. The studio paired him with director Rowdy Herrington for what was pitched as "the best drive-in movie ever made." The film's original casting included Annette Bening as Dr. Clay, but she was replaced by Kelly Lynch due to reported chemistry issues with Swayze. Despite initial skepticism from critics, the $15 million production would go on to become a cultural phenomenon. Join us – Pete Wright and Andy Nelson – as we return to our Movies and Their Remakes series with a conversation about Herrington’s 1989 film Road House.

Bouncing Through the Film's Deeper Themes

The film cleverly reinterprets classic Western tropes through the lens of late 1980s sensibilities. We discuss how Dalton embodies the archetype of the wandering hero, much like characters from films such as Shane and Seven Samurai. Furthermore, the movie explores themes of authoritarian capitalism through Ben Gazzara's villainous Brad Wesley, while simultaneously delivering crowd-pleasing action sequences and memorable character moments.

Elements That Make Road House Stand Out

  • Jeff Healey's authentic musical performances that evolve alongside the bar's transformation
  • The distinction between bouncers and "coolers" in bar culture
  • Sam Elliott's compelling performance as Wade Garrett, despite the ‘controversial’ lack of his signature mustache
  • The film's ability to appeal to multiple audiences through strategic character development
  • Dean Cundey's cinematography capturing both brutal fight scenes and sensual moments

A Lasting Impact on Popular Culture

Road House has demonstrated remarkable staying power, spawning a theatrical musical adaptation, a direct-to-DVD sequel, and most recently, a high-profile remake. While initially receiving Razzie nominations, the film has been embraced by audiences and reappraised by critics over the years. Both hosts found themselves thoroughly entertained by this blend of philosophy, fisticuffs, and Patrick Swayze's undeniable charisma. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I want you to be nice, until it’s time to NOT be nice.”
From Bar Fights to Box Office: The Making of a Cult Classic

In the late 1980s, United Artists sought to capitalize on Patrick Swayze's rising star power following the success of Dirty Dancing. The studio paired him with director Rowdy Herrington for what was pitched as "the best drive-in movie ever made." The film's original casting included Annette Bening as Dr. Clay, but she was replaced by Kelly Lynch due to reported chemistry issues with Swayze. Despite initial skepticism from critics, the $15 million production would go on to become a cultural phenomenon. Join us – Pete Wright and Andy Nelson – as we return to our Movies and Their Remakes series with a conversation about Herrington’s 1989 film Road House.

Bouncing Through the Film's Deeper Themes

The film cleverly reinterprets classic Western tropes through the lens of late 1980s sensibilities. We discuss how Dalton embodies the archetype of the wandering hero, much like characters from films such as Shane and Seven Samurai. Furthermore, the movie explores themes of authoritarian capitalism through Ben Gazzara's villainous Brad Wesley, while simultaneously delivering crowd-pleasing action sequences and memorable character moments.

Elements That Make Road House Stand Out

  • Jeff Healey's authentic musical performances that evolve alongside the bar's transformation
  • The distinction between bouncers and "coolers" in bar culture
  • Sam Elliott's compelling performance as Wade Garrett, despite the ‘controversial’ lack of his signature mustache
  • The film's ability to appeal to multiple audiences through strategic character development
  • Dean Cundey's cinematography capturing both brutal fight scenes and sensual moments

A Lasting Impact on Popular Culture

Road House has demonstrated remarkable staying power, spawning a theatrical musical adaptation, a direct-to-DVD sequel, and most recently, a high-profile remake. While initially receiving Razzie nominations, the film has been embraced by audiences and reappraised by critics over the years. Both hosts found themselves thoroughly entertained by this blend of philosophy, fisticuffs, and Patrick Swayze's undeniable charisma. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 08 May 2025 03:00:00 -0700 TruStory FM TruStory FM 3555 “I want you to be nice, until it’s time to NOT be nice.”
From Bar Fights to Box Office: The Making of a Cult Classic

In the late 1980s, United Artists sought to capitalize on Patrick Swayze's rising star power following the success of Dirty Dancing. The studio paired him with director Rowdy Herrington for what was pitched as "the best drive-in movie ever made." The film's original casting included Annette Bening as Dr. Clay, but she was replaced by Kelly Lynch due to reported chemistry issues with Swayze. Despite initial skepticism from critics, the $15 million production would go on to become a cultural phenomenon. Join us – Pete Wright and Andy Nelson – as we return to our Movies and Their Remakes series with a conversation about Herrington’s 1989 film Road House.

Bouncing Through the Film's Deeper Themes

The film cleverly reinterprets classic Western tropes through the lens of late 1980s sensibilities. We discuss how Dalton embodies the archetype of the wandering hero, much like characters from films such as Shane and Seven Samurai. Furthermore, the movie explores themes of authoritarian capitalism through Ben Gazzara's villainous Brad Wesley, while simultaneously delivering crowd-pleasing action sequences and memorable character moments.

Elements That Make Road House Stand Out

  • Jeff Healey's authentic musical performances that evolve alongside the bar's transformation
  • The distinction between bouncers and "coolers" in bar culture
  • Sam Elliott's compelling performance as Wade Garrett, despite the ‘controversial’ lack of his signature mustache
  • The film's ability to appeal to multiple audiences through strategic character development
  • Dean Cundey's cinematography capturing both brutal fight scenes and sensual moments

A Lasting Impact on Popular Culture

Road House has demonstrated remarkable staying power, spawning a theatrical musical adaptation, a direct-to-DVD sequel, and most recently, a high-profile remake. While initially receiving Razzie nominations, the film has been embraced by audiences and reappraised by critics over the years. Both hosts found themselves thoroughly entertained by this blend of philosophy, fisticuffs, and Patrick Swayze's undeniable charisma. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1989, 1980s, Rowdy Herrington, Movies and Their Remakes No Andy Nelson Pete Wright Conan the Destroyer 14 14 48 48 Conan the Destroyer full 0b6d9154-fd4b-4e51-b03d-f2d49a689e32 https://share.transistor.fm/s/4949bda9 “What good is a sword against sorcery?”
From Barbarian to Family-Friendly Fantasy

After the success of Conan the Barbarian in 1982, producer Dino De Laurentiis wanted to create a more family-friendly sequel. He recruited director Richard Fleischer and turned to comic book writers Roy Thomas and Gerry Conway to craft a PG-rated story. With a screenplay by Stanley Mann, Universal Pictures aimed to broaden the franchise's appeal while maintaining its sword-and-sorcery roots. Join us—Pete Wright and Andy Nelson—as we continue the Conan series with a conversation about Fleischer’s 1984 film Conan the Destroyer.

Destroying Expectations with Comic Book Flair

The shift from the gritty, violent tone of the first film to a more lighthearted adventure creates interesting discussion points. While the comic book influence brings fresh energy to the franchise, the movie struggles to balance serious fantasy elements with comedic moments. The addition of characters like Tracey Walter's Malak as comic relief and Wilt Chamberlain's Bombaata as a double-crossing warrior presents both opportunities and challenges for the narrative.

A Journey Through Cast and Creative Choices

The film showcases notable performances and creative decisions that deserve attention:

  • Grace Jones delivers an intense, committed performance as Zula
  • André the Giant appears uncredited as the Dagoth monster
  • Basil Poledouris returns with another masterful musical score
  • The mirror room sequence features impressive practical effects despite questionable creature design
  • Sarah Douglas brings regal menace to Queen Taramis
  • Olivia d'Abo debuts as Princess Jehnna in an underwritten role

The Legend Continues

While Conan the Destroyer may not reach the dramatic heights of its predecessor, it represents an interesting experiment in broadening the appeal of the franchise. The lighter tone and increased emphasis on humor might disappoint hardcore fans, but the film maintains enough sword-and-sorcery spectacle to remain entertaining. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “What good is a sword against sorcery?”
From Barbarian to Family-Friendly Fantasy

After the success of Conan the Barbarian in 1982, producer Dino De Laurentiis wanted to create a more family-friendly sequel. He recruited director Richard Fleischer and turned to comic book writers Roy Thomas and Gerry Conway to craft a PG-rated story. With a screenplay by Stanley Mann, Universal Pictures aimed to broaden the franchise's appeal while maintaining its sword-and-sorcery roots. Join us—Pete Wright and Andy Nelson—as we continue the Conan series with a conversation about Fleischer’s 1984 film Conan the Destroyer.

Destroying Expectations with Comic Book Flair

The shift from the gritty, violent tone of the first film to a more lighthearted adventure creates interesting discussion points. While the comic book influence brings fresh energy to the franchise, the movie struggles to balance serious fantasy elements with comedic moments. The addition of characters like Tracey Walter's Malak as comic relief and Wilt Chamberlain's Bombaata as a double-crossing warrior presents both opportunities and challenges for the narrative.

A Journey Through Cast and Creative Choices

The film showcases notable performances and creative decisions that deserve attention:

  • Grace Jones delivers an intense, committed performance as Zula
  • André the Giant appears uncredited as the Dagoth monster
  • Basil Poledouris returns with another masterful musical score
  • The mirror room sequence features impressive practical effects despite questionable creature design
  • Sarah Douglas brings regal menace to Queen Taramis
  • Olivia d'Abo debuts as Princess Jehnna in an underwritten role

The Legend Continues

While Conan the Destroyer may not reach the dramatic heights of its predecessor, it represents an interesting experiment in broadening the appeal of the franchise. The lighter tone and increased emphasis on humor might disappoint hardcore fans, but the film maintains enough sword-and-sorcery spectacle to remain entertaining. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 01 May 2025 03:00:00 -0700 TruStory FM TruStory FM 4401 “What good is a sword against sorcery?”
From Barbarian to Family-Friendly Fantasy

After the success of Conan the Barbarian in 1982, producer Dino De Laurentiis wanted to create a more family-friendly sequel. He recruited director Richard Fleischer and turned to comic book writers Roy Thomas and Gerry Conway to craft a PG-rated story. With a screenplay by Stanley Mann, Universal Pictures aimed to broaden the franchise's appeal while maintaining its sword-and-sorcery roots. Join us—Pete Wright and Andy Nelson—as we continue the Conan series with a conversation about Fleischer’s 1984 film Conan the Destroyer.

Destroying Expectations with Comic Book Flair

The shift from the gritty, violent tone of the first film to a more lighthearted adventure creates interesting discussion points. While the comic book influence brings fresh energy to the franchise, the movie struggles to balance serious fantasy elements with comedic moments. The addition of characters like Tracey Walter's Malak as comic relief and Wilt Chamberlain's Bombaata as a double-crossing warrior presents both opportunities and challenges for the narrative.

A Journey Through Cast and Creative Choices

The film showcases notable performances and creative decisions that deserve attention:

  • Grace Jones delivers an intense, committed performance as Zula
  • André the Giant appears uncredited as the Dagoth monster
  • Basil Poledouris returns with another masterful musical score
  • The mirror room sequence features impressive practical effects despite questionable creature design
  • Sarah Douglas brings regal menace to Queen Taramis
  • Olivia d'Abo debuts as Princess Jehnna in an underwritten role

The Legend Continues

While Conan the Destroyer may not reach the dramatic heights of its predecessor, it represents an interesting experiment in broadening the appeal of the franchise. The lighter tone and increased emphasis on humor might disappoint hardcore fans, but the film maintains enough sword-and-sorcery spectacle to remain entertaining. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1984, 1980s, Richard Fleischer, Conan No Andy Nelson Pete Wright The Big Doll House • Member Bonus 14 14 49 49 The Big Doll House • Member Bonus bonus f95b83d5-128b-4b96-876f-e3ca0c1a52e2 https://share.transistor.fm/s/d68c355d “Get it up or I’ll cut it off.”
Roger Corman's Foray into Women in Prison Films

In 1971, Roger Corman's New World Pictures sought to capitalize on the success of the women in prison film 99 Women. Working with a low budget, they brought on director Jack Hill who, dissatisfied with the original script, hired Don Spencer to create a new screenplay that would inject more humor into what he considered a preposterous story. Join us – Pete Wright and Andy Nelson – as we continue our member bonus Roger Corman series with a conversation about The Big Doll House.

Prison Break: Exploring Power, Agency, and Exploitation

The film presents an interesting balance between exploitation elements and female empowerment. While it includes expected genre tropes like mud wrestling and torture scenes, it also subverts expectations by putting men in subservient positions. We discuss how Jack Hill manages to smuggle bigger ideas about institutional corruption and colonial impacts under the guise of spectacle and genre conventions.

Behind Bars: Production and Performance

  • Pam Grier and Sid Haig deliver standout performances that elevate the material
  • The film's use of humor helps offset some of the more exploitative elements
  • Shot back-to-back with other prison films in the Philippines to maximize efficiency
  • Interesting character dynamics between the six main prisoners
  • The film's ending strikes a lighter tone compared to similar genre entries

Throughout our discussion, we explore how The Big Doll House fits into both Corman's broader production approach and Hill's filmography. While Andy prefers the more serious tone found in Women in Cages, Pete finds more value in this film's lighter touch. Despite its exploitation roots, the film manages to deliver entertainment value while sneaking in something of a commentary on power dynamics and institutional corruption. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> “Get it up or I’ll cut it off.”
Roger Corman's Foray into Women in Prison Films

In 1971, Roger Corman's New World Pictures sought to capitalize on the success of the women in prison film 99 Women. Working with a low budget, they brought on director Jack Hill who, dissatisfied with the original script, hired Don Spencer to create a new screenplay that would inject more humor into what he considered a preposterous story. Join us – Pete Wright and Andy Nelson – as we continue our member bonus Roger Corman series with a conversation about The Big Doll House.

Prison Break: Exploring Power, Agency, and Exploitation

The film presents an interesting balance between exploitation elements and female empowerment. While it includes expected genre tropes like mud wrestling and torture scenes, it also subverts expectations by putting men in subservient positions. We discuss how Jack Hill manages to smuggle bigger ideas about institutional corruption and colonial impacts under the guise of spectacle and genre conventions.

Behind Bars: Production and Performance

  • Pam Grier and Sid Haig deliver standout performances that elevate the material
  • The film's use of humor helps offset some of the more exploitative elements
  • Shot back-to-back with other prison films in the Philippines to maximize efficiency
  • Interesting character dynamics between the six main prisoners
  • The film's ending strikes a lighter tone compared to similar genre entries

Throughout our discussion, we explore how The Big Doll House fits into both Corman's broader production approach and Hill's filmography. While Andy prefers the more serious tone found in Women in Cages, Pete finds more value in this film's lighter touch. Despite its exploitation roots, the film manages to deliver entertainment value while sneaking in something of a commentary on power dynamics and institutional corruption. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> Wed, 30 Apr 2025 03:00:00 -0700 TruStory FM TruStory FM 611 “Get it up or I’ll cut it off.”
Roger Corman's Foray into Women in Prison Films

In 1971, Roger Corman's New World Pictures sought to capitalize on the success of the women in prison film 99 Women. Working with a low budget, they brought on director Jack Hill who, dissatisfied with the original script, hired Don Spencer to create a new screenplay that would inject more humor into what he considered a preposterous story. Join us – Pete Wright and Andy Nelson – as we continue our member bonus Roger Corman series with a conversation about The Big Doll House.

Prison Break: Exploring Power, Agency, and Exploitation

The film presents an interesting balance between exploitation elements and female empowerment. While it includes expected genre tropes like mud wrestling and torture scenes, it also subverts expectations by putting men in subservient positions. We discuss how Jack Hill manages to smuggle bigger ideas about institutional corruption and colonial impacts under the guise of spectacle and genre conventions.

Behind Bars: Production and Performance

  • Pam Grier and Sid Haig deliver standout performances that elevate the material
  • The film's use of humor helps offset some of the more exploitative elements
  • Shot back-to-back with other prison films in the Philippines to maximize efficiency
  • Interesting character dynamics between the six main prisoners
  • The film's ending strikes a lighter tone compared to similar genre entries

Throughout our discussion, we explore how The Big Doll House fits into both Corman's broader production approach and Hill's filmography. While Andy prefers the more serious tone found in Women in Cages, Pete finds more value in this film's lighter touch. Despite its exploitation roots, the film manages to deliver entertainment value while sneaking in something of a commentary on power dynamics and institutional corruption. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> 1971, 1970s, Jack Hill, Roger Corman, Member Bonus No Andy Nelson Pete Wright Hannibal Rising 14 14 47 47 Hannibal Rising full eee7dfc4-5d80-4b4b-96b7-59e93304b51b https://share.transistor.fm/s/5b7850b9 “Not a nick in the blade, I promise you. The butcher was like butter.”
The Origin Story Nobody Asked For

After the success of the Hannibal Lecter films, producer Dino De Laurentiis wanted to continue the franchise. When author Thomas Harris initially refused to write another story, De Laurentiis threatened to move forward with different writers. This ultimatum led Harris to craft both the novel and screenplay for Peter Webber's 2007 film Hannibal Rising.

Serving Up a Dish Best Not Served At All

The film fundamentally breaks what makes Hannibal Lecter such a compelling character. Instead of the sophisticated, intellectual monster we've come to know, we get a revenge story that transforms him into more of an anti-hero. This origin tale attempts to explain Lecter's cannibalistic tendencies through trauma and nurture rather than nature, which contradicts the essential mystery of his evil. Additionally, the film mishandles the iconic mask by trying to turn what was originally a tool used by law enforcement to control a dangerous killer into a dramatic prop meant to give young Lecter a superhero-like mystique.

A Feast of Discussion Points

  • Director Peter Webber's attempts at crafting an elegant period piece clash with the revenge thriller elements
  • Gaspard Ulliel's performance, while good, fails to convince as a young version of either Brian Cox or Anthony Hopkins
  • Gong Li's talents are wasted in an underdeveloped role as Lady Murasaki
  • The beautiful cinematography by Ben Davis can't overcome the weak story
  • Unexpected parallels to superhero origin stories, particularly sharing similarities with Magneto's backstory

Despite its impressive production values and occasional moments of visual brilliance, Hannibal Rising represents the low point of the Hannibal Lecter series. The film's attempt to humanize one of cinema's greatest villains ultimately diminishes what made the character so fascinating in the first place. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Not a nick in the blade, I promise you. The butcher was like butter.”
The Origin Story Nobody Asked For

After the success of the Hannibal Lecter films, producer Dino De Laurentiis wanted to continue the franchise. When author Thomas Harris initially refused to write another story, De Laurentiis threatened to move forward with different writers. This ultimatum led Harris to craft both the novel and screenplay for Peter Webber's 2007 film Hannibal Rising.

Serving Up a Dish Best Not Served At All

The film fundamentally breaks what makes Hannibal Lecter such a compelling character. Instead of the sophisticated, intellectual monster we've come to know, we get a revenge story that transforms him into more of an anti-hero. This origin tale attempts to explain Lecter's cannibalistic tendencies through trauma and nurture rather than nature, which contradicts the essential mystery of his evil. Additionally, the film mishandles the iconic mask by trying to turn what was originally a tool used by law enforcement to control a dangerous killer into a dramatic prop meant to give young Lecter a superhero-like mystique.

A Feast of Discussion Points

  • Director Peter Webber's attempts at crafting an elegant period piece clash with the revenge thriller elements
  • Gaspard Ulliel's performance, while good, fails to convince as a young version of either Brian Cox or Anthony Hopkins
  • Gong Li's talents are wasted in an underdeveloped role as Lady Murasaki
  • The beautiful cinematography by Ben Davis can't overcome the weak story
  • Unexpected parallels to superhero origin stories, particularly sharing similarities with Magneto's backstory

Despite its impressive production values and occasional moments of visual brilliance, Hannibal Rising represents the low point of the Hannibal Lecter series. The film's attempt to humanize one of cinema's greatest villains ultimately diminishes what made the character so fascinating in the first place. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 24 Apr 2025 03:00:00 -0700 TruStory FM TruStory FM 3807 “Not a nick in the blade, I promise you. The butcher was like butter.”
The Origin Story Nobody Asked For

After the success of the Hannibal Lecter films, producer Dino De Laurentiis wanted to continue the franchise. When author Thomas Harris initially refused to write another story, De Laurentiis threatened to move forward with different writers. This ultimatum led Harris to craft both the novel and screenplay for Peter Webber's 2007 film Hannibal Rising.

Serving Up a Dish Best Not Served At All

The film fundamentally breaks what makes Hannibal Lecter such a compelling character. Instead of the sophisticated, intellectual monster we've come to know, we get a revenge story that transforms him into more of an anti-hero. This origin tale attempts to explain Lecter's cannibalistic tendencies through trauma and nurture rather than nature, which contradicts the essential mystery of his evil. Additionally, the film mishandles the iconic mask by trying to turn what was originally a tool used by law enforcement to control a dangerous killer into a dramatic prop meant to give young Lecter a superhero-like mystique.

A Feast of Discussion Points

  • Director Peter Webber's attempts at crafting an elegant period piece clash with the revenge thriller elements
  • Gaspard Ulliel's performance, while good, fails to convince as a young version of either Brian Cox or Anthony Hopkins
  • Gong Li's talents are wasted in an underdeveloped role as Lady Murasaki
  • The beautiful cinematography by Ben Davis can't overcome the weak story
  • Unexpected parallels to superhero origin stories, particularly sharing similarities with Magneto's backstory

Despite its impressive production values and occasional moments of visual brilliance, Hannibal Rising represents the low point of the Hannibal Lecter series. The film's attempt to humanize one of cinema's greatest villains ultimately diminishes what made the character so fascinating in the first place. 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


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The Next Reel Family of Film Shows:

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]]> 2007, 2000s, Peter Webber, Hannibal Lecter No Andy Nelson Pete Wright Red Dragon 14 14 46 46 Red Dragon full 8ecd9a2f-7b26-401a-9d2b-352f74783d70 https://share.transistor.fm/s/713c7943 “Don’t you understand, Will? You caught me because we’re very much alike.”
The Return to Hannibal Lecter's Origins

After the box office success of Hannibal in 2001, producer Dino De Laurentiis quickly moved forward with another adaptation of Thomas Harris's work. With Anthony Hopkins agreeing to return one final time as Dr. Hannibal Lecter, they secured Ted Tally to adapt the screenplay and Brett Ratner to direct. The film would serve as both a remake of Michael Mann's Manhunter and a prequel to The Silence of the Lambs. Join us – Pete Wright and Andy Nelson – as we continue the Hannibal Lecter series with a conversation about Red Dragon.

Devouring the Details of This Psychological Thriller

While Red Dragon brings together an impressive ensemble cast including Edward Norton, Ralph Fiennes, and Emily Watson, the film struggles to reach the heights of its predecessors. Despite strong performances and Tally's faithful adaptation of Harris's novel, Ratner's direction lacks the artistic flourishes that made both Manhunter and The Silence of the Lambs so memorable. However, the film does provide fascinating insights into Will Graham's relationship with Lecter and offers a deeper exploration of Francis Dolarhyde's psychological transformation.

Additional Elements We Discuss

  • The opening sequence showing Graham's capture of Lecter
  • The film's nice production design and bland cinematography
  • Ratner's safe directorial choices compared to previous directors in the series
  • The expanded role of Lecter compared to Manhunter
  • Fiennes's portrayal of Dolarhyde and his relationship with Reba
  • The changed ending and its closer alignment with Harris's novel

A Serviceable Addition to the Series

While Red Dragon may not reach the artistic heights of earlier entries in the series, it delivers a competent thriller that expands the Lecter mythology. Despite strong performances and production values, the film's conventional approach prevents it from becoming truly memorable. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “Don’t you understand, Will? You caught me because we’re very much alike.”
The Return to Hannibal Lecter's Origins

After the box office success of Hannibal in 2001, producer Dino De Laurentiis quickly moved forward with another adaptation of Thomas Harris's work. With Anthony Hopkins agreeing to return one final time as Dr. Hannibal Lecter, they secured Ted Tally to adapt the screenplay and Brett Ratner to direct. The film would serve as both a remake of Michael Mann's Manhunter and a prequel to The Silence of the Lambs. Join us – Pete Wright and Andy Nelson – as we continue the Hannibal Lecter series with a conversation about Red Dragon.

Devouring the Details of This Psychological Thriller

While Red Dragon brings together an impressive ensemble cast including Edward Norton, Ralph Fiennes, and Emily Watson, the film struggles to reach the heights of its predecessors. Despite strong performances and Tally's faithful adaptation of Harris's novel, Ratner's direction lacks the artistic flourishes that made both Manhunter and The Silence of the Lambs so memorable. However, the film does provide fascinating insights into Will Graham's relationship with Lecter and offers a deeper exploration of Francis Dolarhyde's psychological transformation.

Additional Elements We Discuss

  • The opening sequence showing Graham's capture of Lecter
  • The film's nice production design and bland cinematography
  • Ratner's safe directorial choices compared to previous directors in the series
  • The expanded role of Lecter compared to Manhunter
  • Fiennes's portrayal of Dolarhyde and his relationship with Reba
  • The changed ending and its closer alignment with Harris's novel

A Serviceable Addition to the Series

While Red Dragon may not reach the artistic heights of earlier entries in the series, it delivers a competent thriller that expands the Lecter mythology. Despite strong performances and production values, the film's conventional approach prevents it from becoming truly memorable. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 17 Apr 2025 03:00:00 -0700 TruStory FM TruStory FM 3759 “Don’t you understand, Will? You caught me because we’re very much alike.”
The Return to Hannibal Lecter's Origins

After the box office success of Hannibal in 2001, producer Dino De Laurentiis quickly moved forward with another adaptation of Thomas Harris's work. With Anthony Hopkins agreeing to return one final time as Dr. Hannibal Lecter, they secured Ted Tally to adapt the screenplay and Brett Ratner to direct. The film would serve as both a remake of Michael Mann's Manhunter and a prequel to The Silence of the Lambs. Join us – Pete Wright and Andy Nelson – as we continue the Hannibal Lecter series with a conversation about Red Dragon.

Devouring the Details of This Psychological Thriller

While Red Dragon brings together an impressive ensemble cast including Edward Norton, Ralph Fiennes, and Emily Watson, the film struggles to reach the heights of its predecessors. Despite strong performances and Tally's faithful adaptation of Harris's novel, Ratner's direction lacks the artistic flourishes that made both Manhunter and The Silence of the Lambs so memorable. However, the film does provide fascinating insights into Will Graham's relationship with Lecter and offers a deeper exploration of Francis Dolarhyde's psychological transformation.

Additional Elements We Discuss

  • The opening sequence showing Graham's capture of Lecter
  • The film's nice production design and bland cinematography
  • Ratner's safe directorial choices compared to previous directors in the series
  • The expanded role of Lecter compared to Manhunter
  • Fiennes's portrayal of Dolarhyde and his relationship with Reba
  • The changed ending and its closer alignment with Harris's novel

A Serviceable Addition to the Series

While Red Dragon may not reach the artistic heights of earlier entries in the series, it delivers a competent thriller that expands the Lecter mythology. Despite strong performances and production values, the film's conventional approach prevents it from becoming truly memorable. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2002, 2000s, Brett Ratner, Hannibal Lecter No Andy Nelson Pete Wright Hannibal 14 14 45 45 Hannibal full c3d60baf-d093-4a2c-8307-225f10012a28 https://share.transistor.fm/s/c24f2282 “Bowels in or bowels out?”
The Return of Dr. Lecter: A Sequel Ten Years in the Making

When Jonathan Demme declined to direct the sequel to The Silence of the Lambs, producers Dino and Martha De Laurentiis began searching for a new director. After David Mamet's initial script was heavily rewritten by Steven Zaillian, Ridley Scott signed on to direct. Though Jodie Foster passed on reprising her role as Clarice Starling, Anthony Hopkins agreed to return as Dr. Lecter, with Julianne Moore stepping in as the new Clarice. Join us – Pete Wright and Andy Nelson – as we continue the Hannibal Lecter series with a conversation about Hannibal.

Serving Up a Fresh Take on a Beloved Character

The film attempts to expand Hannibal Lecter from supporting player to lead character, which proves both successful and problematic. While Hopkins delivers another captivating performance, the story struggles to maintain the psychological depth of its predecessor. The controversial change to the book's ending and the treatment of Clarice Starling's character spark considerable debate between us about whether these alterations helped or hurt the final product.

Key Ingredients in This Gothic Feast

  • The Florence sequences featuring Lecter as Dr. Fell provide some of the film's strongest moments
  • Gary Oldman's unrecognizable turn as Mason Verger feels underutilized
  • Hans Zimmer's score effectively enhances the mood
  • The film's pacing issues and action sequences draw criticism
  • Ray Liotta's performance and character arc culminate in one of the more memorable scenes

Final Verdict

Though Hannibal successfully grossed over $350 million worldwide, we find it a significant step down from The Silence of the Lambs. While the film has moments of grotesque beauty and maintains Hopkins' magnetic presence as Lecter, the muddled story and uneven pacing ultimately result in a disappointing follow-up. With Pete liking this more than Andy but still struggling largely with the adaptation, we see this as a missed opportunity to further develop these iconic characters. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Bowels in or bowels out?”
The Return of Dr. Lecter: A Sequel Ten Years in the Making

When Jonathan Demme declined to direct the sequel to The Silence of the Lambs, producers Dino and Martha De Laurentiis began searching for a new director. After David Mamet's initial script was heavily rewritten by Steven Zaillian, Ridley Scott signed on to direct. Though Jodie Foster passed on reprising her role as Clarice Starling, Anthony Hopkins agreed to return as Dr. Lecter, with Julianne Moore stepping in as the new Clarice. Join us – Pete Wright and Andy Nelson – as we continue the Hannibal Lecter series with a conversation about Hannibal.

Serving Up a Fresh Take on a Beloved Character

The film attempts to expand Hannibal Lecter from supporting player to lead character, which proves both successful and problematic. While Hopkins delivers another captivating performance, the story struggles to maintain the psychological depth of its predecessor. The controversial change to the book's ending and the treatment of Clarice Starling's character spark considerable debate between us about whether these alterations helped or hurt the final product.

Key Ingredients in This Gothic Feast

  • The Florence sequences featuring Lecter as Dr. Fell provide some of the film's strongest moments
  • Gary Oldman's unrecognizable turn as Mason Verger feels underutilized
  • Hans Zimmer's score effectively enhances the mood
  • The film's pacing issues and action sequences draw criticism
  • Ray Liotta's performance and character arc culminate in one of the more memorable scenes

Final Verdict

Though Hannibal successfully grossed over $350 million worldwide, we find it a significant step down from The Silence of the Lambs. While the film has moments of grotesque beauty and maintains Hopkins' magnetic presence as Lecter, the muddled story and uneven pacing ultimately result in a disappointing follow-up. With Pete liking this more than Andy but still struggling largely with the adaptation, we see this as a missed opportunity to further develop these iconic characters. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 10 Apr 2025 03:00:00 -0700 TruStory FM TruStory FM 4088 “Bowels in or bowels out?”
The Return of Dr. Lecter: A Sequel Ten Years in the Making

When Jonathan Demme declined to direct the sequel to The Silence of the Lambs, producers Dino and Martha De Laurentiis began searching for a new director. After David Mamet's initial script was heavily rewritten by Steven Zaillian, Ridley Scott signed on to direct. Though Jodie Foster passed on reprising her role as Clarice Starling, Anthony Hopkins agreed to return as Dr. Lecter, with Julianne Moore stepping in as the new Clarice. Join us – Pete Wright and Andy Nelson – as we continue the Hannibal Lecter series with a conversation about Hannibal.

Serving Up a Fresh Take on a Beloved Character

The film attempts to expand Hannibal Lecter from supporting player to lead character, which proves both successful and problematic. While Hopkins delivers another captivating performance, the story struggles to maintain the psychological depth of its predecessor. The controversial change to the book's ending and the treatment of Clarice Starling's character spark considerable debate between us about whether these alterations helped or hurt the final product.

Key Ingredients in This Gothic Feast

  • The Florence sequences featuring Lecter as Dr. Fell provide some of the film's strongest moments
  • Gary Oldman's unrecognizable turn as Mason Verger feels underutilized
  • Hans Zimmer's score effectively enhances the mood
  • The film's pacing issues and action sequences draw criticism
  • Ray Liotta's performance and character arc culminate in one of the more memorable scenes

Final Verdict

Though Hannibal successfully grossed over $350 million worldwide, we find it a significant step down from The Silence of the Lambs. While the film has moments of grotesque beauty and maintains Hopkins' magnetic presence as Lecter, the muddled story and uneven pacing ultimately result in a disappointing follow-up. With Pete liking this more than Andy but still struggling largely with the adaptation, we see this as a missed opportunity to further develop these iconic characters. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 2001, 2000s, Ridley Scott, Hannibal Lecter No Andy Nelson Pete Wright The Silence of the Lambs 14 14 43 43 The Silence of the Lambs full 40849884-a00d-4bfe-9348-48c5e45c25ac https://share.transistor.fm/s/4f585a7f “Quid pro quo.”
The Birth of an Iconic Thriller

After the commercial disappointment of Manhunter in 1986, producers Dino and Martha De Laurentiis were hesitant to pursue another adaptation of Thomas Harris's work. However, when The Silence of the Lambs was published in 1988, Gene Hackman initially optioned the rights with intentions to direct and star as Hannibal Lecter. When Hackman dropped out, Jonathan Demme took the helm, casting Jodie Foster as Clarice Starling despite initial resistance from the studio. Join us — Pete Wright and Andy Nelson — as we continue the Hannibal Lecter series with a conversation about The Silence of the Lambs.

Serving Up The Silence of the Lambs with Some Fava Beans

We examine how this film elevates the basic structure established in Manhunter to create something more compelling and psychologically complex. The relationship between Clarice Starling and Hannibal Lecter forms the dark heart of the story, with Anthony Hopkins delivering an unforgettable performance in just 24 minutes of screen time. We discuss how Foster's vulnerable yet strong portrayal of Starling adds crucial stakes to every interaction.

Deeper Into the Darkness

• The film's innovative use of first-person camera angles to create intimacy and discomfort
• Jonathan Demme's gothic visual style compared to Michael Mann's industrial aesthetic
• Questions about the storage unit subplot and its narrative purpose
• The controversial portrayal of Buffalo Bill and transgender representation
• The effectiveness of the film's two major misdirect sequences
• Ted Levine's haunting performance as Buffalo Bill
• The significance of the film winning the "Big Five" Academy Awards

The Silence of the Lambs remains a masterpiece of psychological horror that transcends its genre roots through outstanding performances and skillful direction. This iconic thriller continues to captivate audiences with its psychological complexity and unforgettable characters. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Quid pro quo.”
The Birth of an Iconic Thriller

After the commercial disappointment of Manhunter in 1986, producers Dino and Martha De Laurentiis were hesitant to pursue another adaptation of Thomas Harris's work. However, when The Silence of the Lambs was published in 1988, Gene Hackman initially optioned the rights with intentions to direct and star as Hannibal Lecter. When Hackman dropped out, Jonathan Demme took the helm, casting Jodie Foster as Clarice Starling despite initial resistance from the studio. Join us — Pete Wright and Andy Nelson — as we continue the Hannibal Lecter series with a conversation about The Silence of the Lambs.

Serving Up The Silence of the Lambs with Some Fava Beans

We examine how this film elevates the basic structure established in Manhunter to create something more compelling and psychologically complex. The relationship between Clarice Starling and Hannibal Lecter forms the dark heart of the story, with Anthony Hopkins delivering an unforgettable performance in just 24 minutes of screen time. We discuss how Foster's vulnerable yet strong portrayal of Starling adds crucial stakes to every interaction.

Deeper Into the Darkness

• The film's innovative use of first-person camera angles to create intimacy and discomfort
• Jonathan Demme's gothic visual style compared to Michael Mann's industrial aesthetic
• Questions about the storage unit subplot and its narrative purpose
• The controversial portrayal of Buffalo Bill and transgender representation
• The effectiveness of the film's two major misdirect sequences
• Ted Levine's haunting performance as Buffalo Bill
• The significance of the film winning the "Big Five" Academy Awards

The Silence of the Lambs remains a masterpiece of psychological horror that transcends its genre roots through outstanding performances and skillful direction. This iconic thriller continues to captivate audiences with its psychological complexity and unforgettable characters. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 03 Apr 2025 03:00:00 -0700 TruStory FM TruStory FM 3839 “Quid pro quo.”
The Birth of an Iconic Thriller

After the commercial disappointment of Manhunter in 1986, producers Dino and Martha De Laurentiis were hesitant to pursue another adaptation of Thomas Harris's work. However, when The Silence of the Lambs was published in 1988, Gene Hackman initially optioned the rights with intentions to direct and star as Hannibal Lecter. When Hackman dropped out, Jonathan Demme took the helm, casting Jodie Foster as Clarice Starling despite initial resistance from the studio. Join us — Pete Wright and Andy Nelson — as we continue the Hannibal Lecter series with a conversation about The Silence of the Lambs.

Serving Up The Silence of the Lambs with Some Fava Beans

We examine how this film elevates the basic structure established in Manhunter to create something more compelling and psychologically complex. The relationship between Clarice Starling and Hannibal Lecter forms the dark heart of the story, with Anthony Hopkins delivering an unforgettable performance in just 24 minutes of screen time. We discuss how Foster's vulnerable yet strong portrayal of Starling adds crucial stakes to every interaction.

Deeper Into the Darkness

• The film's innovative use of first-person camera angles to create intimacy and discomfort
• Jonathan Demme's gothic visual style compared to Michael Mann's industrial aesthetic
• Questions about the storage unit subplot and its narrative purpose
• The controversial portrayal of Buffalo Bill and transgender representation
• The effectiveness of the film's two major misdirect sequences
• Ted Levine's haunting performance as Buffalo Bill
• The significance of the film winning the "Big Five" Academy Awards

The Silence of the Lambs remains a masterpiece of psychological horror that transcends its genre roots through outstanding performances and skillful direction. This iconic thriller continues to captivate audiences with its psychological complexity and unforgettable characters. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1991, 1990s, Jonathan Demme, Hannibal Lecter No Andy Nelson Pete Wright Suburbia • Member Bonus 14 14 44 44 Suburbia • Member Bonus full ed2d8375-5a06-408b-9343-45dbf3a2f989 https://share.transistor.fm/s/e1321e88 “They didn't realize they'd be the slums of the future.”
Penelope Spheeris Brings Punk to Roger Corman

After completing her documentary The Decline of Western Civilization about the LA punk scene, director Penelope Spheeris wanted to tell a narrative story in that world. Roger Corman saw potential in her vision and agreed to match her $250,000 investment to make the film. Spheeris made the unconventional choice to cast real punk musicians and street kids rather than professional actors, believing it would create more authentic performances. Join us — Pete Wright and Andy Nelson — as we continue the member bonus Roger Corman series with a conversation about her 1983 film Suburbia.

Living on the Edge of Society

The film powerfully depicts alienated youth finding community among fellow outcasts while struggling against societal rejection. Though Corman insisted on including sex or violence every 10 minutes, Spheeris managed to maintain her artistic vision while incorporating these commercial elements. We explore how she achieved this balance and whether it ultimately strengthened or weakened the final product.

Key Themes and Production Elements

The abandoned suburban setting becomes a character itself, reflecting broader issues of American development and social displacement. Spheeris based many plot elements on real stories she encountered while filming her documentary, including the pack of abandoned guard dogs. Her documentary background influences the film's raw, authentic style.

Additional Discussion Points:

  • The performances by non-professional actors and whether this approach succeeded
  • The film's portrayal of parents and authority figures
  • The parallel between abandoned dogs and abandoned youth
  • The tragic bookending deaths that open and close the film
  • How the film fits within Spheeris' larger body of work
  • Corman's influence on the commercial elements

We both found Suburbia to be a powerful and emotionally affecting film that transcends its low-budget origins through authenticity and strong thematic resonance. Though it can be difficult to watch at times, it offers valuable perspective on alienated youth and societal rejection that remains relevant today. We have a great time talking about it, so check it out then tune in. The Next Reel — when the movie ends, our conversation begins!

Film Sundries

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 like this one that only members can access. You also get member bonus content on select episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> “They didn't realize they'd be the slums of the future.”
Penelope Spheeris Brings Punk to Roger Corman

After completing her documentary The Decline of Western Civilization about the LA punk scene, director Penelope Spheeris wanted to tell a narrative story in that world. Roger Corman saw potential in her vision and agreed to match her $250,000 investment to make the film. Spheeris made the unconventional choice to cast real punk musicians and street kids rather than professional actors, believing it would create more authentic performances. Join us — Pete Wright and Andy Nelson — as we continue the member bonus Roger Corman series with a conversation about her 1983 film Suburbia.

Living on the Edge of Society

The film powerfully depicts alienated youth finding community among fellow outcasts while struggling against societal rejection. Though Corman insisted on including sex or violence every 10 minutes, Spheeris managed to maintain her artistic vision while incorporating these commercial elements. We explore how she achieved this balance and whether it ultimately strengthened or weakened the final product.

Key Themes and Production Elements

The abandoned suburban setting becomes a character itself, reflecting broader issues of American development and social displacement. Spheeris based many plot elements on real stories she encountered while filming her documentary, including the pack of abandoned guard dogs. Her documentary background influences the film's raw, authentic style.

Additional Discussion Points:

  • The performances by non-professional actors and whether this approach succeeded
  • The film's portrayal of parents and authority figures
  • The parallel between abandoned dogs and abandoned youth
  • The tragic bookending deaths that open and close the film
  • How the film fits within Spheeris' larger body of work
  • Corman's influence on the commercial elements

We both found Suburbia to be a powerful and emotionally affecting film that transcends its low-budget origins through authenticity and strong thematic resonance. Though it can be difficult to watch at times, it offers valuable perspective on alienated youth and societal rejection that remains relevant today. We have a great time talking about it, so check it out then tune in. The Next Reel — when the movie ends, our conversation begins!

Film Sundries

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 like this one that only members can access. You also get member bonus content on select episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> Mon, 31 Mar 2025 03:00:00 -0700 TruStory FM TruStory FM 642 “They didn't realize they'd be the slums of the future.”
Penelope Spheeris Brings Punk to Roger Corman

After completing her documentary The Decline of Western Civilization about the LA punk scene, director Penelope Spheeris wanted to tell a narrative story in that world. Roger Corman saw potential in her vision and agreed to match her $250,000 investment to make the film. Spheeris made the unconventional choice to cast real punk musicians and street kids rather than professional actors, believing it would create more authentic performances. Join us — Pete Wright and Andy Nelson — as we continue the member bonus Roger Corman series with a conversation about her 1983 film Suburbia.

Living on the Edge of Society

The film powerfully depicts alienated youth finding community among fellow outcasts while struggling against societal rejection. Though Corman insisted on including sex or violence every 10 minutes, Spheeris managed to maintain her artistic vision while incorporating these commercial elements. We explore how she achieved this balance and whether it ultimately strengthened or weakened the final product.

Key Themes and Production Elements

The abandoned suburban setting becomes a character itself, reflecting broader issues of American development and social displacement. Spheeris based many plot elements on real stories she encountered while filming her documentary, including the pack of abandoned guard dogs. Her documentary background influences the film's raw, authentic style.

Additional Discussion Points:

  • The performances by non-professional actors and whether this approach succeeded
  • The film's portrayal of parents and authority figures
  • The parallel between abandoned dogs and abandoned youth
  • The tragic bookending deaths that open and close the film
  • How the film fits within Spheeris' larger body of work
  • Corman's influence on the commercial elements

We both found Suburbia to be a powerful and emotionally affecting film that transcends its low-budget origins through authenticity and strong thematic resonance. Though it can be difficult to watch at times, it offers valuable perspective on alienated youth and societal rejection that remains relevant today. We have a great time talking about it, so check it out then tune in. The Next Reel — when the movie ends, our conversation begins!

Film Sundries

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 like this one that only members can access. You also get member bonus content on select episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> 1983, 1980s, Penelop Spheeris, Member Bonus, Roger Corman No Andy Nelson Pete Wright Manhunter 14 14 42 42 Manhunter full 43fab3d1-33cd-43b6-8acf-61baa280b039 https://share.transistor.fm/s/50e3e89a “You want to know how he’s choosing them, don’t you?”
The Birth of Cinema's Most Infamous Cannibal

Before Anthony Hopkins donned the infamous mask as Hannibal Lecter, director Michael Mann brought Thomas Harris's novel Red Dragon to the screen in 1986. Working with a budget of $15 million, Mann cast William Petersen as FBI profiler Will Graham and Brian Cox as the imprisoned Dr. Hannibal Lecktor (spelled differently in this adaptation). Despite Mann's growing reputation after Miami Vice, the studio showed little faith in the project, providing minimal marketing support. Join us – Pete Wright and Andy Nelson – as we kick off the Hannibal Lecter series with a conversation about Manhunter.

Hunting Down the Elements of Manhunter's Legacy

While Manhunter initially struggled at the box office, its influence on the psychological thriller genre and subsequent Lecter films cannot be understated. The film's visual style, particularly Dante Spinotti's bold color palette and Mann's precise framing, creates a haunting atmosphere that perfectly complements the psychological cat-and-mouse game between Graham and Francis Dollarhyde (Tom Noonan). However, we disagree on Noonan's performance, with Andy finding it less compelling while Pete considers it a standout element of the film.

Deep Diving into the Investigation

  • Brian Cox's understated yet menacing portrayal of Lecktor offers a fascinating contrast to later interpretations
  • The complex relationship between Dollarhyde and Reba McClane (Joan Allen) adds unexpected emotional depth
  • Mann's signature visual style, particularly his use of bold blues and greens, enhances the film's moody atmosphere
  • William Petersen delivers a compelling performance as the psychologically tormented Will Graham
  • The film's procedural elements and Graham's investigation methodology feel authentic and engaging
  • Michael Mann's direction emphasizes style, sometimes at the expense of narrative clarity
  • The final confrontation sequence feels rushed compared to later adaptations

As the first cinematic adaptation of Thomas Harris's work, Manhunter sets a strong foundation for the Hannibal Lecter series while standing on its own as a compelling psychological thriller. Though we have some disagreements about certain performances, we both appreciate the film's unique visual style and psychological depth. While it may not reach the heights of later entries in the series, it remains an important and entertaining entry in the canon. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “You want to know how he’s choosing them, don’t you?”
The Birth of Cinema's Most Infamous Cannibal

Before Anthony Hopkins donned the infamous mask as Hannibal Lecter, director Michael Mann brought Thomas Harris's novel Red Dragon to the screen in 1986. Working with a budget of $15 million, Mann cast William Petersen as FBI profiler Will Graham and Brian Cox as the imprisoned Dr. Hannibal Lecktor (spelled differently in this adaptation). Despite Mann's growing reputation after Miami Vice, the studio showed little faith in the project, providing minimal marketing support. Join us – Pete Wright and Andy Nelson – as we kick off the Hannibal Lecter series with a conversation about Manhunter.

Hunting Down the Elements of Manhunter's Legacy

While Manhunter initially struggled at the box office, its influence on the psychological thriller genre and subsequent Lecter films cannot be understated. The film's visual style, particularly Dante Spinotti's bold color palette and Mann's precise framing, creates a haunting atmosphere that perfectly complements the psychological cat-and-mouse game between Graham and Francis Dollarhyde (Tom Noonan). However, we disagree on Noonan's performance, with Andy finding it less compelling while Pete considers it a standout element of the film.

Deep Diving into the Investigation

  • Brian Cox's understated yet menacing portrayal of Lecktor offers a fascinating contrast to later interpretations
  • The complex relationship between Dollarhyde and Reba McClane (Joan Allen) adds unexpected emotional depth
  • Mann's signature visual style, particularly his use of bold blues and greens, enhances the film's moody atmosphere
  • William Petersen delivers a compelling performance as the psychologically tormented Will Graham
  • The film's procedural elements and Graham's investigation methodology feel authentic and engaging
  • Michael Mann's direction emphasizes style, sometimes at the expense of narrative clarity
  • The final confrontation sequence feels rushed compared to later adaptations

As the first cinematic adaptation of Thomas Harris's work, Manhunter sets a strong foundation for the Hannibal Lecter series while standing on its own as a compelling psychological thriller. Though we have some disagreements about certain performances, we both appreciate the film's unique visual style and psychological depth. While it may not reach the heights of later entries in the series, it remains an important and entertaining entry in the canon. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 27 Mar 2025 03:00:00 -0700 TruStory FM TruStory FM 4319 “You want to know how he’s choosing them, don’t you?”
The Birth of Cinema's Most Infamous Cannibal

Before Anthony Hopkins donned the infamous mask as Hannibal Lecter, director Michael Mann brought Thomas Harris's novel Red Dragon to the screen in 1986. Working with a budget of $15 million, Mann cast William Petersen as FBI profiler Will Graham and Brian Cox as the imprisoned Dr. Hannibal Lecktor (spelled differently in this adaptation). Despite Mann's growing reputation after Miami Vice, the studio showed little faith in the project, providing minimal marketing support. Join us – Pete Wright and Andy Nelson – as we kick off the Hannibal Lecter series with a conversation about Manhunter.

Hunting Down the Elements of Manhunter's Legacy

While Manhunter initially struggled at the box office, its influence on the psychological thriller genre and subsequent Lecter films cannot be understated. The film's visual style, particularly Dante Spinotti's bold color palette and Mann's precise framing, creates a haunting atmosphere that perfectly complements the psychological cat-and-mouse game between Graham and Francis Dollarhyde (Tom Noonan). However, we disagree on Noonan's performance, with Andy finding it less compelling while Pete considers it a standout element of the film.

Deep Diving into the Investigation

  • Brian Cox's understated yet menacing portrayal of Lecktor offers a fascinating contrast to later interpretations
  • The complex relationship between Dollarhyde and Reba McClane (Joan Allen) adds unexpected emotional depth
  • Mann's signature visual style, particularly his use of bold blues and greens, enhances the film's moody atmosphere
  • William Petersen delivers a compelling performance as the psychologically tormented Will Graham
  • The film's procedural elements and Graham's investigation methodology feel authentic and engaging
  • Michael Mann's direction emphasizes style, sometimes at the expense of narrative clarity
  • The final confrontation sequence feels rushed compared to later adaptations

As the first cinematic adaptation of Thomas Harris's work, Manhunter sets a strong foundation for the Hannibal Lecter series while standing on its own as a compelling psychological thriller. Though we have some disagreements about certain performances, we both appreciate the film's unique visual style and psychological depth. While it may not reach the heights of later entries in the series, it remains an important and entertaining entry in the canon. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1986, 1980s, Michael Mann, Hannibal Lecter No Andy Nelson Pete Wright Series 7: The Contenders 14 14 41 41 Series 7: The Contenders full 60ad67e9-87c3-4762-81da-d636c5362aba https://share.transistor.fm/s/27df559d “I saw you on TV. I love you!”
A Reality TV Satire Takes on The Most Dangerous Game

Before The Hunger Games and the reality TV boom of the 2000s, writer-director Daniel Minahan conceived Series 7: The Contenders as a TV show in the mid-90s. After networks passed on the concept, he developed it into a feature film that would serve as a prescient satire of reality television and American gun culture. With a small budget and shooting on digital video to authentically capture the TV aesthetic of the era, Minahan crafted his dark vision of an alternate present where random citizens are forced to kill each other for entertainment. Join us – Pete Wright and Andy Nelson – as we wrap up the People Hunting People series with a conversation about Series 7: The Contenders.

The Game Show Where Survival is Not Optional

This reality TV satire follows Dawn (Brooke Smith), a pregnant returning champion who must face off against five new contestants in a government-sanctioned show where ordinary citizens are selected by lottery to kill each other. The film's commitment to never breaking its reality TV frame, from commercial breaks to behind-the-scenes footage, creates an eerily believable world that feels increasingly less satirical and more prophetic with each passing year.

Like any good reality show, the producers manipulate situations to create compelling narratives. The "random" selection of contestants conveniently includes Jeff, Dawn's former high school friend and romantic interest, leading to an emotional subplot complete with a nostalgic music video they made together. This attention to creating drama through personal connections and backstories mirrors actual reality TV production techniques, making the deadly premise feel disturbingly plausible.

Production Choices and Performance Highlights

  • The authentic digital video cinematography perfectly captures the TV aesthetic of the era
  • Brooke Smith delivers a compelling performance as the pregnant returning champion
  • Will Arnett's narration adds the perfect reality TV tone
  • The integration of surveillance footage and multiple camera perspectives enhances the realism
  • Strong supporting performances, particularly from Merritt Weaver as the youngest contestant
  • The film's dark humor effectively balances entertainment with social commentary

While box office numbers were modest, Series 7: The Contenders has developed a cult following for its ahead-of-its-time commentary on reality television and violence as entertainment. The film's examination of how media packaging can normalize extreme behavior remains relevant today, perhaps even more so than when it was released. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I saw you on TV. I love you!”
A Reality TV Satire Takes on The Most Dangerous Game

Before The Hunger Games and the reality TV boom of the 2000s, writer-director Daniel Minahan conceived Series 7: The Contenders as a TV show in the mid-90s. After networks passed on the concept, he developed it into a feature film that would serve as a prescient satire of reality television and American gun culture. With a small budget and shooting on digital video to authentically capture the TV aesthetic of the era, Minahan crafted his dark vision of an alternate present where random citizens are forced to kill each other for entertainment. Join us – Pete Wright and Andy Nelson – as we wrap up the People Hunting People series with a conversation about Series 7: The Contenders.

The Game Show Where Survival is Not Optional

This reality TV satire follows Dawn (Brooke Smith), a pregnant returning champion who must face off against five new contestants in a government-sanctioned show where ordinary citizens are selected by lottery to kill each other. The film's commitment to never breaking its reality TV frame, from commercial breaks to behind-the-scenes footage, creates an eerily believable world that feels increasingly less satirical and more prophetic with each passing year.

Like any good reality show, the producers manipulate situations to create compelling narratives. The "random" selection of contestants conveniently includes Jeff, Dawn's former high school friend and romantic interest, leading to an emotional subplot complete with a nostalgic music video they made together. This attention to creating drama through personal connections and backstories mirrors actual reality TV production techniques, making the deadly premise feel disturbingly plausible.

Production Choices and Performance Highlights

  • The authentic digital video cinematography perfectly captures the TV aesthetic of the era
  • Brooke Smith delivers a compelling performance as the pregnant returning champion
  • Will Arnett's narration adds the perfect reality TV tone
  • The integration of surveillance footage and multiple camera perspectives enhances the realism
  • Strong supporting performances, particularly from Merritt Weaver as the youngest contestant
  • The film's dark humor effectively balances entertainment with social commentary

While box office numbers were modest, Series 7: The Contenders has developed a cult following for its ahead-of-its-time commentary on reality television and violence as entertainment. The film's examination of how media packaging can normalize extreme behavior remains relevant today, perhaps even more so than when it was released. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 20 Mar 2025 03:00:00 -0700 TruStory FM TruStory FM 3427 “I saw you on TV. I love you!”
A Reality TV Satire Takes on The Most Dangerous Game

Before The Hunger Games and the reality TV boom of the 2000s, writer-director Daniel Minahan conceived Series 7: The Contenders as a TV show in the mid-90s. After networks passed on the concept, he developed it into a feature film that would serve as a prescient satire of reality television and American gun culture. With a small budget and shooting on digital video to authentically capture the TV aesthetic of the era, Minahan crafted his dark vision of an alternate present where random citizens are forced to kill each other for entertainment. Join us – Pete Wright and Andy Nelson – as we wrap up the People Hunting People series with a conversation about Series 7: The Contenders.

The Game Show Where Survival is Not Optional

This reality TV satire follows Dawn (Brooke Smith), a pregnant returning champion who must face off against five new contestants in a government-sanctioned show where ordinary citizens are selected by lottery to kill each other. The film's commitment to never breaking its reality TV frame, from commercial breaks to behind-the-scenes footage, creates an eerily believable world that feels increasingly less satirical and more prophetic with each passing year.

Like any good reality show, the producers manipulate situations to create compelling narratives. The "random" selection of contestants conveniently includes Jeff, Dawn's former high school friend and romantic interest, leading to an emotional subplot complete with a nostalgic music video they made together. This attention to creating drama through personal connections and backstories mirrors actual reality TV production techniques, making the deadly premise feel disturbingly plausible.

Production Choices and Performance Highlights

  • The authentic digital video cinematography perfectly captures the TV aesthetic of the era
  • Brooke Smith delivers a compelling performance as the pregnant returning champion
  • Will Arnett's narration adds the perfect reality TV tone
  • The integration of surveillance footage and multiple camera perspectives enhances the realism
  • Strong supporting performances, particularly from Merritt Weaver as the youngest contestant
  • The film's dark humor effectively balances entertainment with social commentary

While box office numbers were modest, Series 7: The Contenders has developed a cult following for its ahead-of-its-time commentary on reality television and violence as entertainment. The film's examination of how media packaging can normalize extreme behavior remains relevant today, perhaps even more so than when it was released. 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


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The Next Reel Family of Film Shows:

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]]> 2001, 2000s, Daniel Minahan, People Hunting People No Andy Nelson Pete Wright Surviving the Game 14 14 40 40 Surviving the Game full c0712dd5-8e08-4339-b6c3-5c1a773bf954 https://share.transistor.fm/s/d0824059 “Never underestimate a man who’s got nothing to lose.”
The Most Dangerous Game Gets a 90s Action Makeover

In 1994, director Ernest R. Dickerson took on his second feature film following his directorial debut with Juice. After years as Spike Lee's cinematographer, Dickerson was ready to tackle this action-thriller starring Ice-T as a homeless man hunted by wealthy thrill-seekers. The film drew inspiration from the 1924 short story "The Most Dangerous Game" by Richard Connell, updating it with a contemporary urban twist and social commentary. Join us – Pete Wright and Andy Nelson – as we continue the People Hunting People series with a conversation about Surviving the Game.

Hunting Down What Makes This Film Tick

The film assembles an impressive ensemble cast including Rutger Hauer, Charles S. Dutton, Gary Busey, F. Murray Abraham, and John C. McGinley. While Ice-T delivers a solid performance as Mason, the homeless man targeted for sport, it's the eccentric hunters who steal the show. Furthermore, the film explores themes of class divide and entitlement through its intense cat-and-mouse premise, though some logical gaps in the hunters' abilities occasionally strain credibility.

Deep Diving into the Woods and Characters

  • Gary Busey's dinner table monologue about training and killing his dog stands as the memorable highlight
  • Dickerson's direction shows his cinematographer's eye, particularly in a Blade Runner-inspired shot of Rutger Hauer
  • Stuart Copeland's score starts strong but becomes less effective as the film progresses... at least per Andy
  • The film's Pacific Northwest setting (actually shot in Washington, not Oregon as stated) provides a compelling backdrop
  • Charles S. Dutton's casting as a seemingly benevolent shelter worker who reveals darker motives works particularly well
  • The film oddly uses Philadelphia stock footage to represent Seattle in the finale

The Trophy Room Verdict

Despite some narrative shortcomings and questionable hunter competency, Surviving the Game delivers exactly what you'd want from a 90s action thriller. The stellar cast elevates the material beyond its B-movie roots, while the social commentary adds welcome depth to the hunt. Both hosts thoroughly enjoyed this bonkers entry in the People Hunting People 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Never underestimate a man who’s got nothing to lose.”
The Most Dangerous Game Gets a 90s Action Makeover

In 1994, director Ernest R. Dickerson took on his second feature film following his directorial debut with Juice. After years as Spike Lee's cinematographer, Dickerson was ready to tackle this action-thriller starring Ice-T as a homeless man hunted by wealthy thrill-seekers. The film drew inspiration from the 1924 short story "The Most Dangerous Game" by Richard Connell, updating it with a contemporary urban twist and social commentary. Join us – Pete Wright and Andy Nelson – as we continue the People Hunting People series with a conversation about Surviving the Game.

Hunting Down What Makes This Film Tick

The film assembles an impressive ensemble cast including Rutger Hauer, Charles S. Dutton, Gary Busey, F. Murray Abraham, and John C. McGinley. While Ice-T delivers a solid performance as Mason, the homeless man targeted for sport, it's the eccentric hunters who steal the show. Furthermore, the film explores themes of class divide and entitlement through its intense cat-and-mouse premise, though some logical gaps in the hunters' abilities occasionally strain credibility.

Deep Diving into the Woods and Characters

  • Gary Busey's dinner table monologue about training and killing his dog stands as the memorable highlight
  • Dickerson's direction shows his cinematographer's eye, particularly in a Blade Runner-inspired shot of Rutger Hauer
  • Stuart Copeland's score starts strong but becomes less effective as the film progresses... at least per Andy
  • The film's Pacific Northwest setting (actually shot in Washington, not Oregon as stated) provides a compelling backdrop
  • Charles S. Dutton's casting as a seemingly benevolent shelter worker who reveals darker motives works particularly well
  • The film oddly uses Philadelphia stock footage to represent Seattle in the finale

The Trophy Room Verdict

Despite some narrative shortcomings and questionable hunter competency, Surviving the Game delivers exactly what you'd want from a 90s action thriller. The stellar cast elevates the material beyond its B-movie roots, while the social commentary adds welcome depth to the hunt. Both hosts thoroughly enjoyed this bonkers entry in the People Hunting People 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 13 Mar 2025 03:00:00 -0700 TruStory FM TruStory FM 3820 “Never underestimate a man who’s got nothing to lose.”
The Most Dangerous Game Gets a 90s Action Makeover

In 1994, director Ernest R. Dickerson took on his second feature film following his directorial debut with Juice. After years as Spike Lee's cinematographer, Dickerson was ready to tackle this action-thriller starring Ice-T as a homeless man hunted by wealthy thrill-seekers. The film drew inspiration from the 1924 short story "The Most Dangerous Game" by Richard Connell, updating it with a contemporary urban twist and social commentary. Join us – Pete Wright and Andy Nelson – as we continue the People Hunting People series with a conversation about Surviving the Game.

Hunting Down What Makes This Film Tick

The film assembles an impressive ensemble cast including Rutger Hauer, Charles S. Dutton, Gary Busey, F. Murray Abraham, and John C. McGinley. While Ice-T delivers a solid performance as Mason, the homeless man targeted for sport, it's the eccentric hunters who steal the show. Furthermore, the film explores themes of class divide and entitlement through its intense cat-and-mouse premise, though some logical gaps in the hunters' abilities occasionally strain credibility.

Deep Diving into the Woods and Characters

  • Gary Busey's dinner table monologue about training and killing his dog stands as the memorable highlight
  • Dickerson's direction shows his cinematographer's eye, particularly in a Blade Runner-inspired shot of Rutger Hauer
  • Stuart Copeland's score starts strong but becomes less effective as the film progresses... at least per Andy
  • The film's Pacific Northwest setting (actually shot in Washington, not Oregon as stated) provides a compelling backdrop
  • Charles S. Dutton's casting as a seemingly benevolent shelter worker who reveals darker motives works particularly well
  • The film oddly uses Philadelphia stock footage to represent Seattle in the finale

The Trophy Room Verdict

Despite some narrative shortcomings and questionable hunter competency, Surviving the Game delivers exactly what you'd want from a 90s action thriller. The stellar cast elevates the material beyond its B-movie roots, while the social commentary adds welcome depth to the hunt. Both hosts thoroughly enjoyed this bonkers entry in the People Hunting People 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1994, 1990s, Ernest R. Dickerson, People Hunting People No Andy Nelson Pete Wright The Most Dangerous Game 14 14 38 38 The Most Dangerous Game full 98fa971c-051e-4508-a35e-58de0f75f35a https://share.transistor.fm/s/a94b15f2 “What I needed was not a new weapon, but a new animal.”
Setting the Stage for the Ultimate Hunt

In 1932, RKO Pictures produced The Most Dangerous Game while simultaneously building elaborate jungle sets for their upcoming production of King Kong. Based on Richard Connell's 1924 short story, the film became one of the earliest to explore the concept of humans hunting humans. Using the same jungle sets and several cast members who would later appear in King Kong, including Fay Wray, directors Irving Pichel and Ernest B. Schoedsack crafted this taut 63-minute thriller on a modest budget. Join us – Pete Wright and Andy Nelson – as we kick off the People Hunting People series with this 1932 film The Most Dangerous Game.

Pre-Code Thrills and Dark Psychology

The film's pre-Code status allowed for surprisingly graphic content, including human heads displayed in jars and mounted on walls. Originally, even more shocking footage was shot, including fully stuffed human corpses positioned in death poses, though these scenes were ultimately cut. As Bob Rainsford and Eve Trowbridge run through the jungle, their clothing becomes increasingly torn and revealing – another pre-Code element that wouldn't have made it past censors a few years later.

The film's exploration of hunting humans as sport raises intriguing questions about civilization versus savagery. Count Zaroff's twisted philosophy about hunting humans being the ultimate game creates a compelling narrative that examines humanity's darker impulses. Leslie Banks delivers a memorably sinister performance as Zaroff, using his real-life facial paralysis to enhance his character's menacing presence.

Points of Discussion

  • The innovative cinematography, including POV shots through the jungle
  • Max Steiner's adventurous score that becomes diegetic when played on piano
  • The film's efficient use of its brief 63-minute runtime
  • Its enduring influence on the "humans hunting humans" subgenre
  • The rapid development of the central romance

This lean, atmospheric thriller maintains its impact even after 90 years. While some elements feel dated, The Most Dangerous Game effectively establishes many tropes that would define the "hunting humans" subgenre. We found much to admire in this tightly-crafted adventure, particularly its exploration of humanity's capacity for both civilization and savagery. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “What I needed was not a new weapon, but a new animal.”
Setting the Stage for the Ultimate Hunt

In 1932, RKO Pictures produced The Most Dangerous Game while simultaneously building elaborate jungle sets for their upcoming production of King Kong. Based on Richard Connell's 1924 short story, the film became one of the earliest to explore the concept of humans hunting humans. Using the same jungle sets and several cast members who would later appear in King Kong, including Fay Wray, directors Irving Pichel and Ernest B. Schoedsack crafted this taut 63-minute thriller on a modest budget. Join us – Pete Wright and Andy Nelson – as we kick off the People Hunting People series with this 1932 film The Most Dangerous Game.

Pre-Code Thrills and Dark Psychology

The film's pre-Code status allowed for surprisingly graphic content, including human heads displayed in jars and mounted on walls. Originally, even more shocking footage was shot, including fully stuffed human corpses positioned in death poses, though these scenes were ultimately cut. As Bob Rainsford and Eve Trowbridge run through the jungle, their clothing becomes increasingly torn and revealing – another pre-Code element that wouldn't have made it past censors a few years later.

The film's exploration of hunting humans as sport raises intriguing questions about civilization versus savagery. Count Zaroff's twisted philosophy about hunting humans being the ultimate game creates a compelling narrative that examines humanity's darker impulses. Leslie Banks delivers a memorably sinister performance as Zaroff, using his real-life facial paralysis to enhance his character's menacing presence.

Points of Discussion

  • The innovative cinematography, including POV shots through the jungle
  • Max Steiner's adventurous score that becomes diegetic when played on piano
  • The film's efficient use of its brief 63-minute runtime
  • Its enduring influence on the "humans hunting humans" subgenre
  • The rapid development of the central romance

This lean, atmospheric thriller maintains its impact even after 90 years. While some elements feel dated, The Most Dangerous Game effectively establishes many tropes that would define the "hunting humans" subgenre. We found much to admire in this tightly-crafted adventure, particularly its exploration of humanity's capacity for both civilization and savagery. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 06 Mar 2025 03:00:00 -0800 TruStory FM TruStory FM 3748 “What I needed was not a new weapon, but a new animal.”
Setting the Stage for the Ultimate Hunt

In 1932, RKO Pictures produced The Most Dangerous Game while simultaneously building elaborate jungle sets for their upcoming production of King Kong. Based on Richard Connell's 1924 short story, the film became one of the earliest to explore the concept of humans hunting humans. Using the same jungle sets and several cast members who would later appear in King Kong, including Fay Wray, directors Irving Pichel and Ernest B. Schoedsack crafted this taut 63-minute thriller on a modest budget. Join us – Pete Wright and Andy Nelson – as we kick off the People Hunting People series with this 1932 film The Most Dangerous Game.

Pre-Code Thrills and Dark Psychology

The film's pre-Code status allowed for surprisingly graphic content, including human heads displayed in jars and mounted on walls. Originally, even more shocking footage was shot, including fully stuffed human corpses positioned in death poses, though these scenes were ultimately cut. As Bob Rainsford and Eve Trowbridge run through the jungle, their clothing becomes increasingly torn and revealing – another pre-Code element that wouldn't have made it past censors a few years later.

The film's exploration of hunting humans as sport raises intriguing questions about civilization versus savagery. Count Zaroff's twisted philosophy about hunting humans being the ultimate game creates a compelling narrative that examines humanity's darker impulses. Leslie Banks delivers a memorably sinister performance as Zaroff, using his real-life facial paralysis to enhance his character's menacing presence.

Points of Discussion

  • The innovative cinematography, including POV shots through the jungle
  • Max Steiner's adventurous score that becomes diegetic when played on piano
  • The film's efficient use of its brief 63-minute runtime
  • Its enduring influence on the "humans hunting humans" subgenre
  • The rapid development of the central romance

This lean, atmospheric thriller maintains its impact even after 90 years. While some elements feel dated, The Most Dangerous Game effectively establishes many tropes that would define the "hunting humans" subgenre. We found much to admire in this tightly-crafted adventure, particularly its exploration of humanity's capacity for both civilization and savagery. 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


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]]> 1932, 1930s, Irving Pichel, Ernest B. Schoedsack, People Hunting People No Andy Nelson Pete Wright Women in Cages • Member Bonus 14 14 39 39 Women in Cages • Member Bonus full aa19c9cc-d5d3-423d-8ffd-96b35cce4cc6 https://share.transistor.fm/s/6c6a58da “We all have our devils, my dear.”
Roger Corman's Exploitation Era in the Philippines

In the early 1970s, Roger Corman discovered he could stretch his production dollars further by filming in the Philippines. He partnered with established Filipino director Gerardo de Leon, known for his award-winning films and work in the Filipino film industry since 1938. Despite de Leon's prestigious background, Corman convinced him to direct Women in Cages, though de Leon would later distance himself from exploitation films. Join us – Pete Wright and Andy Nelson – as we continue our member bonus Roger Corman series with a conversation about Women in Cages.

Breaking Free from Prison Film Conventions

Pete and Andy engage in a spirited debate about the merits of Women in Cages, with Andy finding more depth than expected while Pete struggles with its exploitation elements. The film follows Jeff, a naive American woman framed by her drug-dealing boyfriend and imprisoned in a corrupt facility run by a sadistic guard played by Pam Grier. Through their discussion, they explore how the film attempts to balance serious themes with exploitation requirements.

Deeper Themes Behind Prison Bars

  • Strong performance by Pam Grier as Alabama, the complex and ruthless prison guard
  • Examination of power dynamics and corruption within the prison system, though Pete questions if these themes truly land
  • Controversial portrayal of violence and nudity that divides our hosts
  • Noteworthy ending that leaves a lasting impact about women trapped in cycles of abuse
  • Discussion of de Leon's reluctant participation in exploitation cinema
  • Analysis of how the film handles themes of sexual exploitation and systemic corruption
  • Classic Corman cost-cutting: Film set in a Spanish-speaking country but shot in the Philippines

While Pete finds the film's exploitation elements overwhelming, distracting, and worst of all—boring, Andy appreciates its attempts to tackle deeper themes about women trapped in various forms of imprisonment. Whether viewing it as pure exploitation or something more substantial, Women in Cages represents an interesting chapter in Corman's production history and de Leon's career. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus content, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> “We all have our devils, my dear.”
Roger Corman's Exploitation Era in the Philippines

In the early 1970s, Roger Corman discovered he could stretch his production dollars further by filming in the Philippines. He partnered with established Filipino director Gerardo de Leon, known for his award-winning films and work in the Filipino film industry since 1938. Despite de Leon's prestigious background, Corman convinced him to direct Women in Cages, though de Leon would later distance himself from exploitation films. Join us – Pete Wright and Andy Nelson – as we continue our member bonus Roger Corman series with a conversation about Women in Cages.

Breaking Free from Prison Film Conventions

Pete and Andy engage in a spirited debate about the merits of Women in Cages, with Andy finding more depth than expected while Pete struggles with its exploitation elements. The film follows Jeff, a naive American woman framed by her drug-dealing boyfriend and imprisoned in a corrupt facility run by a sadistic guard played by Pam Grier. Through their discussion, they explore how the film attempts to balance serious themes with exploitation requirements.

Deeper Themes Behind Prison Bars

  • Strong performance by Pam Grier as Alabama, the complex and ruthless prison guard
  • Examination of power dynamics and corruption within the prison system, though Pete questions if these themes truly land
  • Controversial portrayal of violence and nudity that divides our hosts
  • Noteworthy ending that leaves a lasting impact about women trapped in cycles of abuse
  • Discussion of de Leon's reluctant participation in exploitation cinema
  • Analysis of how the film handles themes of sexual exploitation and systemic corruption
  • Classic Corman cost-cutting: Film set in a Spanish-speaking country but shot in the Philippines

While Pete finds the film's exploitation elements overwhelming, distracting, and worst of all—boring, Andy appreciates its attempts to tackle deeper themes about women trapped in various forms of imprisonment. Whether viewing it as pure exploitation or something more substantial, Women in Cages represents an interesting chapter in Corman's production history and de Leon's career. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus content, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> Fri, 28 Feb 2025 03:00:00 -0800 TruStory FM TruStory FM 702 “We all have our devils, my dear.”
Roger Corman's Exploitation Era in the Philippines

In the early 1970s, Roger Corman discovered he could stretch his production dollars further by filming in the Philippines. He partnered with established Filipino director Gerardo de Leon, known for his award-winning films and work in the Filipino film industry since 1938. Despite de Leon's prestigious background, Corman convinced him to direct Women in Cages, though de Leon would later distance himself from exploitation films. Join us – Pete Wright and Andy Nelson – as we continue our member bonus Roger Corman series with a conversation about Women in Cages.

Breaking Free from Prison Film Conventions

Pete and Andy engage in a spirited debate about the merits of Women in Cages, with Andy finding more depth than expected while Pete struggles with its exploitation elements. The film follows Jeff, a naive American woman framed by her drug-dealing boyfriend and imprisoned in a corrupt facility run by a sadistic guard played by Pam Grier. Through their discussion, they explore how the film attempts to balance serious themes with exploitation requirements.

Deeper Themes Behind Prison Bars

  • Strong performance by Pam Grier as Alabama, the complex and ruthless prison guard
  • Examination of power dynamics and corruption within the prison system, though Pete questions if these themes truly land
  • Controversial portrayal of violence and nudity that divides our hosts
  • Noteworthy ending that leaves a lasting impact about women trapped in cycles of abuse
  • Discussion of de Leon's reluctant participation in exploitation cinema
  • Analysis of how the film handles themes of sexual exploitation and systemic corruption
  • Classic Corman cost-cutting: Film set in a Spanish-speaking country but shot in the Philippines

While Pete finds the film's exploitation elements overwhelming, distracting, and worst of all—boring, Andy appreciates its attempts to tackle deeper themes about women trapped in various forms of imprisonment. Whether viewing it as pure exploitation or something more substantial, Women in Cages represents an interesting chapter in Corman's production history and de Leon's career. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus content, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> 1971, 1970s, Roger Corman, Gerardo de Leon, Member Bonus No Andy Nelson Pete Wright Mank 14 14 37 37 Mank full 2803e9bb-2210-46c6-b85b-6c071f8f1926 https://share.transistor.fm/s/8a244f23 “You can make the world swear King Kong is ten stories tall and Mary Pickford a virgin at 40, yet you can’t convince starving voters that a turncoat socialist is a menace to everything California holds dear? You’re barely trying.”
David Fincher's Personal Connection to Old Hollywood

After decades of development, David Fincher finally brought his late father Jack Fincher's screenplay about Herman J. Mankiewicz to life. Originally planned for production in the late 1990s with Kevin Spacey and Jodie Foster attached, the project stalled when studios balked at Fincher's insistence on shooting in black and white. Following Jack Fincher's death in 2003, David continued developing the script, eventually partnering with Netflix who gave him creative freedom to realize his father's vision. Join us – Pete Wright and Andy Nelson – as we return to our David Fincher series with a conversation about Mank.

Writing History Through a Modern Lens

In discussing Mank, we explore how Fincher approaches the controversial story of who really wrote Citizen Kane, while examining the film's portrayal of 1930s Hollywood politics through a contemporary perspective. We debate the historical accuracy of certain story elements and character portrayals, particularly regarding Herman Mankiewicz's political leanings and relationship with William Randolph Hearst.

Behind the Scenes of Old Hollywood

The film raises interesting questions about the balance between historical accuracy and dramatic storytelling. While some criticize the film's creative liberties with Mankiewicz's political views and relationships, we discuss whether these changes serve a greater purpose in crafting a compelling narrative. This leads to a broader conversation about the responsibilities filmmakers have when telling true stories and whether artistic license can be justified in service of a larger truth.

Key Discussion Points

  • Oldman's compelling performance as Mankiewicz... without prosthetics
  • The technical achievements in recreating the period look using modern digital tools
  • Amanda Seyfried's standout portrayal of Marion Davies
  • Trent Reznor and Atticus Ross's period-appropriate score recorded remotely during COVID
  • The film's exploration of fake news and media manipulation then and now

Crafting a Modern Classic

While not ranking among Fincher's most dynamic works as far as we’re concerned, Mank succeeds as both a love letter to classic Hollywood and a thoughtful examination of the creative process. Despite some historical liberties, the film's technical excellence and strong performances make it a worthy addition to Fincher's filmography. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “You can make the world swear King Kong is ten stories tall and Mary Pickford a virgin at 40, yet you can’t convince starving voters that a turncoat socialist is a menace to everything California holds dear? You’re barely trying.”
David Fincher's Personal Connection to Old Hollywood

After decades of development, David Fincher finally brought his late father Jack Fincher's screenplay about Herman J. Mankiewicz to life. Originally planned for production in the late 1990s with Kevin Spacey and Jodie Foster attached, the project stalled when studios balked at Fincher's insistence on shooting in black and white. Following Jack Fincher's death in 2003, David continued developing the script, eventually partnering with Netflix who gave him creative freedom to realize his father's vision. Join us – Pete Wright and Andy Nelson – as we return to our David Fincher series with a conversation about Mank.

Writing History Through a Modern Lens

In discussing Mank, we explore how Fincher approaches the controversial story of who really wrote Citizen Kane, while examining the film's portrayal of 1930s Hollywood politics through a contemporary perspective. We debate the historical accuracy of certain story elements and character portrayals, particularly regarding Herman Mankiewicz's political leanings and relationship with William Randolph Hearst.

Behind the Scenes of Old Hollywood

The film raises interesting questions about the balance between historical accuracy and dramatic storytelling. While some criticize the film's creative liberties with Mankiewicz's political views and relationships, we discuss whether these changes serve a greater purpose in crafting a compelling narrative. This leads to a broader conversation about the responsibilities filmmakers have when telling true stories and whether artistic license can be justified in service of a larger truth.

Key Discussion Points

  • Oldman's compelling performance as Mankiewicz... without prosthetics
  • The technical achievements in recreating the period look using modern digital tools
  • Amanda Seyfried's standout portrayal of Marion Davies
  • Trent Reznor and Atticus Ross's period-appropriate score recorded remotely during COVID
  • The film's exploration of fake news and media manipulation then and now

Crafting a Modern Classic

While not ranking among Fincher's most dynamic works as far as we’re concerned, Mank succeeds as both a love letter to classic Hollywood and a thoughtful examination of the creative process. Despite some historical liberties, the film's technical excellence and strong performances make it a worthy addition to Fincher's filmography. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 27 Feb 2025 03:00:00 -0800 TruStory FM TruStory FM 3899 “You can make the world swear King Kong is ten stories tall and Mary Pickford a virgin at 40, yet you can’t convince starving voters that a turncoat socialist is a menace to everything California holds dear? You’re barely trying.”
David Fincher's Personal Connection to Old Hollywood

After decades of development, David Fincher finally brought his late father Jack Fincher's screenplay about Herman J. Mankiewicz to life. Originally planned for production in the late 1990s with Kevin Spacey and Jodie Foster attached, the project stalled when studios balked at Fincher's insistence on shooting in black and white. Following Jack Fincher's death in 2003, David continued developing the script, eventually partnering with Netflix who gave him creative freedom to realize his father's vision. Join us – Pete Wright and Andy Nelson – as we return to our David Fincher series with a conversation about Mank.

Writing History Through a Modern Lens

In discussing Mank, we explore how Fincher approaches the controversial story of who really wrote Citizen Kane, while examining the film's portrayal of 1930s Hollywood politics through a contemporary perspective. We debate the historical accuracy of certain story elements and character portrayals, particularly regarding Herman Mankiewicz's political leanings and relationship with William Randolph Hearst.

Behind the Scenes of Old Hollywood

The film raises interesting questions about the balance between historical accuracy and dramatic storytelling. While some criticize the film's creative liberties with Mankiewicz's political views and relationships, we discuss whether these changes serve a greater purpose in crafting a compelling narrative. This leads to a broader conversation about the responsibilities filmmakers have when telling true stories and whether artistic license can be justified in service of a larger truth.

Key Discussion Points

  • Oldman's compelling performance as Mankiewicz... without prosthetics
  • The technical achievements in recreating the period look using modern digital tools
  • Amanda Seyfried's standout portrayal of Marion Davies
  • Trent Reznor and Atticus Ross's period-appropriate score recorded remotely during COVID
  • The film's exploration of fake news and media manipulation then and now

Crafting a Modern Classic

While not ranking among Fincher's most dynamic works as far as we’re concerned, Mank succeeds as both a love letter to classic Hollywood and a thoughtful examination of the creative process. Despite some historical liberties, the film's technical excellence and strong performances make it a worthy addition to Fincher's filmography. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2020, 2020s, David Fincher No Andy Nelson Pete Wright Anguish 14 14 36 36 Anguish full 91c0d58c-e1e7-4cec-9514-e2a3236bb56d https://share.transistor.fm/s/44213de9 “You must start thinking of the spiral, the spiral that’s coming into your head.”
An Overlooked Horror Gem

In 1987, Spanish filmmaker Bigas Luna ventured into the horror genre with an innovative approach to storytelling. Working with a budget of $2 million, Luna crafted a unique narrative that would blend psychological horror with commentary on cinema itself. Despite its limited theatrical release and modest box office returns (to be generous), the film would go on to win several awards and be nominated for others. Join us – Pete Wright and Andy Nelson – as we wrap up this return to the 'Spoiled. Rotten? Twist Endings' series with a conversation about Luna’s 1987 film Anguish.

Eyes Wide Open for This Horror Experience

The film follows John Pressman (Michael Lerner), a troubled ophthalmologist's orderly whose overbearing mother (Zelda Rubinstein) exercises an unusual amount of control over his life. As their story unfolds, Luna takes viewers on an unexpected journey that challenges conventional horror storytelling.

A Deeper Look into Cinema's Dark corners

We discuss how the film's unique approach to storytelling enhances rather than diminishes its impact. While we initially found the first act somewhat challenging, we agree that the film's revelations make these early moments more meaningful in retrospect. We particularly praise Michael Lerner's performance and Zelda Rubinstein's uniquely unsettling presence.

Key Elements of Discussion:

  • The effective use of sound design and visual elements to create a hypnotic atmosphere
  • The film's commentary on cinema and audience experience
  • The innovative approach to horror storytelling
  • The challenges of distribution and accessibility in modern times
  • The potential impact of a modern remake
  • The film's lasting influence on horror cinema

Anguish proves itself to be a fascinating and innovative piece of horror cinema that deserves wider recognition. Despite its limited availability, this hypnotic and unsettling film rewards viewers with its creative storytelling and memorable performances. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You must start thinking of the spiral, the spiral that’s coming into your head.”
An Overlooked Horror Gem

In 1987, Spanish filmmaker Bigas Luna ventured into the horror genre with an innovative approach to storytelling. Working with a budget of $2 million, Luna crafted a unique narrative that would blend psychological horror with commentary on cinema itself. Despite its limited theatrical release and modest box office returns (to be generous), the film would go on to win several awards and be nominated for others. Join us – Pete Wright and Andy Nelson – as we wrap up this return to the 'Spoiled. Rotten? Twist Endings' series with a conversation about Luna’s 1987 film Anguish.

Eyes Wide Open for This Horror Experience

The film follows John Pressman (Michael Lerner), a troubled ophthalmologist's orderly whose overbearing mother (Zelda Rubinstein) exercises an unusual amount of control over his life. As their story unfolds, Luna takes viewers on an unexpected journey that challenges conventional horror storytelling.

A Deeper Look into Cinema's Dark corners

We discuss how the film's unique approach to storytelling enhances rather than diminishes its impact. While we initially found the first act somewhat challenging, we agree that the film's revelations make these early moments more meaningful in retrospect. We particularly praise Michael Lerner's performance and Zelda Rubinstein's uniquely unsettling presence.

Key Elements of Discussion:

  • The effective use of sound design and visual elements to create a hypnotic atmosphere
  • The film's commentary on cinema and audience experience
  • The innovative approach to horror storytelling
  • The challenges of distribution and accessibility in modern times
  • The potential impact of a modern remake
  • The film's lasting influence on horror cinema

Anguish proves itself to be a fascinating and innovative piece of horror cinema that deserves wider recognition. Despite its limited availability, this hypnotic and unsettling film rewards viewers with its creative storytelling and memorable performances. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 20 Feb 2025 03:00:00 -0800 TruStory FM TruStory FM 3652 “You must start thinking of the spiral, the spiral that’s coming into your head.”
An Overlooked Horror Gem

In 1987, Spanish filmmaker Bigas Luna ventured into the horror genre with an innovative approach to storytelling. Working with a budget of $2 million, Luna crafted a unique narrative that would blend psychological horror with commentary on cinema itself. Despite its limited theatrical release and modest box office returns (to be generous), the film would go on to win several awards and be nominated for others. Join us – Pete Wright and Andy Nelson – as we wrap up this return to the 'Spoiled. Rotten? Twist Endings' series with a conversation about Luna’s 1987 film Anguish.

Eyes Wide Open for This Horror Experience

The film follows John Pressman (Michael Lerner), a troubled ophthalmologist's orderly whose overbearing mother (Zelda Rubinstein) exercises an unusual amount of control over his life. As their story unfolds, Luna takes viewers on an unexpected journey that challenges conventional horror storytelling.

A Deeper Look into Cinema's Dark corners

We discuss how the film's unique approach to storytelling enhances rather than diminishes its impact. While we initially found the first act somewhat challenging, we agree that the film's revelations make these early moments more meaningful in retrospect. We particularly praise Michael Lerner's performance and Zelda Rubinstein's uniquely unsettling presence.

Key Elements of Discussion:

  • The effective use of sound design and visual elements to create a hypnotic atmosphere
  • The film's commentary on cinema and audience experience
  • The innovative approach to horror storytelling
  • The challenges of distribution and accessibility in modern times
  • The potential impact of a modern remake
  • The film's lasting influence on horror cinema

Anguish proves itself to be a fascinating and innovative piece of horror cinema that deserves wider recognition. Despite its limited availability, this hypnotic and unsettling film rewards viewers with its creative storytelling and memorable performances. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1987, 1980s, Bigas Luna, ‘Spoiled. Rotten? Twist Endings' No Andy Nelson Pete Wright Strait-Jacket 14 14 35 35 Strait-Jacket full 56afe8dd-0182-423d-b5cf-9313122d5d4c https://share.transistor.fm/s/4a516b06 “Lucy Harbin was declared legally insane today.”
William Castle Brings Joan Crawford Back to Horror

In the early 1960s, William Castle was known for his theatrical gimmicks and B-movie horror films. After the success of Whatever Happened to Baby Jane?, Castle saw an opportunity to work with Hollywood legend Joan Crawford. He enlisted acclaimed writer Robert Bloch, fresh off his success with Psycho, to craft a psychological thriller that would showcase Crawford's talents while delivering the shock value his audiences craved. Join us – Pete Wright and Andy Nelson – as we continue the 'Spoiled. Rotten? Twist Endings' series with a conversation about Strait-Jacket.

Axe Murders and Plot Twists: Examining Psychological Horror

The film follows Lucy Harbin (Crawford), who returns home after spending 20 years in an asylum for brutally murdering her husband and his lover. While the movie sets up an interesting exploration of psychological trauma and mother-daughter relationships, Pete and Andy discuss how the third act reveals impact what could have been a compelling dramatic story. They debate whether the film's ending undermines the careful character development established throughout the narrative.

Beyond the Blade: Production Elements and Performances

The discussion delves into several fascinating aspects of the film's production and impact:

  • Crawford's commanding performance and range
  • William Castle's marketing tactics, including distributing cardboard axes to moviegoers
  • The film's interesting use of shadows and darkness in murder scenes
  • Product placement history with Pepsi due to Crawford's connection to the company
  • George Kennedy's memorable performance in his small role
  • The evolution of the "hagsploitation" subgenre

Strait-Jacket delivers as both a psychological thriller and a showcase for Crawford's talents, though some narrative choices may divide audiences. The film offers interesting commentary on societal treatment of women and mental illness, even if it doesn't fully capitalize on these themes. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Lucy Harbin was declared legally insane today.”
William Castle Brings Joan Crawford Back to Horror

In the early 1960s, William Castle was known for his theatrical gimmicks and B-movie horror films. After the success of Whatever Happened to Baby Jane?, Castle saw an opportunity to work with Hollywood legend Joan Crawford. He enlisted acclaimed writer Robert Bloch, fresh off his success with Psycho, to craft a psychological thriller that would showcase Crawford's talents while delivering the shock value his audiences craved. Join us – Pete Wright and Andy Nelson – as we continue the 'Spoiled. Rotten? Twist Endings' series with a conversation about Strait-Jacket.

Axe Murders and Plot Twists: Examining Psychological Horror

The film follows Lucy Harbin (Crawford), who returns home after spending 20 years in an asylum for brutally murdering her husband and his lover. While the movie sets up an interesting exploration of psychological trauma and mother-daughter relationships, Pete and Andy discuss how the third act reveals impact what could have been a compelling dramatic story. They debate whether the film's ending undermines the careful character development established throughout the narrative.

Beyond the Blade: Production Elements and Performances

The discussion delves into several fascinating aspects of the film's production and impact:

  • Crawford's commanding performance and range
  • William Castle's marketing tactics, including distributing cardboard axes to moviegoers
  • The film's interesting use of shadows and darkness in murder scenes
  • Product placement history with Pepsi due to Crawford's connection to the company
  • George Kennedy's memorable performance in his small role
  • The evolution of the "hagsploitation" subgenre

Strait-Jacket delivers as both a psychological thriller and a showcase for Crawford's talents, though some narrative choices may divide audiences. The film offers interesting commentary on societal treatment of women and mental illness, even if it doesn't fully capitalize on these themes. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 13 Feb 2025 03:00:00 -0800 TruStory FM TruStory FM 3617 “Lucy Harbin was declared legally insane today.”
William Castle Brings Joan Crawford Back to Horror

In the early 1960s, William Castle was known for his theatrical gimmicks and B-movie horror films. After the success of Whatever Happened to Baby Jane?, Castle saw an opportunity to work with Hollywood legend Joan Crawford. He enlisted acclaimed writer Robert Bloch, fresh off his success with Psycho, to craft a psychological thriller that would showcase Crawford's talents while delivering the shock value his audiences craved. Join us – Pete Wright and Andy Nelson – as we continue the 'Spoiled. Rotten? Twist Endings' series with a conversation about Strait-Jacket.

Axe Murders and Plot Twists: Examining Psychological Horror

The film follows Lucy Harbin (Crawford), who returns home after spending 20 years in an asylum for brutally murdering her husband and his lover. While the movie sets up an interesting exploration of psychological trauma and mother-daughter relationships, Pete and Andy discuss how the third act reveals impact what could have been a compelling dramatic story. They debate whether the film's ending undermines the careful character development established throughout the narrative.

Beyond the Blade: Production Elements and Performances

The discussion delves into several fascinating aspects of the film's production and impact:

  • Crawford's commanding performance and range
  • William Castle's marketing tactics, including distributing cardboard axes to moviegoers
  • The film's interesting use of shadows and darkness in murder scenes
  • Product placement history with Pepsi due to Crawford's connection to the company
  • George Kennedy's memorable performance in his small role
  • The evolution of the "hagsploitation" subgenre

Strait-Jacket delivers as both a psychological thriller and a showcase for Crawford's talents, though some narrative choices may divide audiences. The film offers interesting commentary on societal treatment of women and mental illness, even if it doesn't fully capitalize on these themes. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1964, 1960s, William Castle, 'Spoiled. Rotten? Twist Endings' No Andy Nelson Pete Wright Shattered 14 14 33 33 Shattered full ed21c806-54de-4c46-9019-b43f103371a4 https://share.transistor.fm/s/6ee02eaa “You know what I like about amnesia?”
A Psychological Thriller with Twisting Memories

In 1991, psychological thrillers were hitting their stride, delivering increasingly complex narratives filled with shocking twists. Wolfgang Petersen's Shattered emerged during this period as a stylish entry in the genre, starring Tom Berenger and Greta Scacchi. The film would mark another step in Petersen's Hollywood journey following his success with German cinema. Join us – Pete Wright and Andy Nelson – as we continue the 'Spoiled. Rotten? Twist Endings' series with a conversation about Shattered.

Navigating the Fragments of Memory and Identity

The film's elaborate plot twists and amnesia-driven narrative provide plenty of material for discussion. We thoroughly enjoy the movie's over-the-top nature and soap opera-style revelations, though we differ on its rewatchability. Pete suggests that much of the fun comes from discovering the surprises for the first time, while Andy argues the film's entertainment value persists even when you know what's coming. We also examine the plausibility of certain character actions, particularly regarding Greta Scacchi's performance and her character's behavior in solo scenes.

Key Elements of Discussion

  • The impressive car crash sequence and its technical achievements
  • Bob Hoskins' scene-stealing performance as a pet shop owner/private investigator
  • Alan Silvestri's replacement score after Angelo Badalamenti's original was rejected
  • The film's noir-influenced cinematography by Laszlo Kovacs
  • Tom Berenger's ability to portray both innocence and menace effectively
  • The psychological accuracy of the amnesia portrayed in the film

Despite its modest box office performance, Shattered delivers an entertaining blend of 90s thriller conventions with enough style and memorable performances to warrant attention. As a film that fully embraces its melodramatic twists while maintaining its noir-influenced style, it proves to be an engaging entry in the psychological thriller genre. 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


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The Next Reel Family of Film Shows:

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]]> “You know what I like about amnesia?”
A Psychological Thriller with Twisting Memories

In 1991, psychological thrillers were hitting their stride, delivering increasingly complex narratives filled with shocking twists. Wolfgang Petersen's Shattered emerged during this period as a stylish entry in the genre, starring Tom Berenger and Greta Scacchi. The film would mark another step in Petersen's Hollywood journey following his success with German cinema. Join us – Pete Wright and Andy Nelson – as we continue the 'Spoiled. Rotten? Twist Endings' series with a conversation about Shattered.

Navigating the Fragments of Memory and Identity

The film's elaborate plot twists and amnesia-driven narrative provide plenty of material for discussion. We thoroughly enjoy the movie's over-the-top nature and soap opera-style revelations, though we differ on its rewatchability. Pete suggests that much of the fun comes from discovering the surprises for the first time, while Andy argues the film's entertainment value persists even when you know what's coming. We also examine the plausibility of certain character actions, particularly regarding Greta Scacchi's performance and her character's behavior in solo scenes.

Key Elements of Discussion

  • The impressive car crash sequence and its technical achievements
  • Bob Hoskins' scene-stealing performance as a pet shop owner/private investigator
  • Alan Silvestri's replacement score after Angelo Badalamenti's original was rejected
  • The film's noir-influenced cinematography by Laszlo Kovacs
  • Tom Berenger's ability to portray both innocence and menace effectively
  • The psychological accuracy of the amnesia portrayed in the film

Despite its modest box office performance, Shattered delivers an entertaining blend of 90s thriller conventions with enough style and memorable performances to warrant attention. As a film that fully embraces its melodramatic twists while maintaining its noir-influenced style, it proves to be an engaging entry in the psychological thriller genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

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]]> Thu, 06 Feb 2025 03:00:00 -0800 TruStory FM TruStory FM 3642 “You know what I like about amnesia?”
A Psychological Thriller with Twisting Memories

In 1991, psychological thrillers were hitting their stride, delivering increasingly complex narratives filled with shocking twists. Wolfgang Petersen's Shattered emerged during this period as a stylish entry in the genre, starring Tom Berenger and Greta Scacchi. The film would mark another step in Petersen's Hollywood journey following his success with German cinema. Join us – Pete Wright and Andy Nelson – as we continue the 'Spoiled. Rotten? Twist Endings' series with a conversation about Shattered.

Navigating the Fragments of Memory and Identity

The film's elaborate plot twists and amnesia-driven narrative provide plenty of material for discussion. We thoroughly enjoy the movie's over-the-top nature and soap opera-style revelations, though we differ on its rewatchability. Pete suggests that much of the fun comes from discovering the surprises for the first time, while Andy argues the film's entertainment value persists even when you know what's coming. We also examine the plausibility of certain character actions, particularly regarding Greta Scacchi's performance and her character's behavior in solo scenes.

Key Elements of Discussion

  • The impressive car crash sequence and its technical achievements
  • Bob Hoskins' scene-stealing performance as a pet shop owner/private investigator
  • Alan Silvestri's replacement score after Angelo Badalamenti's original was rejected
  • The film's noir-influenced cinematography by Laszlo Kovacs
  • Tom Berenger's ability to portray both innocence and menace effectively
  • The psychological accuracy of the amnesia portrayed in the film

Despite its modest box office performance, Shattered delivers an entertaining blend of 90s thriller conventions with enough style and memorable performances to warrant attention. As a film that fully embraces its melodramatic twists while maintaining its noir-influenced style, it proves to be an engaging entry in the psychological thriller genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1991, 1990s, Spoiled. Rotten? Twist Endings, Wolfgang Petersen No Andy Nelson Pete Wright The Pit and the Pendulum • Member Bonus 14 14 34 34 The Pit and the Pendulum • Member Bonus full 69ffdc21-9f1a-4271-ab0e-6e0c3b36c420 https://share.transistor.fm/s/6063310a “To be absolutely blunt about it, Nicholas believes that Elizabeth may have been interred... prematurely.”
Roger Corman's Poe Adaptations Take Flight

Following the success of House of Usher in 1960, American International Pictures eagerly greenlit another Edgar Allan Poe adaptation with Roger Corman at the helm. Richard Matheson returned to pen the screenplay, significantly expanding Poe's short story about torture during the Spanish Inquisition into a gothic tale of madness and revenge. With Vincent Price signed on to star and Daniel Haller designing the elaborate sets, Corman aimed to outdo their previous success with an even more ambitious production, working with a budget of $300,000. Join us – Pete Wright and Andy Nelson – as we continue the Roger Corman series with a conversation about The Pit and the Pendulum.

Swinging Between Horror and Drama

The film generates interesting discussion around its adaptation choices, particularly how it expands beyond Poe's original story. While Andy found entertainment value in Vincent Price's increasingly unhinged performance and the gothic atmosphere, Pete felt the film didn't deliver enough on its titular torture devices. Both hosts praise the impressive pendulum mechanism and sprawling dungeon sets, though they note the film saves these elements primarily for the finale.

More Than Just Torture Devices

The hosts explore Richard Matheson's screenplay contributions across multiple Corman-Poe films, discuss the film's influence on young Stephen King, and analyze how it compares to other adaptations of the period. They also examine the strong box office performance that helped cement AIP's commitment to more Poe films.

Key Discussion Points:

  • Barbara Steele's memorable performance as Elizabeth
  • The effective use of color and dream sequences
  • Debates over the film's marketing using different title variations
  • The elaborate castle sets despite the modest budget
  • John Kerr's portrayal of Francis Barnard
  • The final shot revealing Elizabeth's fate

While Pete found the film somewhat lacking in delivering on its horror and torture premise, Andy appreciated its atmospheric gothic qualities and Vincent Price's commanding presence. Despite their differing opinions, both agree The Pit and the Pendulum represents an important entry in Corman's Poe cycle that helped establish a formula for future adaptations. 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

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 like this that only members can access. You also get access to members-only Discord channels, early ad-free releases for every episode, pre- and post-show chats, and more. Plus, 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.

]]> “To be absolutely blunt about it, Nicholas believes that Elizabeth may have been interred... prematurely.”
Roger Corman's Poe Adaptations Take Flight

Following the success of House of Usher in 1960, American International Pictures eagerly greenlit another Edgar Allan Poe adaptation with Roger Corman at the helm. Richard Matheson returned to pen the screenplay, significantly expanding Poe's short story about torture during the Spanish Inquisition into a gothic tale of madness and revenge. With Vincent Price signed on to star and Daniel Haller designing the elaborate sets, Corman aimed to outdo their previous success with an even more ambitious production, working with a budget of $300,000. Join us – Pete Wright and Andy Nelson – as we continue the Roger Corman series with a conversation about The Pit and the Pendulum.

Swinging Between Horror and Drama

The film generates interesting discussion around its adaptation choices, particularly how it expands beyond Poe's original story. While Andy found entertainment value in Vincent Price's increasingly unhinged performance and the gothic atmosphere, Pete felt the film didn't deliver enough on its titular torture devices. Both hosts praise the impressive pendulum mechanism and sprawling dungeon sets, though they note the film saves these elements primarily for the finale.

More Than Just Torture Devices

The hosts explore Richard Matheson's screenplay contributions across multiple Corman-Poe films, discuss the film's influence on young Stephen King, and analyze how it compares to other adaptations of the period. They also examine the strong box office performance that helped cement AIP's commitment to more Poe films.

Key Discussion Points:

  • Barbara Steele's memorable performance as Elizabeth
  • The effective use of color and dream sequences
  • Debates over the film's marketing using different title variations
  • The elaborate castle sets despite the modest budget
  • John Kerr's portrayal of Francis Barnard
  • The final shot revealing Elizabeth's fate

While Pete found the film somewhat lacking in delivering on its horror and torture premise, Andy appreciated its atmospheric gothic qualities and Vincent Price's commanding presence. Despite their differing opinions, both agree The Pit and the Pendulum represents an important entry in Corman's Poe cycle that helped establish a formula for future adaptations. 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

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 like this that only members can access. You also get access to members-only Discord channels, early ad-free releases for every episode, pre- and post-show chats, and more. Plus, 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.

]]> Fri, 31 Jan 2025 03:00:00 -0800 TruStory FM TruStory FM 690 “To be absolutely blunt about it, Nicholas believes that Elizabeth may have been interred... prematurely.”
Roger Corman's Poe Adaptations Take Flight

Following the success of House of Usher in 1960, American International Pictures eagerly greenlit another Edgar Allan Poe adaptation with Roger Corman at the helm. Richard Matheson returned to pen the screenplay, significantly expanding Poe's short story about torture during the Spanish Inquisition into a gothic tale of madness and revenge. With Vincent Price signed on to star and Daniel Haller designing the elaborate sets, Corman aimed to outdo their previous success with an even more ambitious production, working with a budget of $300,000. Join us – Pete Wright and Andy Nelson – as we continue the Roger Corman series with a conversation about The Pit and the Pendulum.

Swinging Between Horror and Drama

The film generates interesting discussion around its adaptation choices, particularly how it expands beyond Poe's original story. While Andy found entertainment value in Vincent Price's increasingly unhinged performance and the gothic atmosphere, Pete felt the film didn't deliver enough on its titular torture devices. Both hosts praise the impressive pendulum mechanism and sprawling dungeon sets, though they note the film saves these elements primarily for the finale.

More Than Just Torture Devices

The hosts explore Richard Matheson's screenplay contributions across multiple Corman-Poe films, discuss the film's influence on young Stephen King, and analyze how it compares to other adaptations of the period. They also examine the strong box office performance that helped cement AIP's commitment to more Poe films.

Key Discussion Points:

  • Barbara Steele's memorable performance as Elizabeth
  • The effective use of color and dream sequences
  • Debates over the film's marketing using different title variations
  • The elaborate castle sets despite the modest budget
  • John Kerr's portrayal of Francis Barnard
  • The final shot revealing Elizabeth's fate

While Pete found the film somewhat lacking in delivering on its horror and torture premise, Andy appreciated its atmospheric gothic qualities and Vincent Price's commanding presence. Despite their differing opinions, both agree The Pit and the Pendulum represents an important entry in Corman's Poe cycle that helped establish a formula for future adaptations. 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

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 like this that only members can access. You also get access to members-only Discord channels, early ad-free releases for every episode, pre- and post-show chats, and more. Plus, 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.

]]> 1961, 1960s, Roger Corman, Member Bonus No Andy Nelson Pete Wright A Dandy in Aspic 14 14 32 32 A Dandy in Aspic full 10858c50-74f6-4b63-b9b2-78df16fa96ba https://share.transistor.fm/s/e0e1d864 “You haven't got an ounce of understanding or emotion in your body. You died the moment you were born. And when your heart finally stops beating, it'll be a mere formality.”
From Novel to Cold War Spy Thriller

Derek Marlowe's first novel caught the attention of producers looking to capitalize on the success of spy thrillers in the 1960s. With Anthony Mann set to direct and Lawrence Harvey to star, they began production in 1967. However, Mann's unexpected death during filming led to Harvey taking over directorial duties for the final portion of the shoot. Furthermore, Frank Sinatra's daily calls to the production demanding his wife Mia Farrow's return added additional tension to the complicated shoot. Join us – Pete Wright and Andy Nelson – as we wrap up the 1968 Crime Films series with a conversation about A Dandy in Aspic.

A Double Agent Trapped in Aspic

The film follows a Russian double agent ordered to track down and assassinate himself, creating an intriguing premise that never quite reaches its full potential. While the spy thriller elements and Cold War setting provide fertile ground for tension and intrigue, the execution falls short of contemporaries like The Spy Who Came in from the Cold. Additionally, Mia Farrow's character feels superfluous, appearing everywhere without clear purpose to the plot.

Other Elements We Discuss

  • Lawrence Harvey's dour performance and directorial contribution
  • The Cold War atmosphere of London and Berlin locations
  • Quincy Jones's '60s-era score
  • The creative marionette title sequence
  • Tom Courtney's engaging supporting performance
  • The film's peculiar title and its cultural context
  • The dangerous AVUS racing circuit featured in the finale

Despite its flaws, A Dandy in Aspic offers an interesting take on the spy genre with solid performances and authentic Cold War locations. Though we found the film somewhat uneven and less engaging than other spy thrillers of the era, its unique premise and historical significance make it worth examining. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You haven't got an ounce of understanding or emotion in your body. You died the moment you were born. And when your heart finally stops beating, it'll be a mere formality.”
From Novel to Cold War Spy Thriller

Derek Marlowe's first novel caught the attention of producers looking to capitalize on the success of spy thrillers in the 1960s. With Anthony Mann set to direct and Lawrence Harvey to star, they began production in 1967. However, Mann's unexpected death during filming led to Harvey taking over directorial duties for the final portion of the shoot. Furthermore, Frank Sinatra's daily calls to the production demanding his wife Mia Farrow's return added additional tension to the complicated shoot. Join us – Pete Wright and Andy Nelson – as we wrap up the 1968 Crime Films series with a conversation about A Dandy in Aspic.

A Double Agent Trapped in Aspic

The film follows a Russian double agent ordered to track down and assassinate himself, creating an intriguing premise that never quite reaches its full potential. While the spy thriller elements and Cold War setting provide fertile ground for tension and intrigue, the execution falls short of contemporaries like The Spy Who Came in from the Cold. Additionally, Mia Farrow's character feels superfluous, appearing everywhere without clear purpose to the plot.

Other Elements We Discuss

  • Lawrence Harvey's dour performance and directorial contribution
  • The Cold War atmosphere of London and Berlin locations
  • Quincy Jones's '60s-era score
  • The creative marionette title sequence
  • Tom Courtney's engaging supporting performance
  • The film's peculiar title and its cultural context
  • The dangerous AVUS racing circuit featured in the finale

Despite its flaws, A Dandy in Aspic offers an interesting take on the spy genre with solid performances and authentic Cold War locations. Though we found the film somewhat uneven and less engaging than other spy thrillers of the era, its unique premise and historical significance make it worth examining. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 30 Jan 2025 03:00:00 -0800 TruStory FM TruStory FM 3724 “You haven't got an ounce of understanding or emotion in your body. You died the moment you were born. And when your heart finally stops beating, it'll be a mere formality.”
From Novel to Cold War Spy Thriller

Derek Marlowe's first novel caught the attention of producers looking to capitalize on the success of spy thrillers in the 1960s. With Anthony Mann set to direct and Lawrence Harvey to star, they began production in 1967. However, Mann's unexpected death during filming led to Harvey taking over directorial duties for the final portion of the shoot. Furthermore, Frank Sinatra's daily calls to the production demanding his wife Mia Farrow's return added additional tension to the complicated shoot. Join us – Pete Wright and Andy Nelson – as we wrap up the 1968 Crime Films series with a conversation about A Dandy in Aspic.

A Double Agent Trapped in Aspic

The film follows a Russian double agent ordered to track down and assassinate himself, creating an intriguing premise that never quite reaches its full potential. While the spy thriller elements and Cold War setting provide fertile ground for tension and intrigue, the execution falls short of contemporaries like The Spy Who Came in from the Cold. Additionally, Mia Farrow's character feels superfluous, appearing everywhere without clear purpose to the plot.

Other Elements We Discuss

  • Lawrence Harvey's dour performance and directorial contribution
  • The Cold War atmosphere of London and Berlin locations
  • Quincy Jones's '60s-era score
  • The creative marionette title sequence
  • Tom Courtney's engaging supporting performance
  • The film's peculiar title and its cultural context
  • The dangerous AVUS racing circuit featured in the finale

Despite its flaws, A Dandy in Aspic offers an interesting take on the spy genre with solid performances and authentic Cold War locations. Though we found the film somewhat uneven and less engaging than other spy thrillers of the era, its unique premise and historical significance make it worth examining. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1968, 1960s, Anthony Mann, 1968 Crime Films No Andy Nelson Pete Wright The Split 14 14 31 31 The Split full 9c6749c9-09a6-4295-9bbb-96d60da7f274 https://share.transistor.fm/s/96bf6e8d “You're walking out on 85 grand?”
MGM's Bold Step into R-Rated Territory

In 1968, MGM was looking to break away from their family-friendly reputation and venture into more adult-oriented content. Based on Donald E. Westlake's Parker novel "The Seventh," they brought in Scottish director Gordon Flemyng fresh off his success with Great Catherine. With a stellar ensemble cast led by Jim Brown and a groundbreaking approach to racial representation in crime films, MGM was ready to push boundaries. Join us – Pete Wright and Andy Nelson – as we continue the 1968 Crime Films series with a conversation about The Split.

Breaking Down This Historic Heist

The Split represents several significant firsts - it was MGM's first R-rated film and featured Jim Brown as one of the first Black leading men in a major studio crime thriller. The film follows McClain (Brown) as he assembles an unlikely crew to rob the LA Coliseum during a playoff game. While the heist itself succeeds, the aftermath leads to betrayal, murder, and an unconventional alliance with a detective (Gene Hackman).

The Film's Place in Crime Movie History

  • Innovative team-building sequences showing McLean testing each potential crew member
  • Strong performances from an all-star cast including Ernest Borgnine, Donald Sutherland, Jack Klugman, Warren Oates, Diahann Carroll, James Whitmore, and Julie Harris
  • Progressive handling of racial themes without making them the central focus
  • A period-specific heist that could only work in the pre-digital age
  • Quincy Jones's distinctive musical score setting the 60s mood
  • The film's unique position as part of the Parker novel adaptation series

We both found The Split to be an entertaining and significant entry in the crime film genre, particularly noteworthy for its groundbreaking representation and MGM's willingness to push into edgier territory. The film successfully balances action, character development, and social commentary while delivering a satisfying heist narrative. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You're walking out on 85 grand?”
MGM's Bold Step into R-Rated Territory

In 1968, MGM was looking to break away from their family-friendly reputation and venture into more adult-oriented content. Based on Donald E. Westlake's Parker novel "The Seventh," they brought in Scottish director Gordon Flemyng fresh off his success with Great Catherine. With a stellar ensemble cast led by Jim Brown and a groundbreaking approach to racial representation in crime films, MGM was ready to push boundaries. Join us – Pete Wright and Andy Nelson – as we continue the 1968 Crime Films series with a conversation about The Split.

Breaking Down This Historic Heist

The Split represents several significant firsts - it was MGM's first R-rated film and featured Jim Brown as one of the first Black leading men in a major studio crime thriller. The film follows McClain (Brown) as he assembles an unlikely crew to rob the LA Coliseum during a playoff game. While the heist itself succeeds, the aftermath leads to betrayal, murder, and an unconventional alliance with a detective (Gene Hackman).

The Film's Place in Crime Movie History

  • Innovative team-building sequences showing McLean testing each potential crew member
  • Strong performances from an all-star cast including Ernest Borgnine, Donald Sutherland, Jack Klugman, Warren Oates, Diahann Carroll, James Whitmore, and Julie Harris
  • Progressive handling of racial themes without making them the central focus
  • A period-specific heist that could only work in the pre-digital age
  • Quincy Jones's distinctive musical score setting the 60s mood
  • The film's unique position as part of the Parker novel adaptation series

We both found The Split to be an entertaining and significant entry in the crime film genre, particularly noteworthy for its groundbreaking representation and MGM's willingness to push into edgier territory. The film successfully balances action, character development, and social commentary while delivering a satisfying heist narrative. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 23 Jan 2025 03:00:00 -0800 TruStory FM TruStory FM 3468 “You're walking out on 85 grand?”
MGM's Bold Step into R-Rated Territory

In 1968, MGM was looking to break away from their family-friendly reputation and venture into more adult-oriented content. Based on Donald E. Westlake's Parker novel "The Seventh," they brought in Scottish director Gordon Flemyng fresh off his success with Great Catherine. With a stellar ensemble cast led by Jim Brown and a groundbreaking approach to racial representation in crime films, MGM was ready to push boundaries. Join us – Pete Wright and Andy Nelson – as we continue the 1968 Crime Films series with a conversation about The Split.

Breaking Down This Historic Heist

The Split represents several significant firsts - it was MGM's first R-rated film and featured Jim Brown as one of the first Black leading men in a major studio crime thriller. The film follows McClain (Brown) as he assembles an unlikely crew to rob the LA Coliseum during a playoff game. While the heist itself succeeds, the aftermath leads to betrayal, murder, and an unconventional alliance with a detective (Gene Hackman).

The Film's Place in Crime Movie History

  • Innovative team-building sequences showing McLean testing each potential crew member
  • Strong performances from an all-star cast including Ernest Borgnine, Donald Sutherland, Jack Klugman, Warren Oates, Diahann Carroll, James Whitmore, and Julie Harris
  • Progressive handling of racial themes without making them the central focus
  • A period-specific heist that could only work in the pre-digital age
  • Quincy Jones's distinctive musical score setting the 60s mood
  • The film's unique position as part of the Parker novel adaptation series

We both found The Split to be an entertaining and significant entry in the crime film genre, particularly noteworthy for its groundbreaking representation and MGM's willingness to push into edgier territory. The film successfully balances action, character development, and social commentary while delivering a satisfying heist narrative. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1968, 1960s, 1968 Crime Films, Gordon Flemyng No Andy Nelson Pete Wright The Boston Strangler 14 14 30 30 The Boston Strangler full f350071c-1a57-4a5b-8fc1-d28566c0d456 https://share.transistor.fm/s/870b6cfb “It’s bad enough if he’s guilty, but what if he’s innocent and you push him over the edge?”
Setting the Stage for a Controversial True Crime Adaptation

In 1966, writer Gerald Frank published his bestselling book about the Boston Strangler case, catching the attention of 20th Century Fox and producer Richard D. Zanuck. Director Richard Fleischer, known for his genre work, was brought on to helm the project. Against initial studio resistance, Tony Curtis lobbied hard for the lead role of Albert DeSalvo, even doing a screen test that convinced Zanuck. The film aimed to tell the story of the infamous Boston Strangler cases while they were still fresh in public memory. Join us – Pete Wright and Andy Nelson – as we continue the 1968 Crime Films series with a conversation about The Boston Strangler.

Strangling Expectations: A Deep Dive into The Boston Strangler

The film takes a fascinating approach to its subject matter by withholding DeSalvo's appearance until halfway through, building tension through police procedural elements and Henry Fonda's measured performance as John Bottomly. We discuss how Fleischer's innovative use of split-screen techniques helps tell multiple narrative threads simultaneously, while exploring the psychological complexity of the case. Though some period elements feel dated, Tony Curtis delivers a transformative performance that deserved Oscar recognition.

Further Investigation into the Film's Impact

  • Richard Fleischer's masterful direction and experimental visual style
  • The film's treatment of psychological themes versus historical accuracy
  • Strong supporting performances from George Kennedy and Sally Kellerman
  • Contemporary critical response, including Roger Ebert's moral objections
  • How the film stands up against modern true crime adaptations
  • The evolution of public understanding of the actual case

The Boston Strangler remains a compelling piece of cinema despite its historical inaccuracies. While the film takes creative liberties with the true story, its innovative visual style and Curtis's remarkable performance make it a standout entry in the 1968 crime film genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “It’s bad enough if he’s guilty, but what if he’s innocent and you push him over the edge?”
Setting the Stage for a Controversial True Crime Adaptation

In 1966, writer Gerald Frank published his bestselling book about the Boston Strangler case, catching the attention of 20th Century Fox and producer Richard D. Zanuck. Director Richard Fleischer, known for his genre work, was brought on to helm the project. Against initial studio resistance, Tony Curtis lobbied hard for the lead role of Albert DeSalvo, even doing a screen test that convinced Zanuck. The film aimed to tell the story of the infamous Boston Strangler cases while they were still fresh in public memory. Join us – Pete Wright and Andy Nelson – as we continue the 1968 Crime Films series with a conversation about The Boston Strangler.

Strangling Expectations: A Deep Dive into The Boston Strangler

The film takes a fascinating approach to its subject matter by withholding DeSalvo's appearance until halfway through, building tension through police procedural elements and Henry Fonda's measured performance as John Bottomly. We discuss how Fleischer's innovative use of split-screen techniques helps tell multiple narrative threads simultaneously, while exploring the psychological complexity of the case. Though some period elements feel dated, Tony Curtis delivers a transformative performance that deserved Oscar recognition.

Further Investigation into the Film's Impact

  • Richard Fleischer's masterful direction and experimental visual style
  • The film's treatment of psychological themes versus historical accuracy
  • Strong supporting performances from George Kennedy and Sally Kellerman
  • Contemporary critical response, including Roger Ebert's moral objections
  • How the film stands up against modern true crime adaptations
  • The evolution of public understanding of the actual case

The Boston Strangler remains a compelling piece of cinema despite its historical inaccuracies. While the film takes creative liberties with the true story, its innovative visual style and Curtis's remarkable performance make it a standout entry in the 1968 crime film genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 16 Jan 2025 03:00:00 -0800 TruStory FM TruStory FM 3376 “It’s bad enough if he’s guilty, but what if he’s innocent and you push him over the edge?”
Setting the Stage for a Controversial True Crime Adaptation

In 1966, writer Gerald Frank published his bestselling book about the Boston Strangler case, catching the attention of 20th Century Fox and producer Richard D. Zanuck. Director Richard Fleischer, known for his genre work, was brought on to helm the project. Against initial studio resistance, Tony Curtis lobbied hard for the lead role of Albert DeSalvo, even doing a screen test that convinced Zanuck. The film aimed to tell the story of the infamous Boston Strangler cases while they were still fresh in public memory. Join us – Pete Wright and Andy Nelson – as we continue the 1968 Crime Films series with a conversation about The Boston Strangler.

Strangling Expectations: A Deep Dive into The Boston Strangler

The film takes a fascinating approach to its subject matter by withholding DeSalvo's appearance until halfway through, building tension through police procedural elements and Henry Fonda's measured performance as John Bottomly. We discuss how Fleischer's innovative use of split-screen techniques helps tell multiple narrative threads simultaneously, while exploring the psychological complexity of the case. Though some period elements feel dated, Tony Curtis delivers a transformative performance that deserved Oscar recognition.

Further Investigation into the Film's Impact

  • Richard Fleischer's masterful direction and experimental visual style
  • The film's treatment of psychological themes versus historical accuracy
  • Strong supporting performances from George Kennedy and Sally Kellerman
  • Contemporary critical response, including Roger Ebert's moral objections
  • How the film stands up against modern true crime adaptations
  • The evolution of public understanding of the actual case

The Boston Strangler remains a compelling piece of cinema despite its historical inaccuracies. While the film takes creative liberties with the true story, its innovative visual style and Curtis's remarkable performance make it a standout entry in the 1968 crime film genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1968, 1960s, 1968 Crime Films, Richard Fleischer No Andy Nelson Pete Wright Grand Slam 14 14 29 29 Grand Slam full cd4f1ab1-b112-4e4f-aea2-f581dcb0c024 https://share.transistor.fm/s/a7329cf2 “All four with clean records. No police force in the world knows them or their work. In their fields, the very best.”
Unveiling a Hidden Heist Film Gem from 1967

In 1967, Italian director Giuliano Montaldo brought together an international cast for an ambitious heist film co-production between Italy, Spain, and West Germany. Coming off his success with The Reckless, which was nominated for the Golden Bear prize at the Berlin International Film Festival, Montaldo secured Edward G. Robinson and Janet Leigh as two of his leads. With legendary composer Ennio Morricone providing the score, the production aimed to create a sophisticated entry in the burgeoning heist film genre. Join us – Pete Wright and Andy Nelson – as we continue the Heist Films series with a conversation about Montaldo’s 1967 film Grand Slam.

Breaking Down This International Heist Caper

The film follows a meticulous plan to rob $10 million in diamonds during Rio's Carnaval, orchestrated by Robinson's retired professor character. We discuss how the film builds tension through its carefully assembled team of specialists and elaborate heist sequence. While the ending has divided audiences over the years, we explore how this twist-filled finale actually enhances the film's themes about crime and betrayal.

Key Elements of the Grand Slam Heist

• The innovative card catalog system used to assemble the criminal team
• Klaus Kinski's intense performance as the ex-military member of the crew
• Janet Leigh's role and how her development may have been too much a giveaway, at least through modern eyes
• Ennio Morricone's distinctive, Carnaval-influenced score
• The technical achievement of the vault robbery sequence
• The film's use of international locations, including some clever substitutions (and some bad blue screen)

When Plans Come Together

Despite being somewhat forgotten today, Grand Slam delivers as both a meticulously crafted heist film and an engaging story with great characters. We both rate it highly, appreciating its technical prowess and storytelling even when some of the twists become predictable. The film deserves more recognition among classic heist films of the 1960s for its innovative approach and international flair. 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


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]]> “All four with clean records. No police force in the world knows them or their work. In their fields, the very best.”
Unveiling a Hidden Heist Film Gem from 1967

In 1967, Italian director Giuliano Montaldo brought together an international cast for an ambitious heist film co-production between Italy, Spain, and West Germany. Coming off his success with The Reckless, which was nominated for the Golden Bear prize at the Berlin International Film Festival, Montaldo secured Edward G. Robinson and Janet Leigh as two of his leads. With legendary composer Ennio Morricone providing the score, the production aimed to create a sophisticated entry in the burgeoning heist film genre. Join us – Pete Wright and Andy Nelson – as we continue the Heist Films series with a conversation about Montaldo’s 1967 film Grand Slam.

Breaking Down This International Heist Caper

The film follows a meticulous plan to rob $10 million in diamonds during Rio's Carnaval, orchestrated by Robinson's retired professor character. We discuss how the film builds tension through its carefully assembled team of specialists and elaborate heist sequence. While the ending has divided audiences over the years, we explore how this twist-filled finale actually enhances the film's themes about crime and betrayal.

Key Elements of the Grand Slam Heist

• The innovative card catalog system used to assemble the criminal team
• Klaus Kinski's intense performance as the ex-military member of the crew
• Janet Leigh's role and how her development may have been too much a giveaway, at least through modern eyes
• Ennio Morricone's distinctive, Carnaval-influenced score
• The technical achievement of the vault robbery sequence
• The film's use of international locations, including some clever substitutions (and some bad blue screen)

When Plans Come Together

Despite being somewhat forgotten today, Grand Slam delivers as both a meticulously crafted heist film and an engaging story with great characters. We both rate it highly, appreciating its technical prowess and storytelling even when some of the twists become predictable. The film deserves more recognition among classic heist films of the 1960s for its innovative approach and international flair. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 09 Jan 2025 03:00:00 -0800 TruStory FM TruStory FM 3687 “All four with clean records. No police force in the world knows them or their work. In their fields, the very best.”
Unveiling a Hidden Heist Film Gem from 1967

In 1967, Italian director Giuliano Montaldo brought together an international cast for an ambitious heist film co-production between Italy, Spain, and West Germany. Coming off his success with The Reckless, which was nominated for the Golden Bear prize at the Berlin International Film Festival, Montaldo secured Edward G. Robinson and Janet Leigh as two of his leads. With legendary composer Ennio Morricone providing the score, the production aimed to create a sophisticated entry in the burgeoning heist film genre. Join us – Pete Wright and Andy Nelson – as we continue the Heist Films series with a conversation about Montaldo’s 1967 film Grand Slam.

Breaking Down This International Heist Caper

The film follows a meticulous plan to rob $10 million in diamonds during Rio's Carnaval, orchestrated by Robinson's retired professor character. We discuss how the film builds tension through its carefully assembled team of specialists and elaborate heist sequence. While the ending has divided audiences over the years, we explore how this twist-filled finale actually enhances the film's themes about crime and betrayal.

Key Elements of the Grand Slam Heist

• The innovative card catalog system used to assemble the criminal team
• Klaus Kinski's intense performance as the ex-military member of the crew
• Janet Leigh's role and how her development may have been too much a giveaway, at least through modern eyes
• Ennio Morricone's distinctive, Carnaval-influenced score
• The technical achievement of the vault robbery sequence
• The film's use of international locations, including some clever substitutions (and some bad blue screen)

When Plans Come Together

Despite being somewhat forgotten today, Grand Slam delivers as both a meticulously crafted heist film and an engaging story with great characters. We both rate it highly, appreciating its technical prowess and storytelling even when some of the twists become predictable. The film deserves more recognition among classic heist films of the 1960s for its innovative approach and international flair. 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


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]]> 1967, 1960s, Giuliano Montaldo, Heist Films No Andy Nelson Pete Wright After the Fox 14 14 27 27 After the Fox full 2b952731-3724-421b-bf9f-6b45c43946fc https://share.transistor.fm/s/d7676cdf “In films, either you’ve got a face or you don’t got a face. You've got a face. Can I have it, please?”
A Comedic Heist Caper from an Unlikely Collaboration

In 1966, Peter Sellers sought to work with renowned Italian neorealist director Vittorio De Sica, bringing aboard playwright Neil Simon to pen his first screenplay. Despite De Sica's reported gambling debts motivating his involvement, the collaboration proved challenging. De Sica struggled with Simon's script and Sellers' performance style, while conflicts arose over casting choices, including Sellers' then-wife Britt Ekland. Join us – Pete Wright and Andy Nelson – as we continue the Heist Films series with a conversation about De Sica’s 1966 film After the Fox.

Breaking Down This Fox's Complicated Hunt

The film weaves together elements of heist capers and Hollywood satire, following master criminal Aldo "The Fox" Vanucci as he poses as an Italian film director to orchestrate a gold heist. While the premise shows promise, the movie struggles to balance its dual identity as both heist film and industry commentary. However, the stellar performances, particularly from Sellers and Victor Mature (playing a delightfully self-aware version of himself), help elevate the material beyond its structural issues.

Key Elements of This Unique Crime Comedy

• Peter Sellers' multiple disguises and his protective relationship with his sister (played by then-wife Britt Ekland)
• Victor Mature's comeback performance lampooning his own image
• The film's satirical take on moviemaking and celebrity culture
• Burt Bacharach's memorable earworm title song
• The clever setup of the heist using a film production as cover
• A somewhat disappointing climactic car chase that fails to deliver on the film's early promise

While After the Fox may not fully succeed as either a heist film or industry satire, it offers enough charm and laughs to warrant attention. The film's unique blend of crime caper and showbiz satire, combined with Sellers' comedic prowess, makes it an entertaining entry in both his filmography and the heist genre. 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


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The Next Reel Family of Film Shows:

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]]> “In films, either you’ve got a face or you don’t got a face. You've got a face. Can I have it, please?”
A Comedic Heist Caper from an Unlikely Collaboration

In 1966, Peter Sellers sought to work with renowned Italian neorealist director Vittorio De Sica, bringing aboard playwright Neil Simon to pen his first screenplay. Despite De Sica's reported gambling debts motivating his involvement, the collaboration proved challenging. De Sica struggled with Simon's script and Sellers' performance style, while conflicts arose over casting choices, including Sellers' then-wife Britt Ekland. Join us – Pete Wright and Andy Nelson – as we continue the Heist Films series with a conversation about De Sica’s 1966 film After the Fox.

Breaking Down This Fox's Complicated Hunt

The film weaves together elements of heist capers and Hollywood satire, following master criminal Aldo "The Fox" Vanucci as he poses as an Italian film director to orchestrate a gold heist. While the premise shows promise, the movie struggles to balance its dual identity as both heist film and industry commentary. However, the stellar performances, particularly from Sellers and Victor Mature (playing a delightfully self-aware version of himself), help elevate the material beyond its structural issues.

Key Elements of This Unique Crime Comedy

• Peter Sellers' multiple disguises and his protective relationship with his sister (played by then-wife Britt Ekland)
• Victor Mature's comeback performance lampooning his own image
• The film's satirical take on moviemaking and celebrity culture
• Burt Bacharach's memorable earworm title song
• The clever setup of the heist using a film production as cover
• A somewhat disappointing climactic car chase that fails to deliver on the film's early promise

While After the Fox may not fully succeed as either a heist film or industry satire, it offers enough charm and laughs to warrant attention. The film's unique blend of crime caper and showbiz satire, combined with Sellers' comedic prowess, makes it an entertaining entry in both his filmography and the heist genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 02 Jan 2025 03:00:00 -0800 TruStory FM TruStory FM 3621 “In films, either you’ve got a face or you don’t got a face. You've got a face. Can I have it, please?”
A Comedic Heist Caper from an Unlikely Collaboration

In 1966, Peter Sellers sought to work with renowned Italian neorealist director Vittorio De Sica, bringing aboard playwright Neil Simon to pen his first screenplay. Despite De Sica's reported gambling debts motivating his involvement, the collaboration proved challenging. De Sica struggled with Simon's script and Sellers' performance style, while conflicts arose over casting choices, including Sellers' then-wife Britt Ekland. Join us – Pete Wright and Andy Nelson – as we continue the Heist Films series with a conversation about De Sica’s 1966 film After the Fox.

Breaking Down This Fox's Complicated Hunt

The film weaves together elements of heist capers and Hollywood satire, following master criminal Aldo "The Fox" Vanucci as he poses as an Italian film director to orchestrate a gold heist. While the premise shows promise, the movie struggles to balance its dual identity as both heist film and industry commentary. However, the stellar performances, particularly from Sellers and Victor Mature (playing a delightfully self-aware version of himself), help elevate the material beyond its structural issues.

Key Elements of This Unique Crime Comedy

• Peter Sellers' multiple disguises and his protective relationship with his sister (played by then-wife Britt Ekland)
• Victor Mature's comeback performance lampooning his own image
• The film's satirical take on moviemaking and celebrity culture
• Burt Bacharach's memorable earworm title song
• The clever setup of the heist using a film production as cover
• A somewhat disappointing climactic car chase that fails to deliver on the film's early promise

While After the Fox may not fully succeed as either a heist film or industry satire, it offers enough charm and laughs to warrant attention. The film's unique blend of crime caper and showbiz satire, combined with Sellers' comedic prowess, makes it an entertaining entry in both his filmography and the heist genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1966, 1960s, Vittorio De Sica, Heist Films No Andy Nelson Pete Wright Death Race 2000 • Member Bonus 14 14 28 28 Death Race 2000 • Member Bonus full 07560e63-89bd-48d6-8594-c4fe5eaafc54 https://share.transistor.fm/s/4ae97785 “A perfect hit! And no pain for the target. Too bad the guy was only 38; just two years older, he'd have been worth three times the points.”
Roger Corman's Vision of a Dystopian Future

In 1974, Roger Corman learned about Norman Jewison's upcoming film Rollerball and decided to capitalize on its publicity by producing his own futuristic sports film. Based on a short story by Ib Melchior inspired by his experiences at the Indianapolis 500, Corman brought on Paul Bartel to direct what would become a satirical commentary on violence in entertainment and totalitarian control. With a budget of just $300,000, Corman assembled a cast including David Carradine and a pre-Rocky Sylvester Stallone to create this violent vision of America's future. Join us – Pete Wright and Andy Nelson – as we continue the Roger Corman series with a conversation about Bartel’s 1975 film Death Race 2000.

Racing Through the Film's Key Points

The film's unique blend of dark comedy and social commentary creates an engaging discussion about its place in both exploitation cinema and political satire. We explore how Corman's influence shaped the film's development, particularly his push to emphasize comedy and include gratuitous elements that became his trademark. The movie's transformation from a serious script to a more satirical piece showcases Corman's understanding of what would appeal to audiences.

Additional Pit Stops in Our Discussion

• The cultural context of car-themed movies in the 1970s and their connection to American car culture
• David Carradine's performance as Frankenstein and whether he was the right choice for the role
• The film's commentary on media manipulation and fan culture
• How the limited budget affected the scale of the cross-country race
• The surprising franchise legacy, including multiple sequels and remakes
• Tak Fujimoto's cinematography and how it enhanced the racing sequences

A Victory Lap Worth Taking

Despite its low budget and exploitation elements, Death Race 2000 succeeds as both entertainment and satire. While some critics initially dismissed it, including Roger Ebert who gave it zero stars before later acknowledging its merits, the film has earned its place as a cult classic. Both hosts thoroughly enjoyed the film, with Andy giving it four stars and Pete giving it three stars with a heart on Letterboxd. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> “A perfect hit! And no pain for the target. Too bad the guy was only 38; just two years older, he'd have been worth three times the points.”
Roger Corman's Vision of a Dystopian Future

In 1974, Roger Corman learned about Norman Jewison's upcoming film Rollerball and decided to capitalize on its publicity by producing his own futuristic sports film. Based on a short story by Ib Melchior inspired by his experiences at the Indianapolis 500, Corman brought on Paul Bartel to direct what would become a satirical commentary on violence in entertainment and totalitarian control. With a budget of just $300,000, Corman assembled a cast including David Carradine and a pre-Rocky Sylvester Stallone to create this violent vision of America's future. Join us – Pete Wright and Andy Nelson – as we continue the Roger Corman series with a conversation about Bartel’s 1975 film Death Race 2000.

Racing Through the Film's Key Points

The film's unique blend of dark comedy and social commentary creates an engaging discussion about its place in both exploitation cinema and political satire. We explore how Corman's influence shaped the film's development, particularly his push to emphasize comedy and include gratuitous elements that became his trademark. The movie's transformation from a serious script to a more satirical piece showcases Corman's understanding of what would appeal to audiences.

Additional Pit Stops in Our Discussion

• The cultural context of car-themed movies in the 1970s and their connection to American car culture
• David Carradine's performance as Frankenstein and whether he was the right choice for the role
• The film's commentary on media manipulation and fan culture
• How the limited budget affected the scale of the cross-country race
• The surprising franchise legacy, including multiple sequels and remakes
• Tak Fujimoto's cinematography and how it enhanced the racing sequences

A Victory Lap Worth Taking

Despite its low budget and exploitation elements, Death Race 2000 succeeds as both entertainment and satire. While some critics initially dismissed it, including Roger Ebert who gave it zero stars before later acknowledging its merits, the film has earned its place as a cult classic. Both hosts thoroughly enjoyed the film, with Andy giving it four stars and Pete giving it three stars with a heart on Letterboxd. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> Tue, 31 Dec 2024 03:00:00 -0800 TruStory FM TruStory FM 856 “A perfect hit! And no pain for the target. Too bad the guy was only 38; just two years older, he'd have been worth three times the points.”
Roger Corman's Vision of a Dystopian Future

In 1974, Roger Corman learned about Norman Jewison's upcoming film Rollerball and decided to capitalize on its publicity by producing his own futuristic sports film. Based on a short story by Ib Melchior inspired by his experiences at the Indianapolis 500, Corman brought on Paul Bartel to direct what would become a satirical commentary on violence in entertainment and totalitarian control. With a budget of just $300,000, Corman assembled a cast including David Carradine and a pre-Rocky Sylvester Stallone to create this violent vision of America's future. Join us – Pete Wright and Andy Nelson – as we continue the Roger Corman series with a conversation about Bartel’s 1975 film Death Race 2000.

Racing Through the Film's Key Points

The film's unique blend of dark comedy and social commentary creates an engaging discussion about its place in both exploitation cinema and political satire. We explore how Corman's influence shaped the film's development, particularly his push to emphasize comedy and include gratuitous elements that became his trademark. The movie's transformation from a serious script to a more satirical piece showcases Corman's understanding of what would appeal to audiences.

Additional Pit Stops in Our Discussion

• The cultural context of car-themed movies in the 1970s and their connection to American car culture
• David Carradine's performance as Frankenstein and whether he was the right choice for the role
• The film's commentary on media manipulation and fan culture
• How the limited budget affected the scale of the cross-country race
• The surprising franchise legacy, including multiple sequels and remakes
• Tak Fujimoto's cinematography and how it enhanced the racing sequences

A Victory Lap Worth Taking

Despite its low budget and exploitation elements, Death Race 2000 succeeds as both entertainment and satire. While some critics initially dismissed it, including Roger Ebert who gave it zero stars before later acknowledging its merits, the film has earned its place as a cult classic. Both hosts thoroughly enjoyed the film, with Andy giving it four stars and Pete giving it three stars with a heart on Letterboxd. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> 1975, 1970s, Paul Bartel, Roger Corman No Andy Nelson Pete Wright The League of Gentlemen 14 14 26 26 The League of Gentlemen full 63e03f15-42ae-4bbc-a2e9-5e838a7b61c3 https://share.transistor.fm/s/6e667848 “This was not intended to be a book-of-the-month club lunch.”
A British Heist Film That Set Early Genre Standards

In 1958, John Boland published his novel The League of Gentlemen, which quickly caught the attention of British filmmakers. Director Basil Dearden, known for his work with Ealing Studios, saw potential in this story of ex-military men planning an elaborate bank robbery. Working with screenwriter Bryan Forbes, who also took a role in the film, Dearden assembled an impressive cast including Jack Hawkins, Richard Attenborough, and Nigel Patrick. Join us – Pete Wright and Andy Nelson – as we return to our Heist Films series with a conversation about Dearden’s 1960 film The League of Gentlemen.

Breaking Down This Military-Precision Heist

The film follows a group of former military officers who, feeling cast aside by society (and kicked out of the military), band together to execute a sophisticated bank robbery. As we discuss the film, we explore how it handles character development within its large ensemble cast. While some characters receive more attention than others, the film mostly effectively balances its numerous players. Furthermore, we examine how the film's visual elements, particularly the smoke-filled heist sequence with gas masks, create memorable and striking imagery in black and white.

Exploring Themes and Cultural Context

Throughout our discussion, we delve into several fascinating aspects of the film:

  • The military hierarchy that naturally reasserts itself among the characters
  • The film's commentary on post-war soldiers struggling to find their place in society
  • The blend of comedy and crime elements that would influence future heist films
  • The impressive performances, particularly from Jack Hawkins and Richard Attenborough
  • The film's innovative use of practical effects, especially during the climactic heist sequence
  • The cultural attitudes and gender relations reflected in the film

A Must-Watch Early Heist Film

The League of Gentlemen stands as an important early entry in the heist film genre, arriving the same year as the original Ocean's 11. While some character development opportunities may have been missed due to the large cast, the film succeeds in delivering both entertainment and social commentary. We both thoroughly enjoyed this British crime caper, particularly appreciating its technical achievements and ensemble performances. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “This was not intended to be a book-of-the-month club lunch.”
A British Heist Film That Set Early Genre Standards

In 1958, John Boland published his novel The League of Gentlemen, which quickly caught the attention of British filmmakers. Director Basil Dearden, known for his work with Ealing Studios, saw potential in this story of ex-military men planning an elaborate bank robbery. Working with screenwriter Bryan Forbes, who also took a role in the film, Dearden assembled an impressive cast including Jack Hawkins, Richard Attenborough, and Nigel Patrick. Join us – Pete Wright and Andy Nelson – as we return to our Heist Films series with a conversation about Dearden’s 1960 film The League of Gentlemen.

Breaking Down This Military-Precision Heist

The film follows a group of former military officers who, feeling cast aside by society (and kicked out of the military), band together to execute a sophisticated bank robbery. As we discuss the film, we explore how it handles character development within its large ensemble cast. While some characters receive more attention than others, the film mostly effectively balances its numerous players. Furthermore, we examine how the film's visual elements, particularly the smoke-filled heist sequence with gas masks, create memorable and striking imagery in black and white.

Exploring Themes and Cultural Context

Throughout our discussion, we delve into several fascinating aspects of the film:

  • The military hierarchy that naturally reasserts itself among the characters
  • The film's commentary on post-war soldiers struggling to find their place in society
  • The blend of comedy and crime elements that would influence future heist films
  • The impressive performances, particularly from Jack Hawkins and Richard Attenborough
  • The film's innovative use of practical effects, especially during the climactic heist sequence
  • The cultural attitudes and gender relations reflected in the film

A Must-Watch Early Heist Film

The League of Gentlemen stands as an important early entry in the heist film genre, arriving the same year as the original Ocean's 11. While some character development opportunities may have been missed due to the large cast, the film succeeds in delivering both entertainment and social commentary. We both thoroughly enjoyed this British crime caper, particularly appreciating its technical achievements and ensemble performances. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 26 Dec 2024 03:00:00 -0800 TruStory FM TruStory FM 3917 “This was not intended to be a book-of-the-month club lunch.”
A British Heist Film That Set Early Genre Standards

In 1958, John Boland published his novel The League of Gentlemen, which quickly caught the attention of British filmmakers. Director Basil Dearden, known for his work with Ealing Studios, saw potential in this story of ex-military men planning an elaborate bank robbery. Working with screenwriter Bryan Forbes, who also took a role in the film, Dearden assembled an impressive cast including Jack Hawkins, Richard Attenborough, and Nigel Patrick. Join us – Pete Wright and Andy Nelson – as we return to our Heist Films series with a conversation about Dearden’s 1960 film The League of Gentlemen.

Breaking Down This Military-Precision Heist

The film follows a group of former military officers who, feeling cast aside by society (and kicked out of the military), band together to execute a sophisticated bank robbery. As we discuss the film, we explore how it handles character development within its large ensemble cast. While some characters receive more attention than others, the film mostly effectively balances its numerous players. Furthermore, we examine how the film's visual elements, particularly the smoke-filled heist sequence with gas masks, create memorable and striking imagery in black and white.

Exploring Themes and Cultural Context

Throughout our discussion, we delve into several fascinating aspects of the film:

  • The military hierarchy that naturally reasserts itself among the characters
  • The film's commentary on post-war soldiers struggling to find their place in society
  • The blend of comedy and crime elements that would influence future heist films
  • The impressive performances, particularly from Jack Hawkins and Richard Attenborough
  • The film's innovative use of practical effects, especially during the climactic heist sequence
  • The cultural attitudes and gender relations reflected in the film

A Must-Watch Early Heist Film

The League of Gentlemen stands as an important early entry in the heist film genre, arriving the same year as the original Ocean's 11. While some character development opportunities may have been missed due to the large cast, the film succeeds in delivering both entertainment and social commentary. We both thoroughly enjoyed this British crime caper, particularly appreciating its technical achievements and ensemble performances. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1960, 1960s, Basil Dearden, Heist Films No Andy Nelson Pete Wright The Sum of All Fears 14 14 25 25 The Sum of All Fears full 414b4faf-a693-4f49-8146-af531ee5a4db https://share.transistor.fm/s/d96b3476 “When I asked for your advice, I didn't mean that you should actually speak.”
Rebooting the Jack Ryan Franchise

After the success of Patriot Games and Clear and Present Danger, Paramount Pictures aimed to continue the Jack Ryan franchise with an adaptation of The Sum of All Fears. Initially, Harrison Ford was set to reprise his role as Jack Ryan, but he and director Phillip Noyce dropped out due to script issues. Paramount then decided to reboot the franchise with a younger actor, offering the role to Ben Affleck, who received blessings from Ford and Alec Baldwin. With director Phil Alden Robinson on board, the stage was set for a new era of Jack Ryan. Join us – Pete Wright and Andy Nelson – as we continue the Jack Ryan series with a conversation about Noyce’s 2002 film The Sum of All Fears.

A Bold Adaptation Filled with Fascinating Political Intrigue

In this episode, we delve into the daring choices made in adapting Clancy's novel, particularly how the film allows Jack Ryan, the embodiment of institutional intelligence, to fail. The movie's second half, focusing on the aftermath of a devastating bomb blast in Baltimore, surprised us with its engaging portrayal of escalating tensions between the U.S. and Russian presidents. We appreciate how the film questions the intelligence and diplomacy machine by highlighting Ryan's struggle to convey crucial information to decision-makers.

(Mostly) Great Performances and Controversial Villains

Throughout our discussion, we praise the performances of James Cromwell as President Fowler, Morgan Freeman as CIA Director William Cabot, and Liev Schreiber as John Clark. However, we do struggle a bit with Affleck playing Ryan. We also express disappointment in the film's decision to replace the Islamic terrorists from the novel with neo-Nazis, feeling that it weakens the story's impact and makes the villains less compelling.

Other points:

  • The challenges of adapting Clancy's novel and the script issues that led to the reboot
  • Ben Affleck's performance as a younger Jack Ryan
  • The film's depiction of the U.S. and Russian presidents' responses to the crisis
  • Alan Bates and Colm Feore's roles as tepid neo-Nazi villains and their impact on the story

A Thought-Provoking Entry in the Jack Ryan Series

While The Sum of All Fears may not be the most celebrated entry in the Jack Ryan series, it offers a thought-provoking exploration of political intrigue and the consequences of intelligence failures. Despite some weaknesses in its adaptation choices and the lead casting choice, the film's second half delivers a gripping narrative that keeps viewers engaged. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “When I asked for your advice, I didn't mean that you should actually speak.”
Rebooting the Jack Ryan Franchise

After the success of Patriot Games and Clear and Present Danger, Paramount Pictures aimed to continue the Jack Ryan franchise with an adaptation of The Sum of All Fears. Initially, Harrison Ford was set to reprise his role as Jack Ryan, but he and director Phillip Noyce dropped out due to script issues. Paramount then decided to reboot the franchise with a younger actor, offering the role to Ben Affleck, who received blessings from Ford and Alec Baldwin. With director Phil Alden Robinson on board, the stage was set for a new era of Jack Ryan. Join us – Pete Wright and Andy Nelson – as we continue the Jack Ryan series with a conversation about Noyce’s 2002 film The Sum of All Fears.

A Bold Adaptation Filled with Fascinating Political Intrigue

In this episode, we delve into the daring choices made in adapting Clancy's novel, particularly how the film allows Jack Ryan, the embodiment of institutional intelligence, to fail. The movie's second half, focusing on the aftermath of a devastating bomb blast in Baltimore, surprised us with its engaging portrayal of escalating tensions between the U.S. and Russian presidents. We appreciate how the film questions the intelligence and diplomacy machine by highlighting Ryan's struggle to convey crucial information to decision-makers.

(Mostly) Great Performances and Controversial Villains

Throughout our discussion, we praise the performances of James Cromwell as President Fowler, Morgan Freeman as CIA Director William Cabot, and Liev Schreiber as John Clark. However, we do struggle a bit with Affleck playing Ryan. We also express disappointment in the film's decision to replace the Islamic terrorists from the novel with neo-Nazis, feeling that it weakens the story's impact and makes the villains less compelling.

Other points:

  • The challenges of adapting Clancy's novel and the script issues that led to the reboot
  • Ben Affleck's performance as a younger Jack Ryan
  • The film's depiction of the U.S. and Russian presidents' responses to the crisis
  • Alan Bates and Colm Feore's roles as tepid neo-Nazi villains and their impact on the story

A Thought-Provoking Entry in the Jack Ryan Series

While The Sum of All Fears may not be the most celebrated entry in the Jack Ryan series, it offers a thought-provoking exploration of political intrigue and the consequences of intelligence failures. Despite some weaknesses in its adaptation choices and the lead casting choice, the film's second half delivers a gripping narrative that keeps viewers engaged. 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


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]]> Thu, 19 Dec 2024 03:00:00 -0800 TruStory FM TruStory FM 4139 “When I asked for your advice, I didn't mean that you should actually speak.”
Rebooting the Jack Ryan Franchise

After the success of Patriot Games and Clear and Present Danger, Paramount Pictures aimed to continue the Jack Ryan franchise with an adaptation of The Sum of All Fears. Initially, Harrison Ford was set to reprise his role as Jack Ryan, but he and director Phillip Noyce dropped out due to script issues. Paramount then decided to reboot the franchise with a younger actor, offering the role to Ben Affleck, who received blessings from Ford and Alec Baldwin. With director Phil Alden Robinson on board, the stage was set for a new era of Jack Ryan. Join us – Pete Wright and Andy Nelson – as we continue the Jack Ryan series with a conversation about Noyce’s 2002 film The Sum of All Fears.

A Bold Adaptation Filled with Fascinating Political Intrigue

In this episode, we delve into the daring choices made in adapting Clancy's novel, particularly how the film allows Jack Ryan, the embodiment of institutional intelligence, to fail. The movie's second half, focusing on the aftermath of a devastating bomb blast in Baltimore, surprised us with its engaging portrayal of escalating tensions between the U.S. and Russian presidents. We appreciate how the film questions the intelligence and diplomacy machine by highlighting Ryan's struggle to convey crucial information to decision-makers.

(Mostly) Great Performances and Controversial Villains

Throughout our discussion, we praise the performances of James Cromwell as President Fowler, Morgan Freeman as CIA Director William Cabot, and Liev Schreiber as John Clark. However, we do struggle a bit with Affleck playing Ryan. We also express disappointment in the film's decision to replace the Islamic terrorists from the novel with neo-Nazis, feeling that it weakens the story's impact and makes the villains less compelling.

Other points:

  • The challenges of adapting Clancy's novel and the script issues that led to the reboot
  • Ben Affleck's performance as a younger Jack Ryan
  • The film's depiction of the U.S. and Russian presidents' responses to the crisis
  • Alan Bates and Colm Feore's roles as tepid neo-Nazi villains and their impact on the story

A Thought-Provoking Entry in the Jack Ryan Series

While The Sum of All Fears may not be the most celebrated entry in the Jack Ryan series, it offers a thought-provoking exploration of political intrigue and the consequences of intelligence failures. Despite some weaknesses in its adaptation choices and the lead casting choice, the film's second half delivers a gripping narrative that keeps viewers engaged. 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


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]]> 2002, 2000s, Phil Alden Robinson, Jack Ryan No Andy Nelson Pete Wright Clear and Present Danger 14 14 24 24 Clear and Present Danger full 6e1a1907-fdfd-45fe-b471-35df8a72adcd https://share.transistor.fm/s/9d098198 “The course of action I’d suggest is a course of action I can’t suggest.”
The Road to Clear and Present Danger

After the success of Patriot Games, Paramount Pictures was eager to continue the Jack Ryan series with another adaptation of a Tom Clancy novel. With Harrison Ford set to return as the intrepid CIA analyst and Phillip Noyce back in the director's chair, the stage was set for Clear and Present Danger. The film, released in 1994, brought a new level of complexity to the series, delving into the murky world of covert operations and political machinations. Join us – Pete Wright and Andy Nelson – as we continue the Jack Ryan series with a conversation about Clear and Present Danger.

Navigating the Murky Waters of Clear and Present Danger

In our discussion, we dive into the intricacies of Clear and Present Danger, exploring how the film captures the complexities of the political landscape and the moral ambiguity of covert operations. We examine Harrison Ford's portrayal of Jack Ryan, noting how he brings a different energy to the character compared to his performance in Patriot Games. The film's ability to balance the high-stakes political drama in Washington with the intense action sequences in Colombia is a point of interest, as we analyze how these two seemingly disparate storylines ultimately converge.

Uncovering the Layers of Corruption

Clear and Present Danger takes us on a journey through the labyrinthine world of government corruption, where personal agendas and political maneuvering take precedence over the greater good. We discuss:

  • The performances of Henry Czerny and Harris Yulin as the villainous Ritter and Cutter
  • Willem Dafoe's role as John Clark and the film's portrayal of covert military operations
  • The emotional impact of James Earl Jones' character, Admiral Greer, and his relationship with Jack Ryan

A Thrilling Addition to the Jack Ryan Series

While Clear and Present Danger may not be perfect, it remains a compelling entry in the Jack Ryan series. The film's ability to tackle complex themes and its unflinching look at the darker aspects of government operations make it a thought-provoking and engaging watch. Harrison Ford's performance as Jack Ryan, coupled with the strong supporting cast, elevates the material and keeps the audience invested in the story.

Clear and Present Danger stands as a testament to the enduring appeal of Tom Clancy's novels and the Jack Ryan character. Its exploration of political corruption, moral ambiguity, and the consequences of unchecked power remains as relevant today as it was upon the film's release. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “The course of action I’d suggest is a course of action I can’t suggest.”
The Road to Clear and Present Danger

After the success of Patriot Games, Paramount Pictures was eager to continue the Jack Ryan series with another adaptation of a Tom Clancy novel. With Harrison Ford set to return as the intrepid CIA analyst and Phillip Noyce back in the director's chair, the stage was set for Clear and Present Danger. The film, released in 1994, brought a new level of complexity to the series, delving into the murky world of covert operations and political machinations. Join us – Pete Wright and Andy Nelson – as we continue the Jack Ryan series with a conversation about Clear and Present Danger.

Navigating the Murky Waters of Clear and Present Danger

In our discussion, we dive into the intricacies of Clear and Present Danger, exploring how the film captures the complexities of the political landscape and the moral ambiguity of covert operations. We examine Harrison Ford's portrayal of Jack Ryan, noting how he brings a different energy to the character compared to his performance in Patriot Games. The film's ability to balance the high-stakes political drama in Washington with the intense action sequences in Colombia is a point of interest, as we analyze how these two seemingly disparate storylines ultimately converge.

Uncovering the Layers of Corruption

Clear and Present Danger takes us on a journey through the labyrinthine world of government corruption, where personal agendas and political maneuvering take precedence over the greater good. We discuss:

  • The performances of Henry Czerny and Harris Yulin as the villainous Ritter and Cutter
  • Willem Dafoe's role as John Clark and the film's portrayal of covert military operations
  • The emotional impact of James Earl Jones' character, Admiral Greer, and his relationship with Jack Ryan

A Thrilling Addition to the Jack Ryan Series

While Clear and Present Danger may not be perfect, it remains a compelling entry in the Jack Ryan series. The film's ability to tackle complex themes and its unflinching look at the darker aspects of government operations make it a thought-provoking and engaging watch. Harrison Ford's performance as Jack Ryan, coupled with the strong supporting cast, elevates the material and keeps the audience invested in the story.

Clear and Present Danger stands as a testament to the enduring appeal of Tom Clancy's novels and the Jack Ryan character. Its exploration of political corruption, moral ambiguity, and the consequences of unchecked power remains as relevant today as it was upon the film's release. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 12 Dec 2024 03:00:00 -0800 TruStory FM TruStory FM 3515 “The course of action I’d suggest is a course of action I can’t suggest.”
The Road to Clear and Present Danger

After the success of Patriot Games, Paramount Pictures was eager to continue the Jack Ryan series with another adaptation of a Tom Clancy novel. With Harrison Ford set to return as the intrepid CIA analyst and Phillip Noyce back in the director's chair, the stage was set for Clear and Present Danger. The film, released in 1994, brought a new level of complexity to the series, delving into the murky world of covert operations and political machinations. Join us – Pete Wright and Andy Nelson – as we continue the Jack Ryan series with a conversation about Clear and Present Danger.

Navigating the Murky Waters of Clear and Present Danger

In our discussion, we dive into the intricacies of Clear and Present Danger, exploring how the film captures the complexities of the political landscape and the moral ambiguity of covert operations. We examine Harrison Ford's portrayal of Jack Ryan, noting how he brings a different energy to the character compared to his performance in Patriot Games. The film's ability to balance the high-stakes political drama in Washington with the intense action sequences in Colombia is a point of interest, as we analyze how these two seemingly disparate storylines ultimately converge.

Uncovering the Layers of Corruption

Clear and Present Danger takes us on a journey through the labyrinthine world of government corruption, where personal agendas and political maneuvering take precedence over the greater good. We discuss:

  • The performances of Henry Czerny and Harris Yulin as the villainous Ritter and Cutter
  • Willem Dafoe's role as John Clark and the film's portrayal of covert military operations
  • The emotional impact of James Earl Jones' character, Admiral Greer, and his relationship with Jack Ryan

A Thrilling Addition to the Jack Ryan Series

While Clear and Present Danger may not be perfect, it remains a compelling entry in the Jack Ryan series. The film's ability to tackle complex themes and its unflinching look at the darker aspects of government operations make it a thought-provoking and engaging watch. Harrison Ford's performance as Jack Ryan, coupled with the strong supporting cast, elevates the material and keeps the audience invested in the story.

Clear and Present Danger stands as a testament to the enduring appeal of Tom Clancy's novels and the Jack Ryan character. Its exploration of political corruption, moral ambiguity, and the consequences of unchecked power remains as relevant today as it was upon the film's release. 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


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The Next Reel Family of Film Shows:

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]]> 1994, 1990s, Phillip Noyce, Jack Ryan No Andy Nelson Pete Wright Patriot Games 14 14 22 22 Patriot Games full e6260a68-4798-4193-a91c-0bef5a4cc02f https://share.transistor.fm/s/39994760 “You walk into a bar, half of whose customers want you dead. You walk up to the IRA's bagman, and in front of his guys, you threaten him? You're not a field man, Jack. You never were. You are an analyst. Analyze that.”
The Second Chapter in Jack Ryan's Journey

After the success of The Hunt for Red October, Paramount Pictures faced challenges bringing the next Jack Ryan story to the screen. The situation with Alec Baldwin's departure proved contentious, with Baldwin claiming Paramount "cut his throat" by negotiating with another actor (presumably Ford) while still in talks with him. The studio allegedly used Baldwin's Broadway commitment to A Streetcar Named Desire and script approval demands as leverage to make the switch. Join us – Pete Wright and Andy Nelson – as we continue the Jack Ryan series with a conversation about Phillip Noyce’s 1992 film Patriot Games.

Playing Both Sides of the Game

The transition from Baldwin to Ford fundamentally changes the character's dynamics, shifting from a younger analyst to a more seasoned veteran. We explore how this affected the film's tone and action sequences, particularly discussing whether some of the more intense scenes feel appropriate for Ryan's character. The film presents an intriguing mirror story between Ryan and Sean Miller - both men driven by family, albeit in opposing directions. While Ryan fights to protect his family, Miller seeks revenge for his brother's death, creating parallel narratives that drive the story's conflict.

Elements That Drive the Action

• The controversial casting change and its implications for the franchise
• The mirrored narratives of family protection versus family revenge
• Sean Bean's memorable performance as vengeful terrorist Sean Miller
• The innovative satellite attack sequence that showcases '90s military technology
• Debate over the film's balance between analysis and action
• The political dynamics of presenting IRA terrorism to American audiences
• Discussion of whether the finale's boat chase sequence serves the story effectively

Patriot Games successfully continues the Jack Ryan franchise while charting its own course, though some creative choices push the character in new directions that don't always align with his analytical roots. The film proves entertaining even as it diverges from the more cerebral approach of its predecessor. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “You walk into a bar, half of whose customers want you dead. You walk up to the IRA's bagman, and in front of his guys, you threaten him? You're not a field man, Jack. You never were. You are an analyst. Analyze that.”
The Second Chapter in Jack Ryan's Journey

After the success of The Hunt for Red October, Paramount Pictures faced challenges bringing the next Jack Ryan story to the screen. The situation with Alec Baldwin's departure proved contentious, with Baldwin claiming Paramount "cut his throat" by negotiating with another actor (presumably Ford) while still in talks with him. The studio allegedly used Baldwin's Broadway commitment to A Streetcar Named Desire and script approval demands as leverage to make the switch. Join us – Pete Wright and Andy Nelson – as we continue the Jack Ryan series with a conversation about Phillip Noyce’s 1992 film Patriot Games.

Playing Both Sides of the Game

The transition from Baldwin to Ford fundamentally changes the character's dynamics, shifting from a younger analyst to a more seasoned veteran. We explore how this affected the film's tone and action sequences, particularly discussing whether some of the more intense scenes feel appropriate for Ryan's character. The film presents an intriguing mirror story between Ryan and Sean Miller - both men driven by family, albeit in opposing directions. While Ryan fights to protect his family, Miller seeks revenge for his brother's death, creating parallel narratives that drive the story's conflict.

Elements That Drive the Action

• The controversial casting change and its implications for the franchise
• The mirrored narratives of family protection versus family revenge
• Sean Bean's memorable performance as vengeful terrorist Sean Miller
• The innovative satellite attack sequence that showcases '90s military technology
• Debate over the film's balance between analysis and action
• The political dynamics of presenting IRA terrorism to American audiences
• Discussion of whether the finale's boat chase sequence serves the story effectively

Patriot Games successfully continues the Jack Ryan franchise while charting its own course, though some creative choices push the character in new directions that don't always align with his analytical roots. The film proves entertaining even as it diverges from the more cerebral approach of its predecessor. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 05 Dec 2024 03:00:00 -0800 TruStory FM TruStory FM 3919 “You walk into a bar, half of whose customers want you dead. You walk up to the IRA's bagman, and in front of his guys, you threaten him? You're not a field man, Jack. You never were. You are an analyst. Analyze that.”
The Second Chapter in Jack Ryan's Journey

After the success of The Hunt for Red October, Paramount Pictures faced challenges bringing the next Jack Ryan story to the screen. The situation with Alec Baldwin's departure proved contentious, with Baldwin claiming Paramount "cut his throat" by negotiating with another actor (presumably Ford) while still in talks with him. The studio allegedly used Baldwin's Broadway commitment to A Streetcar Named Desire and script approval demands as leverage to make the switch. Join us – Pete Wright and Andy Nelson – as we continue the Jack Ryan series with a conversation about Phillip Noyce’s 1992 film Patriot Games.

Playing Both Sides of the Game

The transition from Baldwin to Ford fundamentally changes the character's dynamics, shifting from a younger analyst to a more seasoned veteran. We explore how this affected the film's tone and action sequences, particularly discussing whether some of the more intense scenes feel appropriate for Ryan's character. The film presents an intriguing mirror story between Ryan and Sean Miller - both men driven by family, albeit in opposing directions. While Ryan fights to protect his family, Miller seeks revenge for his brother's death, creating parallel narratives that drive the story's conflict.

Elements That Drive the Action

• The controversial casting change and its implications for the franchise
• The mirrored narratives of family protection versus family revenge
• Sean Bean's memorable performance as vengeful terrorist Sean Miller
• The innovative satellite attack sequence that showcases '90s military technology
• Debate over the film's balance between analysis and action
• The political dynamics of presenting IRA terrorism to American audiences
• Discussion of whether the finale's boat chase sequence serves the story effectively

Patriot Games successfully continues the Jack Ryan franchise while charting its own course, though some creative choices push the character in new directions that don't always align with his analytical roots. The film proves entertaining even as it diverges from the more cerebral approach of its predecessor. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1992, 1990s, Phillip Noyce, Jack Ryan No Andy Nelson Pete Wright Caged Heat • Member Bonus 14 14 23 23 Caged Heat • Member Bonus full ff183cc7-ac36-4e49-9a5f-08c0c5445005 https://share.transistor.fm/s/2514b8bc “You’re in a house of desperate women here, and a long, long way from home.”
Roger Corman's Exploitation Cinema: The Story Behind Caged Heat

In the early 1970s, Roger Corman was producing a slew of women-in-prison films, capitalizing on the exploitation genre that had been popular then. When wannabe director Jonathan Demme approached Corman with the idea for Caged Heat, Corman initially declined, believing the subgenre had run its course. Undeterred, Demme raised the funds independently and eventually secured Corman as the distributor. Join us – Pete Wright and Andy Nelson – as we continue our member bonusRoger Corman series with a conversation about Demme’s 1974 film Caged Heat.

Exploring the Depths of Women's Incarceration in Caged Heat

In our discussion, we delve into the themes and statements Demme makes about institutional oppression, mental health, and unethical medical practices within the prison system. We also examine how the film attaches power to sexuality, potentially empowering the female characters in a way that was uncommon for the era. Additionally, we touch on the interesting casting choices, particularly Barbara Steele as the prison warden and Warren Miller as the sociopathic doctor, and how these decisions subvert audience expectations.

Caged Heat: A Closer Look at the Characters and Filmmaking Techniques

Throughout the episode, we discuss:

  • The relationships between the various inmates and how Demme allows time for character development
  • Tak Fujimoto's cinematography and the effective use of tracking shots
  • The film's balance between comedy and serious moments
  • The shocking and powerful sequence involving shock therapy

While Caged Heat may not be a perfect film, it offers an intriguing look at the women-in-prison subgenre through the lens of Jonathan Demme's early directorial work. The movie's exploration of serious themes, combined with its exploitation elements, makes for an engaging and thought-provoking viewing experience. Although we have some reservations about the film and the subgenre as a whole, we appreciate the conversations it sparks. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> “You’re in a house of desperate women here, and a long, long way from home.”
Roger Corman's Exploitation Cinema: The Story Behind Caged Heat

In the early 1970s, Roger Corman was producing a slew of women-in-prison films, capitalizing on the exploitation genre that had been popular then. When wannabe director Jonathan Demme approached Corman with the idea for Caged Heat, Corman initially declined, believing the subgenre had run its course. Undeterred, Demme raised the funds independently and eventually secured Corman as the distributor. Join us – Pete Wright and Andy Nelson – as we continue our member bonusRoger Corman series with a conversation about Demme’s 1974 film Caged Heat.

Exploring the Depths of Women's Incarceration in Caged Heat

In our discussion, we delve into the themes and statements Demme makes about institutional oppression, mental health, and unethical medical practices within the prison system. We also examine how the film attaches power to sexuality, potentially empowering the female characters in a way that was uncommon for the era. Additionally, we touch on the interesting casting choices, particularly Barbara Steele as the prison warden and Warren Miller as the sociopathic doctor, and how these decisions subvert audience expectations.

Caged Heat: A Closer Look at the Characters and Filmmaking Techniques

Throughout the episode, we discuss:

  • The relationships between the various inmates and how Demme allows time for character development
  • Tak Fujimoto's cinematography and the effective use of tracking shots
  • The film's balance between comedy and serious moments
  • The shocking and powerful sequence involving shock therapy

While Caged Heat may not be a perfect film, it offers an intriguing look at the women-in-prison subgenre through the lens of Jonathan Demme's early directorial work. The movie's exploration of serious themes, combined with its exploitation elements, makes for an engaging and thought-provoking viewing experience. Although we have some reservations about the film and the subgenre as a whole, we appreciate the conversations it sparks. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> Sat, 30 Nov 2024 03:00:00 -0800 TruStory FM TruStory FM 706 “You’re in a house of desperate women here, and a long, long way from home.”
Roger Corman's Exploitation Cinema: The Story Behind Caged Heat

In the early 1970s, Roger Corman was producing a slew of women-in-prison films, capitalizing on the exploitation genre that had been popular then. When wannabe director Jonathan Demme approached Corman with the idea for Caged Heat, Corman initially declined, believing the subgenre had run its course. Undeterred, Demme raised the funds independently and eventually secured Corman as the distributor. Join us – Pete Wright and Andy Nelson – as we continue our member bonusRoger Corman series with a conversation about Demme’s 1974 film Caged Heat.

Exploring the Depths of Women's Incarceration in Caged Heat

In our discussion, we delve into the themes and statements Demme makes about institutional oppression, mental health, and unethical medical practices within the prison system. We also examine how the film attaches power to sexuality, potentially empowering the female characters in a way that was uncommon for the era. Additionally, we touch on the interesting casting choices, particularly Barbara Steele as the prison warden and Warren Miller as the sociopathic doctor, and how these decisions subvert audience expectations.

Caged Heat: A Closer Look at the Characters and Filmmaking Techniques

Throughout the episode, we discuss:

  • The relationships between the various inmates and how Demme allows time for character development
  • Tak Fujimoto's cinematography and the effective use of tracking shots
  • The film's balance between comedy and serious moments
  • The shocking and powerful sequence involving shock therapy

While Caged Heat may not be a perfect film, it offers an intriguing look at the women-in-prison subgenre through the lens of Jonathan Demme's early directorial work. The movie's exploration of serious themes, combined with its exploitation elements, makes for an engaging and thought-provoking viewing experience. Although we have some reservations about the film and the subgenre as a whole, we appreciate the conversations it sparks. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> 1974, 1970s, Jonathan Demme, Roger Corman, Member Bonus No Andy Nelson Pete Wright The Hunt for Red October 14 14 21 21 The Hunt for Red October full 90285a05-5a92-47ee-b222-8477df1ea0a9 https://share.transistor.fm/s/d31bbf66 “Andrei, you've lost another submarine?”
From Novel to Box Office Success

In 1984, Tom Clancy published his first novel The Hunt for Red October, which garnered attention from military officials for its technical accuracy. Despite the book's success, Hollywood struggled to adapt it. Producer Mace Neufeld optioned the rights but faced resistance from studios who considered the story too complicated. It wasn't until 1990, after six years of development, that the film finally made it to theaters. Join us – Pete Wright and Andy Nelson – as we kick off the Jack Ryan series with a conversation about The Hunt for Red October.

Diving Deep into Cold War Tensions

The film introduces us to Alec Baldwin as Jack Ryan, a CIA analyst who finds himself thrust into an intricate game of cat and mouse when he discovers that Soviet submarine commander Marko Ramius (Sean Connery) might be attempting to defect. We explore how Baldwin embodies the reluctant hero aspect of Ryan's character more effectively than subsequent actors in the role. The film's deliberate pacing and focus on intellectual strategy over action sequences sets it apart from typical action films of its era and beyond.

Breaking the Surface with McTiernan's Direction

Director John McTiernan, fresh off the success of Die Hard, brings his expertise to create tension through careful character development rather than relying solely on action sequences. The film's innovative language transition technique and strong performances from the international cast contribute to its enduring appeal.

Other Discussion Points:

  • The film's groundbreaking $30 million budget and its box office success
  • Sean Connery's commanding presence despite his Scottish accent playing a Lithuanian
  • The technical accuracy and military support in production
  • Courtney B. Vance's standout performance as Sonar Operator Jones
  • The film's clever handling of submarine warfare technology
  • The evolution of Jack Ryan as a character across different actors

The Hunt for Red October stands as one of the strongest entries in the Jack Ryan series, masterfully balancing intellectual intrigue with taut action sequences. The film maintains suspense through character development and strategic narrative choices rather than relying on conventional action tropes. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Andrei, you've lost another submarine?”
From Novel to Box Office Success

In 1984, Tom Clancy published his first novel The Hunt for Red October, which garnered attention from military officials for its technical accuracy. Despite the book's success, Hollywood struggled to adapt it. Producer Mace Neufeld optioned the rights but faced resistance from studios who considered the story too complicated. It wasn't until 1990, after six years of development, that the film finally made it to theaters. Join us – Pete Wright and Andy Nelson – as we kick off the Jack Ryan series with a conversation about The Hunt for Red October.

Diving Deep into Cold War Tensions

The film introduces us to Alec Baldwin as Jack Ryan, a CIA analyst who finds himself thrust into an intricate game of cat and mouse when he discovers that Soviet submarine commander Marko Ramius (Sean Connery) might be attempting to defect. We explore how Baldwin embodies the reluctant hero aspect of Ryan's character more effectively than subsequent actors in the role. The film's deliberate pacing and focus on intellectual strategy over action sequences sets it apart from typical action films of its era and beyond.

Breaking the Surface with McTiernan's Direction

Director John McTiernan, fresh off the success of Die Hard, brings his expertise to create tension through careful character development rather than relying solely on action sequences. The film's innovative language transition technique and strong performances from the international cast contribute to its enduring appeal.

Other Discussion Points:

  • The film's groundbreaking $30 million budget and its box office success
  • Sean Connery's commanding presence despite his Scottish accent playing a Lithuanian
  • The technical accuracy and military support in production
  • Courtney B. Vance's standout performance as Sonar Operator Jones
  • The film's clever handling of submarine warfare technology
  • The evolution of Jack Ryan as a character across different actors

The Hunt for Red October stands as one of the strongest entries in the Jack Ryan series, masterfully balancing intellectual intrigue with taut action sequences. The film maintains suspense through character development and strategic narrative choices rather than relying on conventional action tropes. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 28 Nov 2024 03:00:00 -0800 TruStory FM TruStory FM 4094 “Andrei, you've lost another submarine?”
From Novel to Box Office Success

In 1984, Tom Clancy published his first novel The Hunt for Red October, which garnered attention from military officials for its technical accuracy. Despite the book's success, Hollywood struggled to adapt it. Producer Mace Neufeld optioned the rights but faced resistance from studios who considered the story too complicated. It wasn't until 1990, after six years of development, that the film finally made it to theaters. Join us – Pete Wright and Andy Nelson – as we kick off the Jack Ryan series with a conversation about The Hunt for Red October.

Diving Deep into Cold War Tensions

The film introduces us to Alec Baldwin as Jack Ryan, a CIA analyst who finds himself thrust into an intricate game of cat and mouse when he discovers that Soviet submarine commander Marko Ramius (Sean Connery) might be attempting to defect. We explore how Baldwin embodies the reluctant hero aspect of Ryan's character more effectively than subsequent actors in the role. The film's deliberate pacing and focus on intellectual strategy over action sequences sets it apart from typical action films of its era and beyond.

Breaking the Surface with McTiernan's Direction

Director John McTiernan, fresh off the success of Die Hard, brings his expertise to create tension through careful character development rather than relying solely on action sequences. The film's innovative language transition technique and strong performances from the international cast contribute to its enduring appeal.

Other Discussion Points:

  • The film's groundbreaking $30 million budget and its box office success
  • Sean Connery's commanding presence despite his Scottish accent playing a Lithuanian
  • The technical accuracy and military support in production
  • Courtney B. Vance's standout performance as Sonar Operator Jones
  • The film's clever handling of submarine warfare technology
  • The evolution of Jack Ryan as a character across different actors

The Hunt for Red October stands as one of the strongest entries in the Jack Ryan series, masterfully balancing intellectual intrigue with taut action sequences. The film maintains suspense through character development and strategic narrative choices rather than relying on conventional action tropes. 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


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]]> 1990, 1990s, John McTiernan, Jack Ryan No Andy Nelson Pete Wright Kin-Dza-Dza! 14 14 20 20 Kin-Dza-Dza! full 49f72797-d429-4f69-98c6-a2b061852e66 https://share.transistor.fm/s/7952e4b2 “The heavens have never seen such an ignominious Patsak as you, Violinist. It grieves me deeply.”
A Satirical Take on Soviet Society

Kin-Dza-Dza!, a 1986 Soviet science fiction comedy film directed by Georgiy Daneliya, was initially met with skepticism by Soviet authorities due to its satirical nature. However, Daneliya persevered and managed to get the film made, despite the challenges of filming in the hot Turkmenistan desert and dealing with bureaucratic red tape that delayed production. Join us – Pete Wright and Andy Nelson – as we wrap up this return to our Soviet Sci-Fi series with a conversation about Daneliya’s 1986 film Kin-Dza-Dza!.

Diving into the Absurdist World of Kin-Dza-Dza!

We explore the film's absurdist humor and how it effectively satirizes various aspects of Soviet society, such as the rigid caste system, the limitations on free speech, and the devolution of language. We discuss how the film's low-budget, dystopian aesthetic contributes to its commentary on consumerism and environmentalism, drawing comparisons to other works like Idiocracy and the films of Terry Gilliam and Jean-Pierre Jeunet.

The Strengths of Soviet Science Fiction

Throughout our discussion, we highlight how Kin-Dza-Dza! exemplifies the strengths of Soviet science fiction in its ability to critique contemporary society through a futuristic lens. We also touch on:

  • The performances of the actors and their commitment to the absurdist tone
  • The film's clever use of practical effects and production design
  • The recurring jokes and their cultural significance, such as the "match math"

Kin-Dza-Dza! stands as a unique and entertaining entry in the Soviet science fiction canon, successfully blending biting social commentary with absurdist humor. Its ability to critique Soviet society while still being an engaging and entertaining film is a testament to Daneliya's skill as a filmmaker and the power of science fiction to reflect on contemporary issues. 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


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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “The heavens have never seen such an ignominious Patsak as you, Violinist. It grieves me deeply.”
A Satirical Take on Soviet Society

Kin-Dza-Dza!, a 1986 Soviet science fiction comedy film directed by Georgiy Daneliya, was initially met with skepticism by Soviet authorities due to its satirical nature. However, Daneliya persevered and managed to get the film made, despite the challenges of filming in the hot Turkmenistan desert and dealing with bureaucratic red tape that delayed production. Join us – Pete Wright and Andy Nelson – as we wrap up this return to our Soviet Sci-Fi series with a conversation about Daneliya’s 1986 film Kin-Dza-Dza!.

Diving into the Absurdist World of Kin-Dza-Dza!

We explore the film's absurdist humor and how it effectively satirizes various aspects of Soviet society, such as the rigid caste system, the limitations on free speech, and the devolution of language. We discuss how the film's low-budget, dystopian aesthetic contributes to its commentary on consumerism and environmentalism, drawing comparisons to other works like Idiocracy and the films of Terry Gilliam and Jean-Pierre Jeunet.

The Strengths of Soviet Science Fiction

Throughout our discussion, we highlight how Kin-Dza-Dza! exemplifies the strengths of Soviet science fiction in its ability to critique contemporary society through a futuristic lens. We also touch on:

  • The performances of the actors and their commitment to the absurdist tone
  • The film's clever use of practical effects and production design
  • The recurring jokes and their cultural significance, such as the "match math"

Kin-Dza-Dza! stands as a unique and entertaining entry in the Soviet science fiction canon, successfully blending biting social commentary with absurdist humor. Its ability to critique Soviet society while still being an engaging and entertaining film is a testament to Daneliya's skill as a filmmaker and the power of science fiction to reflect on contemporary issues. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 21 Nov 2024 03:00:00 -0800 TruStory FM TruStory FM 3979 “The heavens have never seen such an ignominious Patsak as you, Violinist. It grieves me deeply.”
A Satirical Take on Soviet Society

Kin-Dza-Dza!, a 1986 Soviet science fiction comedy film directed by Georgiy Daneliya, was initially met with skepticism by Soviet authorities due to its satirical nature. However, Daneliya persevered and managed to get the film made, despite the challenges of filming in the hot Turkmenistan desert and dealing with bureaucratic red tape that delayed production. Join us – Pete Wright and Andy Nelson – as we wrap up this return to our Soviet Sci-Fi series with a conversation about Daneliya’s 1986 film Kin-Dza-Dza!.

Diving into the Absurdist World of Kin-Dza-Dza!

We explore the film's absurdist humor and how it effectively satirizes various aspects of Soviet society, such as the rigid caste system, the limitations on free speech, and the devolution of language. We discuss how the film's low-budget, dystopian aesthetic contributes to its commentary on consumerism and environmentalism, drawing comparisons to other works like Idiocracy and the films of Terry Gilliam and Jean-Pierre Jeunet.

The Strengths of Soviet Science Fiction

Throughout our discussion, we highlight how Kin-Dza-Dza! exemplifies the strengths of Soviet science fiction in its ability to critique contemporary society through a futuristic lens. We also touch on:

  • The performances of the actors and their commitment to the absurdist tone
  • The film's clever use of practical effects and production design
  • The recurring jokes and their cultural significance, such as the "match math"

Kin-Dza-Dza! stands as a unique and entertaining entry in the Soviet science fiction canon, successfully blending biting social commentary with absurdist humor. Its ability to critique Soviet society while still being an engaging and entertaining film is a testament to Daneliya's skill as a filmmaker and the power of science fiction to reflect on contemporary issues. 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


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]]> 1986, 1980s, Soviet Sci-Fi, Georgiy Daneliya No Andy Nelson Pete Wright Amphibian Man 14 14 19 19 Amphibian Man full 41cade96-0dbc-4a13-8786-dded214dbeac https://share.transistor.fm/s/e23a577a “I don’t want to live among the fishes anymore. I’ll die of loneliness.”
A Soviet Sci-Fi Fairy Tale of Love and Science

In the 1960s, during the Khrushchev Thaw, Soviet filmmakers were given more creative freedom to explore stories beyond the typical Stalinist propaganda. This period saw a surge in sci-fi films, including the 1961 classic Amphibian Man, directed by Vladimir Chebotaryov and Gennadiy Kazanskiy. Based on the novel by Alexander Beliaev, the film tells the story of a man with surgically implanted shark gills who falls in love with a young woman, despite the disapproval of her capitalist suitor. Join us – Pete Wright and Andy Nelson – as we kick off a short return to our Soviet Sci-Fi series with a conversation about the 1961 film Amphibian Man.

Diving Deep into the Story's Themes and Motifs

In our discussion, we explore how Amphibian Man weaves together elements of science fiction, romance, and social commentary. The film's protagonist, Ichtyandr, embodies the Soviet ideal of scientific progress, while his love interest, Gutiere, represents the allure of a world beyond his underwater utopia. We also examine the film's villain, Don Pedro, as a classic capitalist exploiter, showcasing the Soviet critique of Western values.

Throughout our conversation, we delve into the fairy tale aspects of the story, the believability of the romance, and the tragic ending that subverts expectations. We also discuss the technical achievements of the underwater cinematography and the film's influence on modern directors like Guillermo del Toro.

Other Topics Covered in the Episode

  • The film's original title, "Tarzan of the Sea," and its copyright issues
  • The dream sequence and its role in the narrative
  • The ambiguity surrounding Ichtyandr's abilities and the dolphin scene
  • Accusations of plagiarism against Guillermo del Toro's The Shape of Water
  • The changing perceptions of ocean exploitation in Soviet cinema

A Timeless Tale of Love and Progress

Amphibian Man may not be a perfect film, but it remains a fascinating example of Soviet sci-fi cinema during a period of creative liberation. Its blend of science, romance, and social commentary creates a timeless fairy tale that continues to captivate audiences decades later. Despite some plot inconsistencies and missed opportunities, the film's core themes and visual splendor make it a worthwhile entry in the genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I don’t want to live among the fishes anymore. I’ll die of loneliness.”
A Soviet Sci-Fi Fairy Tale of Love and Science

In the 1960s, during the Khrushchev Thaw, Soviet filmmakers were given more creative freedom to explore stories beyond the typical Stalinist propaganda. This period saw a surge in sci-fi films, including the 1961 classic Amphibian Man, directed by Vladimir Chebotaryov and Gennadiy Kazanskiy. Based on the novel by Alexander Beliaev, the film tells the story of a man with surgically implanted shark gills who falls in love with a young woman, despite the disapproval of her capitalist suitor. Join us – Pete Wright and Andy Nelson – as we kick off a short return to our Soviet Sci-Fi series with a conversation about the 1961 film Amphibian Man.

Diving Deep into the Story's Themes and Motifs

In our discussion, we explore how Amphibian Man weaves together elements of science fiction, romance, and social commentary. The film's protagonist, Ichtyandr, embodies the Soviet ideal of scientific progress, while his love interest, Gutiere, represents the allure of a world beyond his underwater utopia. We also examine the film's villain, Don Pedro, as a classic capitalist exploiter, showcasing the Soviet critique of Western values.

Throughout our conversation, we delve into the fairy tale aspects of the story, the believability of the romance, and the tragic ending that subverts expectations. We also discuss the technical achievements of the underwater cinematography and the film's influence on modern directors like Guillermo del Toro.

Other Topics Covered in the Episode

  • The film's original title, "Tarzan of the Sea," and its copyright issues
  • The dream sequence and its role in the narrative
  • The ambiguity surrounding Ichtyandr's abilities and the dolphin scene
  • Accusations of plagiarism against Guillermo del Toro's The Shape of Water
  • The changing perceptions of ocean exploitation in Soviet cinema

A Timeless Tale of Love and Progress

Amphibian Man may not be a perfect film, but it remains a fascinating example of Soviet sci-fi cinema during a period of creative liberation. Its blend of science, romance, and social commentary creates a timeless fairy tale that continues to captivate audiences decades later. Despite some plot inconsistencies and missed opportunities, the film's core themes and visual splendor make it a worthwhile entry in the genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 14 Nov 2024 03:00:00 -0800 TruStory FM TruStory FM 3217 “I don’t want to live among the fishes anymore. I’ll die of loneliness.”
A Soviet Sci-Fi Fairy Tale of Love and Science

In the 1960s, during the Khrushchev Thaw, Soviet filmmakers were given more creative freedom to explore stories beyond the typical Stalinist propaganda. This period saw a surge in sci-fi films, including the 1961 classic Amphibian Man, directed by Vladimir Chebotaryov and Gennadiy Kazanskiy. Based on the novel by Alexander Beliaev, the film tells the story of a man with surgically implanted shark gills who falls in love with a young woman, despite the disapproval of her capitalist suitor. Join us – Pete Wright and Andy Nelson – as we kick off a short return to our Soviet Sci-Fi series with a conversation about the 1961 film Amphibian Man.

Diving Deep into the Story's Themes and Motifs

In our discussion, we explore how Amphibian Man weaves together elements of science fiction, romance, and social commentary. The film's protagonist, Ichtyandr, embodies the Soviet ideal of scientific progress, while his love interest, Gutiere, represents the allure of a world beyond his underwater utopia. We also examine the film's villain, Don Pedro, as a classic capitalist exploiter, showcasing the Soviet critique of Western values.

Throughout our conversation, we delve into the fairy tale aspects of the story, the believability of the romance, and the tragic ending that subverts expectations. We also discuss the technical achievements of the underwater cinematography and the film's influence on modern directors like Guillermo del Toro.

Other Topics Covered in the Episode

  • The film's original title, "Tarzan of the Sea," and its copyright issues
  • The dream sequence and its role in the narrative
  • The ambiguity surrounding Ichtyandr's abilities and the dolphin scene
  • Accusations of plagiarism against Guillermo del Toro's The Shape of Water
  • The changing perceptions of ocean exploitation in Soviet cinema

A Timeless Tale of Love and Progress

Amphibian Man may not be a perfect film, but it remains a fascinating example of Soviet sci-fi cinema during a period of creative liberation. Its blend of science, romance, and social commentary creates a timeless fairy tale that continues to captivate audiences decades later. Despite some plot inconsistencies and missed opportunities, the film's core themes and visual splendor make it a worthwhile entry in the genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1961, 1960s, Gennadiy Kazanskiy, Vladimir Chebotaryov, Soviet Sci-Fi No Andy Nelson Pete Wright Creep 14 14 17 17 Creep full b236cdcf-4ac2-4b9c-81c4-606860f81024 https://share.transistor.fm/s/4c64fa46 “I’ve got a weird sense of humor, man.”
Pushing Boundaries in Found Footage Horror

Mark Duplass, known for his contributions to the mumblecore movement, teamed up with newcomer Patrick Brice to create a low-budget indie horror film that would challenge conventions and explore the unsettling nature of human interactions. With Duplass's experience in crafting authentic, character-driven stories and Brice's fresh perspective, they set out to push the boundaries of the found footage genre. Armed with a minimal crew, a largely improvised script, and a shared vision, they embarked on a journey that would result in the creation of Creep. Join us – Pete Wright and Andy Nelson – as we return to our Found Footage series with a conversation about Brice’s 2014 film Creep.

Authenticity, Eccentricity, and Malevolence

In our discussion of Creep, we explore how the film navigates the spectrum between authenticity, eccentricity, and malevolence. We examine Mark Duplass' portrayal of Joseph, a character who initially comes across as genuine and relatable but gradually reveals a darker, more unsettling side. The found footage aesthetic enhances the sense of unease, blurring the lines between reality and fiction. Additionally, we delve into the movie's ability to subvert audience expectations and keep viewers on edge throughout.

Other Points of Discussion

  • The effective use of a minimalist cast and setting
  • The possible and somewhat weak attempt at creating a twist
  • The chemistry between Mark Duplass and Patrick Brice
  • The film's exploration of the darker aspects of human nature
  • The pacing issues in the latter half of the movie

Creeping into the Horror Genre

Creep showcases the potential of low-budget, independent filmmaking to create a memorable and unsettling horror experience. Mark Duplass' expertise in crafting authentic characters, combined with Patrick Brice's fresh perspective, results in a film that pushes the boundaries of the found footage genre. Despite some pacing issues, Creep's exploration of the darker aspects of human nature and its ability to keep the audience guessing make it a worthwhile addition to the horror genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I’ve got a weird sense of humor, man.”
Pushing Boundaries in Found Footage Horror

Mark Duplass, known for his contributions to the mumblecore movement, teamed up with newcomer Patrick Brice to create a low-budget indie horror film that would challenge conventions and explore the unsettling nature of human interactions. With Duplass's experience in crafting authentic, character-driven stories and Brice's fresh perspective, they set out to push the boundaries of the found footage genre. Armed with a minimal crew, a largely improvised script, and a shared vision, they embarked on a journey that would result in the creation of Creep. Join us – Pete Wright and Andy Nelson – as we return to our Found Footage series with a conversation about Brice’s 2014 film Creep.

Authenticity, Eccentricity, and Malevolence

In our discussion of Creep, we explore how the film navigates the spectrum between authenticity, eccentricity, and malevolence. We examine Mark Duplass' portrayal of Joseph, a character who initially comes across as genuine and relatable but gradually reveals a darker, more unsettling side. The found footage aesthetic enhances the sense of unease, blurring the lines between reality and fiction. Additionally, we delve into the movie's ability to subvert audience expectations and keep viewers on edge throughout.

Other Points of Discussion

  • The effective use of a minimalist cast and setting
  • The possible and somewhat weak attempt at creating a twist
  • The chemistry between Mark Duplass and Patrick Brice
  • The film's exploration of the darker aspects of human nature
  • The pacing issues in the latter half of the movie

Creeping into the Horror Genre

Creep showcases the potential of low-budget, independent filmmaking to create a memorable and unsettling horror experience. Mark Duplass' expertise in crafting authentic characters, combined with Patrick Brice's fresh perspective, results in a film that pushes the boundaries of the found footage genre. Despite some pacing issues, Creep's exploration of the darker aspects of human nature and its ability to keep the audience guessing make it a worthwhile addition to the horror genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 07 Nov 2024 03:00:00 -0800 TruStory FM TruStory FM 3734 “I’ve got a weird sense of humor, man.”
Pushing Boundaries in Found Footage Horror

Mark Duplass, known for his contributions to the mumblecore movement, teamed up with newcomer Patrick Brice to create a low-budget indie horror film that would challenge conventions and explore the unsettling nature of human interactions. With Duplass's experience in crafting authentic, character-driven stories and Brice's fresh perspective, they set out to push the boundaries of the found footage genre. Armed with a minimal crew, a largely improvised script, and a shared vision, they embarked on a journey that would result in the creation of Creep. Join us – Pete Wright and Andy Nelson – as we return to our Found Footage series with a conversation about Brice’s 2014 film Creep.

Authenticity, Eccentricity, and Malevolence

In our discussion of Creep, we explore how the film navigates the spectrum between authenticity, eccentricity, and malevolence. We examine Mark Duplass' portrayal of Joseph, a character who initially comes across as genuine and relatable but gradually reveals a darker, more unsettling side. The found footage aesthetic enhances the sense of unease, blurring the lines between reality and fiction. Additionally, we delve into the movie's ability to subvert audience expectations and keep viewers on edge throughout.

Other Points of Discussion

  • The effective use of a minimalist cast and setting
  • The possible and somewhat weak attempt at creating a twist
  • The chemistry between Mark Duplass and Patrick Brice
  • The film's exploration of the darker aspects of human nature
  • The pacing issues in the latter half of the movie

Creeping into the Horror Genre

Creep showcases the potential of low-budget, independent filmmaking to create a memorable and unsettling horror experience. Mark Duplass' expertise in crafting authentic characters, combined with Patrick Brice's fresh perspective, results in a film that pushes the boundaries of the found footage genre. Despite some pacing issues, Creep's exploration of the darker aspects of human nature and its ability to keep the audience guessing make it a worthwhile addition to the horror genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2014, 2010s, Patrick Brice, Found Footage No Andy Nelson Pete Wright A Bucket of Blood • Member Bonus 14 14 18 18 A Bucket of Blood • Member Bonus full 11608e6d-b4c0-40af-8a90-9841ecab5afa https://share.transistor.fm/s/f845c3c5 “It’s called ‘Murdered Man’.”
Roger Corman's Comical Foray into Beatnik Horror

In the late 1950s, American International Pictures approached Roger Corman to create a low-budget horror film in just five days, using sets from another project. Corman, along with screenwriter Charles B. Griffith, decided to take a satirical approach, crafting a black comedy that poked fun at the beatnik culture of the era. The result was A Bucket of Blood, a quirky and entertaining film that showcases Corman's ability to deliver a memorable movie on a shoestring budget. Join us – Pete Wright and Andy Nelson – as we continue the member bonus Roger Corman series with a conversation about A Bucket of Blood.

Sculpting a Masterpiece of Macabre Humor

In our discussion of A Bucket of Blood, we delve into the film's clever satirical elements and its comical take on the horror genre. We explore how the movie lampoons both the beatnik scene and the pretentiousness of the art world, with Corman and Griffith drawing from their own experiences and observations. The film's lead actor, Dick Miller, delivers a standout performance as the lovable yet misguided busboy-turned-artist Walter Paisley, whose quest for fame and acceptance takes a dark and murderous turn.

Corman's Signature Style and Social Commentary

Throughout our conversation, we touch upon various aspects of the film that showcase Roger Corman's signature style and his ability to infuse social commentary into his low-budget productions. We examine how A Bucket of Blood addresses themes of social mobility, the search for identity, and the folly of pursuing success at any cost. Additionally, we discuss how the film fits into the broader context of 1950s cinema, drawing comparisons to other notable works of the era, such as Rebel Without a Cause and film noir.

Other points covered in our discussion include:

  • The film's effective use of a limited set and budget
  • The portrayal of the beat generation and youth culture
  • The transformation of Walter Paisley from protagonist to antagonist
  • The satirical representation of the art world and its patrons

A Timeless Tale of Ambition and Morality

A Bucket of Blood may be a product of its time, but its themes and humor remain relatable and entertaining decades later. Corman's ability to craft a compelling and thought-provoking story within the constraints of a tight budget and schedule is a testament to his skill as a filmmaker. While the film's low-budget origins are evident, its clever writing, memorable performances, and biting satire more than compensate for any technical limitations. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> “It’s called ‘Murdered Man’.”
Roger Corman's Comical Foray into Beatnik Horror

In the late 1950s, American International Pictures approached Roger Corman to create a low-budget horror film in just five days, using sets from another project. Corman, along with screenwriter Charles B. Griffith, decided to take a satirical approach, crafting a black comedy that poked fun at the beatnik culture of the era. The result was A Bucket of Blood, a quirky and entertaining film that showcases Corman's ability to deliver a memorable movie on a shoestring budget. Join us – Pete Wright and Andy Nelson – as we continue the member bonus Roger Corman series with a conversation about A Bucket of Blood.

Sculpting a Masterpiece of Macabre Humor

In our discussion of A Bucket of Blood, we delve into the film's clever satirical elements and its comical take on the horror genre. We explore how the movie lampoons both the beatnik scene and the pretentiousness of the art world, with Corman and Griffith drawing from their own experiences and observations. The film's lead actor, Dick Miller, delivers a standout performance as the lovable yet misguided busboy-turned-artist Walter Paisley, whose quest for fame and acceptance takes a dark and murderous turn.

Corman's Signature Style and Social Commentary

Throughout our conversation, we touch upon various aspects of the film that showcase Roger Corman's signature style and his ability to infuse social commentary into his low-budget productions. We examine how A Bucket of Blood addresses themes of social mobility, the search for identity, and the folly of pursuing success at any cost. Additionally, we discuss how the film fits into the broader context of 1950s cinema, drawing comparisons to other notable works of the era, such as Rebel Without a Cause and film noir.

Other points covered in our discussion include:

  • The film's effective use of a limited set and budget
  • The portrayal of the beat generation and youth culture
  • The transformation of Walter Paisley from protagonist to antagonist
  • The satirical representation of the art world and its patrons

A Timeless Tale of Ambition and Morality

A Bucket of Blood may be a product of its time, but its themes and humor remain relatable and entertaining decades later. Corman's ability to craft a compelling and thought-provoking story within the constraints of a tight budget and schedule is a testament to his skill as a filmmaker. While the film's low-budget origins are evident, its clever writing, memorable performances, and biting satire more than compensate for any technical limitations. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> Thu, 31 Oct 2024 04:00:00 -0700 TruStory FM TruStory FM 801 “It’s called ‘Murdered Man’.”
Roger Corman's Comical Foray into Beatnik Horror

In the late 1950s, American International Pictures approached Roger Corman to create a low-budget horror film in just five days, using sets from another project. Corman, along with screenwriter Charles B. Griffith, decided to take a satirical approach, crafting a black comedy that poked fun at the beatnik culture of the era. The result was A Bucket of Blood, a quirky and entertaining film that showcases Corman's ability to deliver a memorable movie on a shoestring budget. Join us – Pete Wright and Andy Nelson – as we continue the member bonus Roger Corman series with a conversation about A Bucket of Blood.

Sculpting a Masterpiece of Macabre Humor

In our discussion of A Bucket of Blood, we delve into the film's clever satirical elements and its comical take on the horror genre. We explore how the movie lampoons both the beatnik scene and the pretentiousness of the art world, with Corman and Griffith drawing from their own experiences and observations. The film's lead actor, Dick Miller, delivers a standout performance as the lovable yet misguided busboy-turned-artist Walter Paisley, whose quest for fame and acceptance takes a dark and murderous turn.

Corman's Signature Style and Social Commentary

Throughout our conversation, we touch upon various aspects of the film that showcase Roger Corman's signature style and his ability to infuse social commentary into his low-budget productions. We examine how A Bucket of Blood addresses themes of social mobility, the search for identity, and the folly of pursuing success at any cost. Additionally, we discuss how the film fits into the broader context of 1950s cinema, drawing comparisons to other notable works of the era, such as Rebel Without a Cause and film noir.

Other points covered in our discussion include:

  • The film's effective use of a limited set and budget
  • The portrayal of the beat generation and youth culture
  • The transformation of Walter Paisley from protagonist to antagonist
  • The satirical representation of the art world and its patrons

A Timeless Tale of Ambition and Morality

A Bucket of Blood may be a product of its time, but its themes and humor remain relatable and entertaining decades later. Corman's ability to craft a compelling and thought-provoking story within the constraints of a tight budget and schedule is a testament to his skill as a filmmaker. While the film's low-budget origins are evident, its clever writing, memorable performances, and biting satire more than compensate for any technical limitations. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> 1959, 1950s, Roger Corman, Member Bonus No Andy Nelson Pete Wright La Llorona 14 14 16 16 La Llorona full 47013ca6-2e05-46cf-a6c1-9cc357a667e1 https://share.transistor.fm/s/8fdb83af “Did someone hear a woman cry?”
A Haunting Guatemalan Ghost Story

In 2019, Guatemalan filmmaker Jayro Bustamante released his third feature film, La Llorona, a haunting ghost story that explores the aftermath of the Guatemalan genocide. The film premiered at the Venice Film Festival and was selected as the Guatemalan entry for the Best International Feature Film at the 93rd Academy Awards. Join us – Pete Wright and Andy Nelson – as we continue the Ghost Stories series with a conversation about La Llorona.

Women Confronting the Horrors of the Past

In our discussion of La Llorona, we focus on how the film centers around the women in a retired general's family as they grapple with the accusations of genocide against him. Through the mysterious presence of their new housekeeper, Alma, and the visions she induces, the general's wife, daughter, and granddaughter are forced to confront the truth about his actions and their own complicity in the horrors of the past. As the story unfolds, the general becomes an increasingly antagonistic figure, unable to face the consequences of his past deeds.

Blending the Ghost Story Genre with the La Llorona Myth

La Llorona effectively combines elements of the traditional ghost story genre with the well-known Latin American folktale of La Llorona, the weeping woman. Bustamante skillfully weaves these two narrative threads together, creating a haunting and atmospheric tale that slowly reveals the truth behind Alma's presence and her connection to the general's victims. The film's use of water imagery and the unsettling presence of ghostly figures further enhances the eerie and unsettling tone.

Other topics covered in our conversation include:

  • The strong performances of the cast, particularly María Mercedes Coroy as Alma and Margarita Kenéfic as the general's wife
  • The film's commentary on the intergenerational trauma caused by the Guatemalan genocide
  • The gradual revelation of Alma's true nature and her role in the story
  • The importance of acknowledging and confronting the atrocities of the past

A Thought-Provoking and Haunting Film

La Llorona is a powerful and thought-provoking film that uses the ghost story genre and the La Llorona myth to shed light on the horrors of the Guatemalan genocide. Through its haunting atmosphere, strong performances, and exploration of intergenerational trauma, the film leaves a lasting impact on its viewers. La Llorona is a compelling and important work that deserves to be seen and discussed. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Did someone hear a woman cry?”
A Haunting Guatemalan Ghost Story

In 2019, Guatemalan filmmaker Jayro Bustamante released his third feature film, La Llorona, a haunting ghost story that explores the aftermath of the Guatemalan genocide. The film premiered at the Venice Film Festival and was selected as the Guatemalan entry for the Best International Feature Film at the 93rd Academy Awards. Join us – Pete Wright and Andy Nelson – as we continue the Ghost Stories series with a conversation about La Llorona.

Women Confronting the Horrors of the Past

In our discussion of La Llorona, we focus on how the film centers around the women in a retired general's family as they grapple with the accusations of genocide against him. Through the mysterious presence of their new housekeeper, Alma, and the visions she induces, the general's wife, daughter, and granddaughter are forced to confront the truth about his actions and their own complicity in the horrors of the past. As the story unfolds, the general becomes an increasingly antagonistic figure, unable to face the consequences of his past deeds.

Blending the Ghost Story Genre with the La Llorona Myth

La Llorona effectively combines elements of the traditional ghost story genre with the well-known Latin American folktale of La Llorona, the weeping woman. Bustamante skillfully weaves these two narrative threads together, creating a haunting and atmospheric tale that slowly reveals the truth behind Alma's presence and her connection to the general's victims. The film's use of water imagery and the unsettling presence of ghostly figures further enhances the eerie and unsettling tone.

Other topics covered in our conversation include:

  • The strong performances of the cast, particularly María Mercedes Coroy as Alma and Margarita Kenéfic as the general's wife
  • The film's commentary on the intergenerational trauma caused by the Guatemalan genocide
  • The gradual revelation of Alma's true nature and her role in the story
  • The importance of acknowledging and confronting the atrocities of the past

A Thought-Provoking and Haunting Film

La Llorona is a powerful and thought-provoking film that uses the ghost story genre and the La Llorona myth to shed light on the horrors of the Guatemalan genocide. Through its haunting atmosphere, strong performances, and exploration of intergenerational trauma, the film leaves a lasting impact on its viewers. La Llorona is a compelling and important work that deserves to be seen and discussed. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 31 Oct 2024 03:00:00 -0700 TruStory FM TruStory FM 3452 “Did someone hear a woman cry?”
A Haunting Guatemalan Ghost Story

In 2019, Guatemalan filmmaker Jayro Bustamante released his third feature film, La Llorona, a haunting ghost story that explores the aftermath of the Guatemalan genocide. The film premiered at the Venice Film Festival and was selected as the Guatemalan entry for the Best International Feature Film at the 93rd Academy Awards. Join us – Pete Wright and Andy Nelson – as we continue the Ghost Stories series with a conversation about La Llorona.

Women Confronting the Horrors of the Past

In our discussion of La Llorona, we focus on how the film centers around the women in a retired general's family as they grapple with the accusations of genocide against him. Through the mysterious presence of their new housekeeper, Alma, and the visions she induces, the general's wife, daughter, and granddaughter are forced to confront the truth about his actions and their own complicity in the horrors of the past. As the story unfolds, the general becomes an increasingly antagonistic figure, unable to face the consequences of his past deeds.

Blending the Ghost Story Genre with the La Llorona Myth

La Llorona effectively combines elements of the traditional ghost story genre with the well-known Latin American folktale of La Llorona, the weeping woman. Bustamante skillfully weaves these two narrative threads together, creating a haunting and atmospheric tale that slowly reveals the truth behind Alma's presence and her connection to the general's victims. The film's use of water imagery and the unsettling presence of ghostly figures further enhances the eerie and unsettling tone.

Other topics covered in our conversation include:

  • The strong performances of the cast, particularly María Mercedes Coroy as Alma and Margarita Kenéfic as the general's wife
  • The film's commentary on the intergenerational trauma caused by the Guatemalan genocide
  • The gradual revelation of Alma's true nature and her role in the story
  • The importance of acknowledging and confronting the atrocities of the past

A Thought-Provoking and Haunting Film

La Llorona is a powerful and thought-provoking film that uses the ghost story genre and the La Llorona myth to shed light on the horrors of the Guatemalan genocide. Through its haunting atmosphere, strong performances, and exploration of intergenerational trauma, the film leaves a lasting impact on its viewers. La Llorona is a compelling and important work that deserves to be seen and discussed. 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


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]]> 2019, 2010s, Jayro Bustamante, Ghost Stories No Andy Nelson Pete Wright Under the Shadow 14 14 15 15 Under the Shadow full 9fbc65f2-f69a-460f-af4a-f38d4e409a1e https://share.transistor.fm/s/e6499aef “You know, if they take a personal belonging, something that you treasure, then there’s no escape from them. You’ll be marked and they’ll always know how to find you.”
Uncovering the Horrors of War and Gender Inequality

Iranian filmmaker Babak Anvari's directorial debut, Under the Shadow, hit the festival circuit in 2016, garnering critical acclaim and numerous awards. Set in Tehran during the Iran-Iraq War of the 1980s, this Persian-language horror film delves into the personal and societal struggles of a mother and daughter as they face both the terrors of war and the oppression of gender inequality. Join us – Pete Wright and Andy Nelson – as we continue the Ghost Stories series with a conversation about Under the Shadow.

Peeling Back the Layers of Fear

From the ever-present threat of war to the social horror of gender inequality, Anvari masterfully weaves together a tapestry of terror that keeps viewers on the edge of their seats. We discuss how the film's supernatural elements, in the form of malevolent spirits known as djinn, serve as a metaphor for the protagonist's internal struggles and the trauma she faces.

Throughout our conversation, we explore the powerful performances of the film's lead actors, particularly Narges Rashidi as the mother, Shideh. Her portrayal of a woman grappling with the loss of her dreams and the pressures of motherhood in a war-torn, patriarchal society is both haunting and inspiring. We also touch on the film's effective use of sound design and cinematography to create an atmosphere of unease and dread.

Digging Deeper into the Discussion

  • The symbolism of the doll as a representation of Shideh's maternal instincts and her daughter's need for protection
  • The ambiguity surrounding the origins of the djinn and their connection to the characters' trauma
  • The film's commentary on the psychological effects of war and oppression on individuals and society
  • The open-ended nature of the film's conclusion and its implications for the characters' futures

Unveiling the Significance of Under the Shadow

Under the Shadow is a testament to the power of horror cinema to explore complex social and political issues. By blending the supernatural with the all-too-real horrors of war and gender inequality, Anvari has crafted a film that is both terrifying and thought-provoking. Despite some minor criticisms regarding the clarity of certain plot points, we ultimately find Under the Shadow to be a compelling and essential addition to the canon of international horror cinema. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You know, if they take a personal belonging, something that you treasure, then there’s no escape from them. You’ll be marked and they’ll always know how to find you.”
Uncovering the Horrors of War and Gender Inequality

Iranian filmmaker Babak Anvari's directorial debut, Under the Shadow, hit the festival circuit in 2016, garnering critical acclaim and numerous awards. Set in Tehran during the Iran-Iraq War of the 1980s, this Persian-language horror film delves into the personal and societal struggles of a mother and daughter as they face both the terrors of war and the oppression of gender inequality. Join us – Pete Wright and Andy Nelson – as we continue the Ghost Stories series with a conversation about Under the Shadow.

Peeling Back the Layers of Fear

From the ever-present threat of war to the social horror of gender inequality, Anvari masterfully weaves together a tapestry of terror that keeps viewers on the edge of their seats. We discuss how the film's supernatural elements, in the form of malevolent spirits known as djinn, serve as a metaphor for the protagonist's internal struggles and the trauma she faces.

Throughout our conversation, we explore the powerful performances of the film's lead actors, particularly Narges Rashidi as the mother, Shideh. Her portrayal of a woman grappling with the loss of her dreams and the pressures of motherhood in a war-torn, patriarchal society is both haunting and inspiring. We also touch on the film's effective use of sound design and cinematography to create an atmosphere of unease and dread.

Digging Deeper into the Discussion

  • The symbolism of the doll as a representation of Shideh's maternal instincts and her daughter's need for protection
  • The ambiguity surrounding the origins of the djinn and their connection to the characters' trauma
  • The film's commentary on the psychological effects of war and oppression on individuals and society
  • The open-ended nature of the film's conclusion and its implications for the characters' futures

Unveiling the Significance of Under the Shadow

Under the Shadow is a testament to the power of horror cinema to explore complex social and political issues. By blending the supernatural with the all-too-real horrors of war and gender inequality, Anvari has crafted a film that is both terrifying and thought-provoking. Despite some minor criticisms regarding the clarity of certain plot points, we ultimately find Under the Shadow to be a compelling and essential addition to the canon of international horror cinema. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 24 Oct 2024 03:00:00 -0700 TruStory FM TruStory FM 3571 “You know, if they take a personal belonging, something that you treasure, then there’s no escape from them. You’ll be marked and they’ll always know how to find you.”
Uncovering the Horrors of War and Gender Inequality

Iranian filmmaker Babak Anvari's directorial debut, Under the Shadow, hit the festival circuit in 2016, garnering critical acclaim and numerous awards. Set in Tehran during the Iran-Iraq War of the 1980s, this Persian-language horror film delves into the personal and societal struggles of a mother and daughter as they face both the terrors of war and the oppression of gender inequality. Join us – Pete Wright and Andy Nelson – as we continue the Ghost Stories series with a conversation about Under the Shadow.

Peeling Back the Layers of Fear

From the ever-present threat of war to the social horror of gender inequality, Anvari masterfully weaves together a tapestry of terror that keeps viewers on the edge of their seats. We discuss how the film's supernatural elements, in the form of malevolent spirits known as djinn, serve as a metaphor for the protagonist's internal struggles and the trauma she faces.

Throughout our conversation, we explore the powerful performances of the film's lead actors, particularly Narges Rashidi as the mother, Shideh. Her portrayal of a woman grappling with the loss of her dreams and the pressures of motherhood in a war-torn, patriarchal society is both haunting and inspiring. We also touch on the film's effective use of sound design and cinematography to create an atmosphere of unease and dread.

Digging Deeper into the Discussion

  • The symbolism of the doll as a representation of Shideh's maternal instincts and her daughter's need for protection
  • The ambiguity surrounding the origins of the djinn and their connection to the characters' trauma
  • The film's commentary on the psychological effects of war and oppression on individuals and society
  • The open-ended nature of the film's conclusion and its implications for the characters' futures

Unveiling the Significance of Under the Shadow

Under the Shadow is a testament to the power of horror cinema to explore complex social and political issues. By blending the supernatural with the all-too-real horrors of war and gender inequality, Anvari has crafted a film that is both terrifying and thought-provoking. Despite some minor criticisms regarding the clarity of certain plot points, we ultimately find Under the Shadow to be a compelling and essential addition to the canon of international horror cinema. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 2016, 2010s, Babak Anvari, Ghost Stories No Andy Nelson Pete Wright Pulse 14 14 14 14 Pulse full 88339acc-32b7-4cff-993f-413cd9ac863f https://share.transistor.fm/s/a2b50169 “Maybe, he suddenly just wanted to die. I get that way sometimes.”
The Rise of J-Horror in the International Spotlight

Japanese horror, or J-Horror, has a rich history dating back decades, with influential works like Masaki Kobayashi's Kwaidan (1964) and Nobuhiko Obayashi's House (1977) paving the way for the genre. However, it was in the late 1990s and early 2000s that J-Horror truly gained international recognition, thanks to a wave of innovative and terrifying films that captivated audiences worldwide. One of the most significant and thought-provoking films of this era was Kiyoshi Kurosawa's 2001 masterpiece, Pulse. Join us – Pete Wright and Andy Nelson – as we continue the Ghost Stories series with a conversation about Pulse.

Exploring the Depths of Loneliness in a Connected World

At its core, Pulse is a haunting meditation on the themes of isolation and disconnection in an increasingly technology-driven society. Kurosawa skillfully weaves a narrative that blurs the boundaries between the physical and digital realms, as the characters become entangled in a supernatural world accessed through the internet. As the film progresses, it becomes clear that the true horror lies not in the ghostly apparitions, but in the profound sense of emptiness and loneliness that permeates the characters' lives. Throughout our discussion, we examine how Pulse effectively communicates these themes through its atmospheric storytelling, unsettling imagery, and nuanced performances.

Crafting an Unforgettable Atmosphere

  • Kurosawa's deliberate use of static shots and wide angles to emphasize the characters' isolation
  • The film's focus on the younger generation and their relationship with emerging technologies
  • The iconic "ghost" movements and the smudged, blurred effects used to depict the supernatural entities
  • The choice of eerie locations, such as abandoned buildings and desolate streets, which contribute to the film's oppressive atmosphere

Pulse's Lasting Impact on J-Horror and Beyond

More than two decades after its release, Pulse continues to stand as a landmark film in the J-Horror genre and a testament to Kiyoshi Kurosawa's visionary directorial prowess. The film's exploration of the potential dangers lurking within our increasingly connected world remains as relevant as ever, striking a chord with contemporary audiences. While the narrative's pace may prove challenging at times, Pulse's ability to provoke introspection and unsettle viewers is undeniable. Its influence can be seen in numerous subsequent horror films, both in Japan and internationally, cementing its status as a true classic of the genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Maybe, he suddenly just wanted to die. I get that way sometimes.”
The Rise of J-Horror in the International Spotlight

Japanese horror, or J-Horror, has a rich history dating back decades, with influential works like Masaki Kobayashi's Kwaidan (1964) and Nobuhiko Obayashi's House (1977) paving the way for the genre. However, it was in the late 1990s and early 2000s that J-Horror truly gained international recognition, thanks to a wave of innovative and terrifying films that captivated audiences worldwide. One of the most significant and thought-provoking films of this era was Kiyoshi Kurosawa's 2001 masterpiece, Pulse. Join us – Pete Wright and Andy Nelson – as we continue the Ghost Stories series with a conversation about Pulse.

Exploring the Depths of Loneliness in a Connected World

At its core, Pulse is a haunting meditation on the themes of isolation and disconnection in an increasingly technology-driven society. Kurosawa skillfully weaves a narrative that blurs the boundaries between the physical and digital realms, as the characters become entangled in a supernatural world accessed through the internet. As the film progresses, it becomes clear that the true horror lies not in the ghostly apparitions, but in the profound sense of emptiness and loneliness that permeates the characters' lives. Throughout our discussion, we examine how Pulse effectively communicates these themes through its atmospheric storytelling, unsettling imagery, and nuanced performances.

Crafting an Unforgettable Atmosphere

  • Kurosawa's deliberate use of static shots and wide angles to emphasize the characters' isolation
  • The film's focus on the younger generation and their relationship with emerging technologies
  • The iconic "ghost" movements and the smudged, blurred effects used to depict the supernatural entities
  • The choice of eerie locations, such as abandoned buildings and desolate streets, which contribute to the film's oppressive atmosphere

Pulse's Lasting Impact on J-Horror and Beyond

More than two decades after its release, Pulse continues to stand as a landmark film in the J-Horror genre and a testament to Kiyoshi Kurosawa's visionary directorial prowess. The film's exploration of the potential dangers lurking within our increasingly connected world remains as relevant as ever, striking a chord with contemporary audiences. While the narrative's pace may prove challenging at times, Pulse's ability to provoke introspection and unsettle viewers is undeniable. Its influence can be seen in numerous subsequent horror films, both in Japan and internationally, cementing its status as a true classic of the genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 17 Oct 2024 03:00:00 -0700 TruStory FM TruStory FM 3428 “Maybe, he suddenly just wanted to die. I get that way sometimes.”
The Rise of J-Horror in the International Spotlight

Japanese horror, or J-Horror, has a rich history dating back decades, with influential works like Masaki Kobayashi's Kwaidan (1964) and Nobuhiko Obayashi's House (1977) paving the way for the genre. However, it was in the late 1990s and early 2000s that J-Horror truly gained international recognition, thanks to a wave of innovative and terrifying films that captivated audiences worldwide. One of the most significant and thought-provoking films of this era was Kiyoshi Kurosawa's 2001 masterpiece, Pulse. Join us – Pete Wright and Andy Nelson – as we continue the Ghost Stories series with a conversation about Pulse.

Exploring the Depths of Loneliness in a Connected World

At its core, Pulse is a haunting meditation on the themes of isolation and disconnection in an increasingly technology-driven society. Kurosawa skillfully weaves a narrative that blurs the boundaries between the physical and digital realms, as the characters become entangled in a supernatural world accessed through the internet. As the film progresses, it becomes clear that the true horror lies not in the ghostly apparitions, but in the profound sense of emptiness and loneliness that permeates the characters' lives. Throughout our discussion, we examine how Pulse effectively communicates these themes through its atmospheric storytelling, unsettling imagery, and nuanced performances.

Crafting an Unforgettable Atmosphere

  • Kurosawa's deliberate use of static shots and wide angles to emphasize the characters' isolation
  • The film's focus on the younger generation and their relationship with emerging technologies
  • The iconic "ghost" movements and the smudged, blurred effects used to depict the supernatural entities
  • The choice of eerie locations, such as abandoned buildings and desolate streets, which contribute to the film's oppressive atmosphere

Pulse's Lasting Impact on J-Horror and Beyond

More than two decades after its release, Pulse continues to stand as a landmark film in the J-Horror genre and a testament to Kiyoshi Kurosawa's visionary directorial prowess. The film's exploration of the potential dangers lurking within our increasingly connected world remains as relevant as ever, striking a chord with contemporary audiences. While the narrative's pace may prove challenging at times, Pulse's ability to provoke introspection and unsettle viewers is undeniable. Its influence can be seen in numerous subsequent horror films, both in Japan and internationally, cementing its status as a true classic of the genre. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 2001, 2000s, Kiyoshi Kurosawa, Ghost Stories No Andy Nelson Pete Wright Ugetsu 14 14 13 13 Ugetsu full 2f2b58f8-2ba3-4e03-a7d6-cc872d030049 https://share.transistor.fm/s/b8228213 “You’re mine now. From now on, you must devote your whole life to me.”
A Ghost Story as a Statement on Pride and Greed

Kenji Mizoguchi's 1953 film Ugetsu, based on stories by Akinari Ueda and Guy de Maupassant, is a haunting tale set in war-torn 16th century Japan. The film follows two peasant couples whose lives are upended by the devastation of war and the allure of ambition. Ugetsu masterfully blends the supernatural with the harsh realities of the human condition, creating a timeless masterpiece that continues to captivate audiences. Join us – Pete Wright and Andy Nelson – as we continue the Ghost Stories series with a conversation about Ugetsu.

Ugetsu: A Dive into the Ethereal and the Earthly

In our discussion of Ugetsu, we explore how Mizoguchi seamlessly weaves together the ghostly and the mundane to create a powerful narrative. The film's central character, Genjuro, a potter, becomes consumed by his desire for wealth and fame, ultimately falling under the spell of a mysterious noblewoman who turns out to be a ghost. This supernatural element serves as a metaphor for the destructive nature of unchecked ambition and pride.

We also delve into the film's portrayal of the effects of war on the peasant class, particularly the women who are left behind to fend for themselves while their husbands pursue their dreams. Mizoguchi's empathetic lens highlights the resilience and strength of these women in the face of unimaginable hardship.

Other Facets of Ugetsu

  • The film's stunning cinematography and its role in creating an otherworldly atmosphere
  • The use of traditional Japanese theater techniques, such as the stylized makeup worn by Lady Wakasa
  • The juxtaposition of Genjuro's story with that of his brother-in-law, Tobei, who seeks fame as a samurai
  • The film's poignant ending and its commentary on the consequences of neglecting one's family and responsibilities

A Timeless Tale of Human Fallibility

Ugetsu is a film that transcends its historical setting to deliver a powerful message about the dangers of pride, greed, and the pursuit of glory at the expense of what truly matters. Mizoguchi's masterful direction, combined with the film's haunting visuals and compelling performances, cements Ugetsu's place as a true classic of world cinema. We thoroughly enjoyed discussing this thought-provoking and emotionally resonant 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You’re mine now. From now on, you must devote your whole life to me.”
A Ghost Story as a Statement on Pride and Greed

Kenji Mizoguchi's 1953 film Ugetsu, based on stories by Akinari Ueda and Guy de Maupassant, is a haunting tale set in war-torn 16th century Japan. The film follows two peasant couples whose lives are upended by the devastation of war and the allure of ambition. Ugetsu masterfully blends the supernatural with the harsh realities of the human condition, creating a timeless masterpiece that continues to captivate audiences. Join us – Pete Wright and Andy Nelson – as we continue the Ghost Stories series with a conversation about Ugetsu.

Ugetsu: A Dive into the Ethereal and the Earthly

In our discussion of Ugetsu, we explore how Mizoguchi seamlessly weaves together the ghostly and the mundane to create a powerful narrative. The film's central character, Genjuro, a potter, becomes consumed by his desire for wealth and fame, ultimately falling under the spell of a mysterious noblewoman who turns out to be a ghost. This supernatural element serves as a metaphor for the destructive nature of unchecked ambition and pride.

We also delve into the film's portrayal of the effects of war on the peasant class, particularly the women who are left behind to fend for themselves while their husbands pursue their dreams. Mizoguchi's empathetic lens highlights the resilience and strength of these women in the face of unimaginable hardship.

Other Facets of Ugetsu

  • The film's stunning cinematography and its role in creating an otherworldly atmosphere
  • The use of traditional Japanese theater techniques, such as the stylized makeup worn by Lady Wakasa
  • The juxtaposition of Genjuro's story with that of his brother-in-law, Tobei, who seeks fame as a samurai
  • The film's poignant ending and its commentary on the consequences of neglecting one's family and responsibilities

A Timeless Tale of Human Fallibility

Ugetsu is a film that transcends its historical setting to deliver a powerful message about the dangers of pride, greed, and the pursuit of glory at the expense of what truly matters. Mizoguchi's masterful direction, combined with the film's haunting visuals and compelling performances, cements Ugetsu's place as a true classic of world cinema. We thoroughly enjoyed discussing this thought-provoking and emotionally resonant 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 10 Oct 2024 03:00:00 -0700 TruStory FM TruStory FM 3395 “You’re mine now. From now on, you must devote your whole life to me.”
A Ghost Story as a Statement on Pride and Greed

Kenji Mizoguchi's 1953 film Ugetsu, based on stories by Akinari Ueda and Guy de Maupassant, is a haunting tale set in war-torn 16th century Japan. The film follows two peasant couples whose lives are upended by the devastation of war and the allure of ambition. Ugetsu masterfully blends the supernatural with the harsh realities of the human condition, creating a timeless masterpiece that continues to captivate audiences. Join us – Pete Wright and Andy Nelson – as we continue the Ghost Stories series with a conversation about Ugetsu.

Ugetsu: A Dive into the Ethereal and the Earthly

In our discussion of Ugetsu, we explore how Mizoguchi seamlessly weaves together the ghostly and the mundane to create a powerful narrative. The film's central character, Genjuro, a potter, becomes consumed by his desire for wealth and fame, ultimately falling under the spell of a mysterious noblewoman who turns out to be a ghost. This supernatural element serves as a metaphor for the destructive nature of unchecked ambition and pride.

We also delve into the film's portrayal of the effects of war on the peasant class, particularly the women who are left behind to fend for themselves while their husbands pursue their dreams. Mizoguchi's empathetic lens highlights the resilience and strength of these women in the face of unimaginable hardship.

Other Facets of Ugetsu

  • The film's stunning cinematography and its role in creating an otherworldly atmosphere
  • The use of traditional Japanese theater techniques, such as the stylized makeup worn by Lady Wakasa
  • The juxtaposition of Genjuro's story with that of his brother-in-law, Tobei, who seeks fame as a samurai
  • The film's poignant ending and its commentary on the consequences of neglecting one's family and responsibilities

A Timeless Tale of Human Fallibility

Ugetsu is a film that transcends its historical setting to deliver a powerful message about the dangers of pride, greed, and the pursuit of glory at the expense of what truly matters. Mizoguchi's masterful direction, combined with the film's haunting visuals and compelling performances, cements Ugetsu's place as a true classic of world cinema. We thoroughly enjoyed discussing this thought-provoking and emotionally resonant 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1953, 1950s, Kenji Mizoguchi, Ghost Stories No Andy Nelson Pete Wright The Cassandra Crossing 14 14 11 11 The Cassandra Crossing full c4bd60b1-336e-4986-b8e1-026b7f6c4524 https://share.transistor.fm/s/566963f6 “Anyone trying to leave the train by force will be stopped by force.”
An All-Star 70s Disaster Film Mash-Up

The 1970s saw a surge in the popularity of disaster films, with movies like The Poseidon Adventure, The Towering Inferno, and Earthquake captivating audiences. In 1976, director George P. Cosmatos and producer Carlo Ponti joined forces to create their own entry in the genre: The Cassandra Crossing. With an all-star ensemble cast including Sophia Loren, Richard Harris, Burt Lancaster, Martin Sheen, OJ Simpson, and Ava Gardner, the film aimed to capitalize on the decade's love for big-budget spectacles filled with peril and suspense. Join us – Pete Wright and Andy Nelson – as we wrap up this return to our Disease Films series with a conversation about The Cassandra Crossing.

Sneezing in Rice and Other Disastrous Delights

In this episode, we dive into the various disasters that unfold throughout The Cassandra Crossing. From the initial release of a deadly virus on a train to the impending collapse of the titular bridge, the film keeps the stakes high and the tension palpable. And know that we say that you have to go into this movie ready for its not-so-great quality that makes it fun... at least to us. We discuss how the movie effectively captures the sense of paranoia and fear surrounding the spread of disease, a theme that resonates strongly within our series. Additionally, we explore the film's campy and over-the-top moments, such as the infamous scene involving a sneeze and a bowl of rice, which contribute to its overall entertainment value.

Exposing the Flaws and Celebrating the Fun

While we acknowledge some of the film's shortcomings, such as the reliance on stereotypes and the clunky exposition, we also celebrate the elements that make The Cassandra Crossing an enjoyable viewing experience for us. From the performances of the all-star cast to the violent final crash, the movie offers plenty of reasons to sit back and enjoy the ride. Again... be in the mood for it or it may not work for you as well as it did for us.

Other topics covered in this episode include:

• The impressive ensemble cast and their performances
• The film's commentary on government secrecy and the U.S. military's involvement in bioweapons research
• The effectiveness of the movie's score in heightening the suspense
• The role of Lee Strasberg and his character's surprising backstory... and exposition

A Thrilling Journey Worth Taking

Despite its flaws, The Cassandra Crossing remains a perhaps junky but goofy-fun-if-you’re-in-the-right-mood example of the 1970s disaster film genre, delivering a thrilling and entertaining journey from start to finish. Its exploration of themes related to disease and paranoia, combined with its star-studded cast and grand-scale spectacle, make it a film worth discussing and revisiting. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Anyone trying to leave the train by force will be stopped by force.”
An All-Star 70s Disaster Film Mash-Up

The 1970s saw a surge in the popularity of disaster films, with movies like The Poseidon Adventure, The Towering Inferno, and Earthquake captivating audiences. In 1976, director George P. Cosmatos and producer Carlo Ponti joined forces to create their own entry in the genre: The Cassandra Crossing. With an all-star ensemble cast including Sophia Loren, Richard Harris, Burt Lancaster, Martin Sheen, OJ Simpson, and Ava Gardner, the film aimed to capitalize on the decade's love for big-budget spectacles filled with peril and suspense. Join us – Pete Wright and Andy Nelson – as we wrap up this return to our Disease Films series with a conversation about The Cassandra Crossing.

Sneezing in Rice and Other Disastrous Delights

In this episode, we dive into the various disasters that unfold throughout The Cassandra Crossing. From the initial release of a deadly virus on a train to the impending collapse of the titular bridge, the film keeps the stakes high and the tension palpable. And know that we say that you have to go into this movie ready for its not-so-great quality that makes it fun... at least to us. We discuss how the movie effectively captures the sense of paranoia and fear surrounding the spread of disease, a theme that resonates strongly within our series. Additionally, we explore the film's campy and over-the-top moments, such as the infamous scene involving a sneeze and a bowl of rice, which contribute to its overall entertainment value.

Exposing the Flaws and Celebrating the Fun

While we acknowledge some of the film's shortcomings, such as the reliance on stereotypes and the clunky exposition, we also celebrate the elements that make The Cassandra Crossing an enjoyable viewing experience for us. From the performances of the all-star cast to the violent final crash, the movie offers plenty of reasons to sit back and enjoy the ride. Again... be in the mood for it or it may not work for you as well as it did for us.

Other topics covered in this episode include:

• The impressive ensemble cast and their performances
• The film's commentary on government secrecy and the U.S. military's involvement in bioweapons research
• The effectiveness of the movie's score in heightening the suspense
• The role of Lee Strasberg and his character's surprising backstory... and exposition

A Thrilling Journey Worth Taking

Despite its flaws, The Cassandra Crossing remains a perhaps junky but goofy-fun-if-you’re-in-the-right-mood example of the 1970s disaster film genre, delivering a thrilling and entertaining journey from start to finish. Its exploration of themes related to disease and paranoia, combined with its star-studded cast and grand-scale spectacle, make it a film worth discussing and revisiting. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 03 Oct 2024 03:00:00 -0700 TruStory FM TruStory FM 3840 “Anyone trying to leave the train by force will be stopped by force.”
An All-Star 70s Disaster Film Mash-Up

The 1970s saw a surge in the popularity of disaster films, with movies like The Poseidon Adventure, The Towering Inferno, and Earthquake captivating audiences. In 1976, director George P. Cosmatos and producer Carlo Ponti joined forces to create their own entry in the genre: The Cassandra Crossing. With an all-star ensemble cast including Sophia Loren, Richard Harris, Burt Lancaster, Martin Sheen, OJ Simpson, and Ava Gardner, the film aimed to capitalize on the decade's love for big-budget spectacles filled with peril and suspense. Join us – Pete Wright and Andy Nelson – as we wrap up this return to our Disease Films series with a conversation about The Cassandra Crossing.

Sneezing in Rice and Other Disastrous Delights

In this episode, we dive into the various disasters that unfold throughout The Cassandra Crossing. From the initial release of a deadly virus on a train to the impending collapse of the titular bridge, the film keeps the stakes high and the tension palpable. And know that we say that you have to go into this movie ready for its not-so-great quality that makes it fun... at least to us. We discuss how the movie effectively captures the sense of paranoia and fear surrounding the spread of disease, a theme that resonates strongly within our series. Additionally, we explore the film's campy and over-the-top moments, such as the infamous scene involving a sneeze and a bowl of rice, which contribute to its overall entertainment value.

Exposing the Flaws and Celebrating the Fun

While we acknowledge some of the film's shortcomings, such as the reliance on stereotypes and the clunky exposition, we also celebrate the elements that make The Cassandra Crossing an enjoyable viewing experience for us. From the performances of the all-star cast to the violent final crash, the movie offers plenty of reasons to sit back and enjoy the ride. Again... be in the mood for it or it may not work for you as well as it did for us.

Other topics covered in this episode include:

• The impressive ensemble cast and their performances
• The film's commentary on government secrecy and the U.S. military's involvement in bioweapons research
• The effectiveness of the movie's score in heightening the suspense
• The role of Lee Strasberg and his character's surprising backstory... and exposition

A Thrilling Journey Worth Taking

Despite its flaws, The Cassandra Crossing remains a perhaps junky but goofy-fun-if-you’re-in-the-right-mood example of the 1970s disaster film genre, delivering a thrilling and entertaining journey from start to finish. Its exploration of themes related to disease and paranoia, combined with its star-studded cast and grand-scale spectacle, make it a film worth discussing and revisiting. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1976, 1970s, George P. Cosmatos, Disease Films No Andy Nelson Pete Wright The Shooting • Member Bonus 14 14 12 12 The Shooting • Member Bonus full 53d05e9e-98f5-43de-a268-ad0a6f120afe https://share.transistor.fm/s/92a61ae1 “The reason, Mr. Gashade, for the hunt is the kill.”
A Low-Budget Western from the Corman-Hellman-Nicholson Trio

After impressing producer Roger Corman with their previous work, director Monte Hellman and actor Jack Nicholson presented him with a spec script, but Corman had a different idea. He proposed that they make two Westerns instead, giving them three weeks to shoot each film. Hellman and Nicholson agreed, and the result was a pair of existential Westerns – The Shooting and Ride in the Whirlwind – shot in 1965 in Utah. Join us – Pete Wright and Andy Nelson – as we continue our 12-episode, 14th season-long Roger Corman series with a conversation about The Shooting, our second installment and member bonus episode.

Unraveling the Mysteries of The Shooting

In this episode, we delve into the enigmatic world of The Shooting, discussing the film's unique narrative structure and the questions it raises. We explore the mysterious characters, their motivations, and the shocking revelation at the end. The story follows a former bounty hunter turned miner who is hired by a woman to track down an unknown individual. As they embark on their journey, they are pursued by a menacing gunslinger clad in black. Throughout our conversation, we examine how the film's minimalistic approach and existential themes set it apart from traditional Westerns of the era.

The Corman Connection and the Film's Place in Cinema History

We discuss how The Shooting fits into the larger context of Roger Corman's productions and its significance in the careers of Monte Hellman and Jack Nicholson. The film's low-budget, experimental nature aligns with Corman's reputation for producing cost-effective, boundary-pushing cinema. We also explore how The Shooting, along with its companion piece, Ride in the Whirlwind, served as a precursor to the independent, counterculture-influenced films of the late 1960s and early 1970s.

A Divisive Film: Contrasting Opinions

While Andy enjoyed The Shooting, finding its fatalistic and existential themes compelling, Pete struggled to connect with the film. He found the experimental editing choices and the overall pacing to be challenging, making it a difficult watch for him. Despite their differing opinions, both hosts agree that the film's ambiguity and unconventional approach make it a unique entry in the Western genre.

Other Topics Covered in the Episode

  • The film's status as one of the first "acid Westerns"
  • The symbolic and metaphorical elements woven throughout the narrative
  • The effective use of the stark Utah landscape to convey isolation and despair
  • Standout (?) performances from the cast, including Will Hutchins and Millie Perkins

A Thought-Provoking and Unconventional Western

While Andy appreciated The Shooting's ambiguity and haunting atmosphere, Pete ultimately deemed it a "Casablanca movie," alluding to the exchange between Rick and Ugarte in the classic film: "You despise me, don't you?" "If I gave you any thought, I probably would." Despite their contrasting views, both hosts agree that the film remains a testament to Corman’s passion for cranking out low budget films and giving experimenting filmmakers like Monte Hellman and Jack Nicholson the chance to play. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> “The reason, Mr. Gashade, for the hunt is the kill.”
A Low-Budget Western from the Corman-Hellman-Nicholson Trio

After impressing producer Roger Corman with their previous work, director Monte Hellman and actor Jack Nicholson presented him with a spec script, but Corman had a different idea. He proposed that they make two Westerns instead, giving them three weeks to shoot each film. Hellman and Nicholson agreed, and the result was a pair of existential Westerns – The Shooting and Ride in the Whirlwind – shot in 1965 in Utah. Join us – Pete Wright and Andy Nelson – as we continue our 12-episode, 14th season-long Roger Corman series with a conversation about The Shooting, our second installment and member bonus episode.

Unraveling the Mysteries of The Shooting

In this episode, we delve into the enigmatic world of The Shooting, discussing the film's unique narrative structure and the questions it raises. We explore the mysterious characters, their motivations, and the shocking revelation at the end. The story follows a former bounty hunter turned miner who is hired by a woman to track down an unknown individual. As they embark on their journey, they are pursued by a menacing gunslinger clad in black. Throughout our conversation, we examine how the film's minimalistic approach and existential themes set it apart from traditional Westerns of the era.

The Corman Connection and the Film's Place in Cinema History

We discuss how The Shooting fits into the larger context of Roger Corman's productions and its significance in the careers of Monte Hellman and Jack Nicholson. The film's low-budget, experimental nature aligns with Corman's reputation for producing cost-effective, boundary-pushing cinema. We also explore how The Shooting, along with its companion piece, Ride in the Whirlwind, served as a precursor to the independent, counterculture-influenced films of the late 1960s and early 1970s.

A Divisive Film: Contrasting Opinions

While Andy enjoyed The Shooting, finding its fatalistic and existential themes compelling, Pete struggled to connect with the film. He found the experimental editing choices and the overall pacing to be challenging, making it a difficult watch for him. Despite their differing opinions, both hosts agree that the film's ambiguity and unconventional approach make it a unique entry in the Western genre.

Other Topics Covered in the Episode

  • The film's status as one of the first "acid Westerns"
  • The symbolic and metaphorical elements woven throughout the narrative
  • The effective use of the stark Utah landscape to convey isolation and despair
  • Standout (?) performances from the cast, including Will Hutchins and Millie Perkins

A Thought-Provoking and Unconventional Western

While Andy appreciated The Shooting's ambiguity and haunting atmosphere, Pete ultimately deemed it a "Casablanca movie," alluding to the exchange between Rick and Ugarte in the classic film: "You despise me, don't you?" "If I gave you any thought, I probably would." Despite their contrasting views, both hosts agree that the film remains a testament to Corman’s passion for cranking out low budget films and giving experimenting filmmakers like Monte Hellman and Jack Nicholson the chance to play. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> Mon, 30 Sep 2024 03:00:00 -0700 TruStory FM TruStory FM 598 “The reason, Mr. Gashade, for the hunt is the kill.”
A Low-Budget Western from the Corman-Hellman-Nicholson Trio

After impressing producer Roger Corman with their previous work, director Monte Hellman and actor Jack Nicholson presented him with a spec script, but Corman had a different idea. He proposed that they make two Westerns instead, giving them three weeks to shoot each film. Hellman and Nicholson agreed, and the result was a pair of existential Westerns – The Shooting and Ride in the Whirlwind – shot in 1965 in Utah. Join us – Pete Wright and Andy Nelson – as we continue our 12-episode, 14th season-long Roger Corman series with a conversation about The Shooting, our second installment and member bonus episode.

Unraveling the Mysteries of The Shooting

In this episode, we delve into the enigmatic world of The Shooting, discussing the film's unique narrative structure and the questions it raises. We explore the mysterious characters, their motivations, and the shocking revelation at the end. The story follows a former bounty hunter turned miner who is hired by a woman to track down an unknown individual. As they embark on their journey, they are pursued by a menacing gunslinger clad in black. Throughout our conversation, we examine how the film's minimalistic approach and existential themes set it apart from traditional Westerns of the era.

The Corman Connection and the Film's Place in Cinema History

We discuss how The Shooting fits into the larger context of Roger Corman's productions and its significance in the careers of Monte Hellman and Jack Nicholson. The film's low-budget, experimental nature aligns with Corman's reputation for producing cost-effective, boundary-pushing cinema. We also explore how The Shooting, along with its companion piece, Ride in the Whirlwind, served as a precursor to the independent, counterculture-influenced films of the late 1960s and early 1970s.

A Divisive Film: Contrasting Opinions

While Andy enjoyed The Shooting, finding its fatalistic and existential themes compelling, Pete struggled to connect with the film. He found the experimental editing choices and the overall pacing to be challenging, making it a difficult watch for him. Despite their differing opinions, both hosts agree that the film's ambiguity and unconventional approach make it a unique entry in the Western genre.

Other Topics Covered in the Episode

  • The film's status as one of the first "acid Westerns"
  • The symbolic and metaphorical elements woven throughout the narrative
  • The effective use of the stark Utah landscape to convey isolation and despair
  • Standout (?) performances from the cast, including Will Hutchins and Millie Perkins

A Thought-Provoking and Unconventional Western

While Andy appreciated The Shooting's ambiguity and haunting atmosphere, Pete ultimately deemed it a "Casablanca movie," alluding to the exchange between Rick and Ugarte in the classic film: "You despise me, don't you?" "If I gave you any thought, I probably would." Despite their contrasting views, both hosts agree that the film remains a testament to Corman’s passion for cranking out low budget films and giving experimenting filmmakers like Monte Hellman and Jack Nicholson the chance to play. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> 1966, 1960s, Monte Hellman, Member Bonus, Roger Corman No Andy Nelson Pete Wright Pontypool 14 14 10 10 Pontypool full 20a7067a-47fb-4c45-b362-3d9bf5021e0a https://share.transistor.fm/s/7fd21d6b “She doesn’t know it yet, but she’s hunting us.”
How a Virus Spreads Through Language

The 2008 Canadian horror film Pontypool, directed by Bruce McDonald and written by Tony Burgess, was inspired by Orson Welles' famous radio broadcast of War of the Worlds. Originally, Burgess envisioned the entire film as a radio play, with the main character Grant Mazzy reading the script accompanied only by a visual of the blue waveform. While this concept wasn't fully realized, it heavily influenced the confined, constrained storyline of the radio station employees trying to make sense of the outbreak consuming their small town. Join us – Pete Wright and Andy Nelson – as we continue the Disease Films series with a conversation about Pontypool.

Dissecting the Viral Outbreak in Pontypool

One of the most intriguing aspects of Pontypool is how the horror unfolds through the limited perspective of the radio station employees. As Grant Mazzy, Sydney Briar, and Laurel-Ann Drummond receive increasingly disturbing reports from Ken Loney in the "Sunshine Chopper," the tension builds before the true nature of the viral outbreak is revealed. The film's unique approach to storytelling keeps the audience engaged, even when the explanation for the virus itself may seem a bit far-fetched.

Throughout our discussion, we explore the metaphorical implications of a virus that spreads through the English language. As a Canadian film, Pontypool seems to comment on the value of traditionalism and the French language in Ontario, while also critiquing the potentially damaging influence of American shock jock radio. The film's central conceit – that language itself can become contagious and dangerous – resonates even more strongly in today's era of social media and misinformation.

Other Highlights from Our Conversation

  • The wordplay and coincidences in Grant Mazzy's opening monologue, foreshadowing the importance of language in the story
  • The debate over whether Grant Mazzy was infected by the virus at the end of the film
  • The role of Dr. Mendez as the "book of the vampire," providing exposition and context for the outbreak
  • The powerful portrayal of Laurel-Ann's deterioration, offering a window into the effects of the virus

Pontypool may not be a perfect film, but its clever premise and thought-provoking themes make it a worthwhile entry in the Disease Films series. By confining the action to the radio station and relying on reports from outside, the movie creates a sense of claustrophobia and dread that keeps the audience engaged despite the sometimes flimsy explanation for the virus itself. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “She doesn’t know it yet, but she’s hunting us.”
How a Virus Spreads Through Language

The 2008 Canadian horror film Pontypool, directed by Bruce McDonald and written by Tony Burgess, was inspired by Orson Welles' famous radio broadcast of War of the Worlds. Originally, Burgess envisioned the entire film as a radio play, with the main character Grant Mazzy reading the script accompanied only by a visual of the blue waveform. While this concept wasn't fully realized, it heavily influenced the confined, constrained storyline of the radio station employees trying to make sense of the outbreak consuming their small town. Join us – Pete Wright and Andy Nelson – as we continue the Disease Films series with a conversation about Pontypool.

Dissecting the Viral Outbreak in Pontypool

One of the most intriguing aspects of Pontypool is how the horror unfolds through the limited perspective of the radio station employees. As Grant Mazzy, Sydney Briar, and Laurel-Ann Drummond receive increasingly disturbing reports from Ken Loney in the "Sunshine Chopper," the tension builds before the true nature of the viral outbreak is revealed. The film's unique approach to storytelling keeps the audience engaged, even when the explanation for the virus itself may seem a bit far-fetched.

Throughout our discussion, we explore the metaphorical implications of a virus that spreads through the English language. As a Canadian film, Pontypool seems to comment on the value of traditionalism and the French language in Ontario, while also critiquing the potentially damaging influence of American shock jock radio. The film's central conceit – that language itself can become contagious and dangerous – resonates even more strongly in today's era of social media and misinformation.

Other Highlights from Our Conversation

  • The wordplay and coincidences in Grant Mazzy's opening monologue, foreshadowing the importance of language in the story
  • The debate over whether Grant Mazzy was infected by the virus at the end of the film
  • The role of Dr. Mendez as the "book of the vampire," providing exposition and context for the outbreak
  • The powerful portrayal of Laurel-Ann's deterioration, offering a window into the effects of the virus

Pontypool may not be a perfect film, but its clever premise and thought-provoking themes make it a worthwhile entry in the Disease Films series. By confining the action to the radio station and relying on reports from outside, the movie creates a sense of claustrophobia and dread that keeps the audience engaged despite the sometimes flimsy explanation for the virus itself. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 26 Sep 2024 03:00:00 -0700 TruStory FM TruStory FM 3398 “She doesn’t know it yet, but she’s hunting us.”
How a Virus Spreads Through Language

The 2008 Canadian horror film Pontypool, directed by Bruce McDonald and written by Tony Burgess, was inspired by Orson Welles' famous radio broadcast of War of the Worlds. Originally, Burgess envisioned the entire film as a radio play, with the main character Grant Mazzy reading the script accompanied only by a visual of the blue waveform. While this concept wasn't fully realized, it heavily influenced the confined, constrained storyline of the radio station employees trying to make sense of the outbreak consuming their small town. Join us – Pete Wright and Andy Nelson – as we continue the Disease Films series with a conversation about Pontypool.

Dissecting the Viral Outbreak in Pontypool

One of the most intriguing aspects of Pontypool is how the horror unfolds through the limited perspective of the radio station employees. As Grant Mazzy, Sydney Briar, and Laurel-Ann Drummond receive increasingly disturbing reports from Ken Loney in the "Sunshine Chopper," the tension builds before the true nature of the viral outbreak is revealed. The film's unique approach to storytelling keeps the audience engaged, even when the explanation for the virus itself may seem a bit far-fetched.

Throughout our discussion, we explore the metaphorical implications of a virus that spreads through the English language. As a Canadian film, Pontypool seems to comment on the value of traditionalism and the French language in Ontario, while also critiquing the potentially damaging influence of American shock jock radio. The film's central conceit – that language itself can become contagious and dangerous – resonates even more strongly in today's era of social media and misinformation.

Other Highlights from Our Conversation

  • The wordplay and coincidences in Grant Mazzy's opening monologue, foreshadowing the importance of language in the story
  • The debate over whether Grant Mazzy was infected by the virus at the end of the film
  • The role of Dr. Mendez as the "book of the vampire," providing exposition and context for the outbreak
  • The powerful portrayal of Laurel-Ann's deterioration, offering a window into the effects of the virus

Pontypool may not be a perfect film, but its clever premise and thought-provoking themes make it a worthwhile entry in the Disease Films series. By confining the action to the radio station and relying on reports from outside, the movie creates a sense of claustrophobia and dread that keeps the audience engaged despite the sometimes flimsy explanation for the virus itself. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2008, 2000s, Bruce McDonald, Disease Films No Andy Nelson Pete Wright Chameleon Street 14 14 9 9 Chameleon Street full 4e25318a-b54c-4ade-926e-ffc3b1afa8bb https://share.transistor.fm/s/cf53c5f0 “I think, therefore I scam.”
The Sundance Struggle of Wendell B. Harris Jr.'s Sensational Con Artist Story

In 1989, writer-director-actor Wendell B. Harris Jr. crafted a stunning debut feature, Chameleon Street, based on the incredible true story of con artist William Douglas Street Jr. Despite winning the Grand Jury Prize at the 1990 Sundance Film Festival, Harris faced immense difficulties securing distribution for his groundbreaking film. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about Chameleon Street.

Unraveling the Layers of a Chameleon's Tale

Throughout our discussion, we dive into the fascinating layers of Chameleon Street, from its energetic and in-your-face production style to the subversive commentary on race and identity. We explore how Harris Jr. taps into the con artist's perspective, using voiceover narration and camera techniques to create a thrilling cinematic experience that keeps the audience engaged from start to finish.

As part of our One-and-Done series, we also delve into the unfortunate reality of Harris Jr.'s struggle to make more films after this impressive debut. Despite his undeniable talent and the film's critical acclaim, the Hollywood system failed to provide him with the opportunities he deserved.

Unpacking the Complexities of Identity and Representation

  • The film's thought-provoking exploration of race and the challenges faced by a black man navigating various roles in society
  • Harris Jr.'s masterful performance as William Douglas Street Jr., showcasing the con artist's chameleon-like abilities
  • The movie's subversive humor and biting social commentary, particularly in scenes where Street Jr. openly insults his unsuspecting targets
  • The film's propulsive narrative structure, which keeps the audience engaged as the protagonist moves from one audacious scheme to another

A One-and-Done Wonder Worth Rediscovering

Chameleon Street is a testament to Wendell B. Harris Jr.'s immense talent as a filmmaker and storyteller. Through his deft handling of the subject matter and innovative storytelling techniques, Harris Jr. crafts a compelling and thought-provoking exploration of identity, race, and the art of the con. While it's disheartening that he never had the chance to make another feature film, Chameleon Street remains a powerful and essential piece of cinema that deserves to be celebrated and rediscovered by audiences today. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I think, therefore I scam.”
The Sundance Struggle of Wendell B. Harris Jr.'s Sensational Con Artist Story

In 1989, writer-director-actor Wendell B. Harris Jr. crafted a stunning debut feature, Chameleon Street, based on the incredible true story of con artist William Douglas Street Jr. Despite winning the Grand Jury Prize at the 1990 Sundance Film Festival, Harris faced immense difficulties securing distribution for his groundbreaking film. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about Chameleon Street.

Unraveling the Layers of a Chameleon's Tale

Throughout our discussion, we dive into the fascinating layers of Chameleon Street, from its energetic and in-your-face production style to the subversive commentary on race and identity. We explore how Harris Jr. taps into the con artist's perspective, using voiceover narration and camera techniques to create a thrilling cinematic experience that keeps the audience engaged from start to finish.

As part of our One-and-Done series, we also delve into the unfortunate reality of Harris Jr.'s struggle to make more films after this impressive debut. Despite his undeniable talent and the film's critical acclaim, the Hollywood system failed to provide him with the opportunities he deserved.

Unpacking the Complexities of Identity and Representation

  • The film's thought-provoking exploration of race and the challenges faced by a black man navigating various roles in society
  • Harris Jr.'s masterful performance as William Douglas Street Jr., showcasing the con artist's chameleon-like abilities
  • The movie's subversive humor and biting social commentary, particularly in scenes where Street Jr. openly insults his unsuspecting targets
  • The film's propulsive narrative structure, which keeps the audience engaged as the protagonist moves from one audacious scheme to another

A One-and-Done Wonder Worth Rediscovering

Chameleon Street is a testament to Wendell B. Harris Jr.'s immense talent as a filmmaker and storyteller. Through his deft handling of the subject matter and innovative storytelling techniques, Harris Jr. crafts a compelling and thought-provoking exploration of identity, race, and the art of the con. While it's disheartening that he never had the chance to make another feature film, Chameleon Street remains a powerful and essential piece of cinema that deserves to be celebrated and rediscovered by audiences today. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


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]]> Thu, 19 Sep 2024 03:00:00 -0700 TruStory FM TruStory FM 3130 “I think, therefore I scam.”
The Sundance Struggle of Wendell B. Harris Jr.'s Sensational Con Artist Story

In 1989, writer-director-actor Wendell B. Harris Jr. crafted a stunning debut feature, Chameleon Street, based on the incredible true story of con artist William Douglas Street Jr. Despite winning the Grand Jury Prize at the 1990 Sundance Film Festival, Harris faced immense difficulties securing distribution for his groundbreaking film. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about Chameleon Street.

Unraveling the Layers of a Chameleon's Tale

Throughout our discussion, we dive into the fascinating layers of Chameleon Street, from its energetic and in-your-face production style to the subversive commentary on race and identity. We explore how Harris Jr. taps into the con artist's perspective, using voiceover narration and camera techniques to create a thrilling cinematic experience that keeps the audience engaged from start to finish.

As part of our One-and-Done series, we also delve into the unfortunate reality of Harris Jr.'s struggle to make more films after this impressive debut. Despite his undeniable talent and the film's critical acclaim, the Hollywood system failed to provide him with the opportunities he deserved.

Unpacking the Complexities of Identity and Representation

  • The film's thought-provoking exploration of race and the challenges faced by a black man navigating various roles in society
  • Harris Jr.'s masterful performance as William Douglas Street Jr., showcasing the con artist's chameleon-like abilities
  • The movie's subversive humor and biting social commentary, particularly in scenes where Street Jr. openly insults his unsuspecting targets
  • The film's propulsive narrative structure, which keeps the audience engaged as the protagonist moves from one audacious scheme to another

A One-and-Done Wonder Worth Rediscovering

Chameleon Street is a testament to Wendell B. Harris Jr.'s immense talent as a filmmaker and storyteller. Through his deft handling of the subject matter and innovative storytelling techniques, Harris Jr. crafts a compelling and thought-provoking exploration of identity, race, and the art of the con. While it's disheartening that he never had the chance to make another feature film, Chameleon Street remains a powerful and essential piece of cinema that deserves to be celebrated and rediscovered by audiences today. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


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The Next Reel Family of Film Shows:

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]]> 1989, 1980s, Wendell B. Harris Jr., One-and-Done No Andy Nelson Pete Wright Killer Klowns from Outer Space 14 14 8 8 Killer Klowns from Outer Space full e66e56cd-61f2-49ae-910c-ed944a343759 https://share.transistor.fm/s/405503d1 “Well I’ll be greased and fried! What’s the circus doing up in these parts?”
The Chiodo Brothers and Their Creature Feature Legacy

Before Killer Klowns from Outer Space, the Chiodo Brothers – Charles, Edward, and Stephen – had already made a name for themselves in the special effects world of the 1980s. With credits on films like Critters and sequences in RoboCop, they were well-versed in creating practical effects and creature designs. Killer Klowns from Outer Space represented an opportunity for them to showcase their skills in a feature-length film, with Stephen Chiodo taking on the role of director. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about their 1988 film Killer Klowns from Outer Space.

Clowning Around with Horror Tropes and Twisted Expectations

In our discussion, we marvel at how Killer Klowns from Outer Space gleefully subverts classic clown tropes, turning seemingly innocent gags into sinister and often grotesque moments. From the balloon animal hunting dog to the shadow puppet T-Rex that devours its victims, the film consistently surprises and delights with its inventive use of clown iconography. However, we question whether the horror-comedy balance always lands, with some scenes leaning more heavily into the absurd than the truly frightening.

A Trio of Heroes and the Trope of Incompetent Authority Figures

Throughout our conversation, we explore the dynamics between the film's central trio – Mike, Debbie, and Dave – and how their relationships evolve as they face the alien clown threat. We also examine the trope of young heroes pitted against incompetent authority figures, a common theme in 1950s-era B-movies that Killer Klowns from Outer Space both embraces and satirizes.

Other topics we cover include:

  • The memorable performances of the supporting cast, particularly Royal Dano as Farmer Gene Green and John Vernon as the skeptical police officer
  • The film's vibrant color palette and the effectiveness of the practical effects
  • The Chiodo Brothers' continued work in the industry, including their involvement in Team America: World Police and Marcel the Shell with Shoes On

Why Killer Klowns from Outer Space Endures as a Cult Classic

Despite its status as a one-and-done feature for director Stephen Chiodo, Killer Klowns from Outer Space has endured as a beloved cult classic. Its unique blend of horror and comedy, combined with the Chiodo Brothers' imaginative creature designs, has helped it stand the test of time. While it has some soapy acting and feels of its era, we ultimately find Killer Klowns from Outer Space to be a delightful and entertaining entry in the realm of 1980s horror-comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “Well I’ll be greased and fried! What’s the circus doing up in these parts?”
The Chiodo Brothers and Their Creature Feature Legacy

Before Killer Klowns from Outer Space, the Chiodo Brothers – Charles, Edward, and Stephen – had already made a name for themselves in the special effects world of the 1980s. With credits on films like Critters and sequences in RoboCop, they were well-versed in creating practical effects and creature designs. Killer Klowns from Outer Space represented an opportunity for them to showcase their skills in a feature-length film, with Stephen Chiodo taking on the role of director. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about their 1988 film Killer Klowns from Outer Space.

Clowning Around with Horror Tropes and Twisted Expectations

In our discussion, we marvel at how Killer Klowns from Outer Space gleefully subverts classic clown tropes, turning seemingly innocent gags into sinister and often grotesque moments. From the balloon animal hunting dog to the shadow puppet T-Rex that devours its victims, the film consistently surprises and delights with its inventive use of clown iconography. However, we question whether the horror-comedy balance always lands, with some scenes leaning more heavily into the absurd than the truly frightening.

A Trio of Heroes and the Trope of Incompetent Authority Figures

Throughout our conversation, we explore the dynamics between the film's central trio – Mike, Debbie, and Dave – and how their relationships evolve as they face the alien clown threat. We also examine the trope of young heroes pitted against incompetent authority figures, a common theme in 1950s-era B-movies that Killer Klowns from Outer Space both embraces and satirizes.

Other topics we cover include:

  • The memorable performances of the supporting cast, particularly Royal Dano as Farmer Gene Green and John Vernon as the skeptical police officer
  • The film's vibrant color palette and the effectiveness of the practical effects
  • The Chiodo Brothers' continued work in the industry, including their involvement in Team America: World Police and Marcel the Shell with Shoes On

Why Killer Klowns from Outer Space Endures as a Cult Classic

Despite its status as a one-and-done feature for director Stephen Chiodo, Killer Klowns from Outer Space has endured as a beloved cult classic. Its unique blend of horror and comedy, combined with the Chiodo Brothers' imaginative creature designs, has helped it stand the test of time. While it has some soapy acting and feels of its era, we ultimately find Killer Klowns from Outer Space to be a delightful and entertaining entry in the realm of 1980s horror-comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 12 Sep 2024 03:00:00 -0700 TruStory FM TruStory FM 3565 “Well I’ll be greased and fried! What’s the circus doing up in these parts?”
The Chiodo Brothers and Their Creature Feature Legacy

Before Killer Klowns from Outer Space, the Chiodo Brothers – Charles, Edward, and Stephen – had already made a name for themselves in the special effects world of the 1980s. With credits on films like Critters and sequences in RoboCop, they were well-versed in creating practical effects and creature designs. Killer Klowns from Outer Space represented an opportunity for them to showcase their skills in a feature-length film, with Stephen Chiodo taking on the role of director. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about their 1988 film Killer Klowns from Outer Space.

Clowning Around with Horror Tropes and Twisted Expectations

In our discussion, we marvel at how Killer Klowns from Outer Space gleefully subverts classic clown tropes, turning seemingly innocent gags into sinister and often grotesque moments. From the balloon animal hunting dog to the shadow puppet T-Rex that devours its victims, the film consistently surprises and delights with its inventive use of clown iconography. However, we question whether the horror-comedy balance always lands, with some scenes leaning more heavily into the absurd than the truly frightening.

A Trio of Heroes and the Trope of Incompetent Authority Figures

Throughout our conversation, we explore the dynamics between the film's central trio – Mike, Debbie, and Dave – and how their relationships evolve as they face the alien clown threat. We also examine the trope of young heroes pitted against incompetent authority figures, a common theme in 1950s-era B-movies that Killer Klowns from Outer Space both embraces and satirizes.

Other topics we cover include:

  • The memorable performances of the supporting cast, particularly Royal Dano as Farmer Gene Green and John Vernon as the skeptical police officer
  • The film's vibrant color palette and the effectiveness of the practical effects
  • The Chiodo Brothers' continued work in the industry, including their involvement in Team America: World Police and Marcel the Shell with Shoes On

Why Killer Klowns from Outer Space Endures as a Cult Classic

Despite its status as a one-and-done feature for director Stephen Chiodo, Killer Klowns from Outer Space has endured as a beloved cult classic. Its unique blend of horror and comedy, combined with the Chiodo Brothers' imaginative creature designs, has helped it stand the test of time. While it has some soapy acting and feels of its era, we ultimately find Killer Klowns from Outer Space to be a delightful and entertaining entry in the realm of 1980s horror-comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1988, 1980s, Stephen Chiodo, One-and-Done No Andy Nelson Pete Wright The Way of the Dragon 14 14 6 6 The Way of the Dragon full a53a2b8c-a17d-4e99-97ce-776d70df0d96 https://share.transistor.fm/s/511b3b03 “In this world of guns and knives, wherever Tang Lung may go to, he will always travel on his own.”
Bruce Lee's One-and-Done Showcase of Martial Arts Mastery

In 1972, Bruce Lee was already a rising star in the martial arts film world, having starred in a handful of successful films. However, he had yet to have the opportunity to fully showcase his unparalleled fighting skills on his own terms. That all changed with The Way of the Dragon, a film that allowed Lee to demonstrate his incredible martial arts prowess while also taking on the roles of writer, director, and producer. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about The Way of the Dragon.

Exploring the Comedic Side of Kung Fu and the Legendary Bruce Lee

In our discussion, we delve into the humor infused throughout The Way of the Dragon, from the situational comedy to Bruce Lee's character-driven gags. While the film's comedic elements may not land for everyone, they provide an intriguing glimpse into the lighter side of the kung fu genre. We also examine Bruce Lee's importance to the world of martial arts cinema and how his unique style and charisma helped popularize the genre on a global scale.

The Way of the Dragon may not be a perfect film, but it stands as a testament to Bruce Lee's immense talent and enduring legacy. His only directorial effort provides a platform for him to showcase his unrivaled martial arts skills and offers a fascinating glimpse into what could have been had he not tragically passed away at a young age. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “In this world of guns and knives, wherever Tang Lung may go to, he will always travel on his own.”
Bruce Lee's One-and-Done Showcase of Martial Arts Mastery

In 1972, Bruce Lee was already a rising star in the martial arts film world, having starred in a handful of successful films. However, he had yet to have the opportunity to fully showcase his unparalleled fighting skills on his own terms. That all changed with The Way of the Dragon, a film that allowed Lee to demonstrate his incredible martial arts prowess while also taking on the roles of writer, director, and producer. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about The Way of the Dragon.

Exploring the Comedic Side of Kung Fu and the Legendary Bruce Lee

In our discussion, we delve into the humor infused throughout The Way of the Dragon, from the situational comedy to Bruce Lee's character-driven gags. While the film's comedic elements may not land for everyone, they provide an intriguing glimpse into the lighter side of the kung fu genre. We also examine Bruce Lee's importance to the world of martial arts cinema and how his unique style and charisma helped popularize the genre on a global scale.

The Way of the Dragon may not be a perfect film, but it stands as a testament to Bruce Lee's immense talent and enduring legacy. His only directorial effort provides a platform for him to showcase his unrivaled martial arts skills and offers a fascinating glimpse into what could have been had he not tragically passed away at a young age. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 05 Sep 2024 03:00:00 -0700 TruStory FM TruStory FM 4053 “In this world of guns and knives, wherever Tang Lung may go to, he will always travel on his own.”
Bruce Lee's One-and-Done Showcase of Martial Arts Mastery

In 1972, Bruce Lee was already a rising star in the martial arts film world, having starred in a handful of successful films. However, he had yet to have the opportunity to fully showcase his unparalleled fighting skills on his own terms. That all changed with The Way of the Dragon, a film that allowed Lee to demonstrate his incredible martial arts prowess while also taking on the roles of writer, director, and producer. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about The Way of the Dragon.

Exploring the Comedic Side of Kung Fu and the Legendary Bruce Lee

In our discussion, we delve into the humor infused throughout The Way of the Dragon, from the situational comedy to Bruce Lee's character-driven gags. While the film's comedic elements may not land for everyone, they provide an intriguing glimpse into the lighter side of the kung fu genre. We also examine Bruce Lee's importance to the world of martial arts cinema and how his unique style and charisma helped popularize the genre on a global scale.

The Way of the Dragon may not be a perfect film, but it stands as a testament to Bruce Lee's immense talent and enduring legacy. His only directorial effort provides a platform for him to showcase his unrivaled martial arts skills and offers a fascinating glimpse into what could have been had he not tragically passed away at a young age. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1972, 1970s, Bruce Lee, One-and-Done No Andy Nelson Pete Wright The Little Shop of Horrors • The Next Reel • Member Bonus 14 14 7 7 The Little Shop of Horrors • The Next Reel • Member Bonus full 61f21a32-24dc-4a1d-aa70-87711bde8e12 https://share.transistor.fm/s/3056c441 “You didn't mean it. You never mean it. You didn't mean it the time when you put up the bouquet with the 'get well' card in the funeral parlor, and sent the black lilies to the old lady in the hospital, you didn't mean it.”
Roger Corman's 38th Film in 5 Years

The year was 1960. The American movie landscape was dominated by Westerns, sword-and-sandal epics, and Rock and Roll musicals. But in the underbelly of Hollywood, a different kind of movie was brewing. This was the era of exploitation cinema, and Roger Corman was its undisputed king. With a knack for spotting talent and squeezing every penny out of a budget, Corman churned out low-budget genre films at an astonishing rate. The Little Shop of Horrors was one of them. Join us – Pete Wright and Andy Nelson – as we kick off our Member Bonus Roger Corman series with a conversation about his 1960 film The Little Shop of Horrors.

Don't Feed the Jokes

In this episode, we dig into the fascinating backstory of how The Little Shop of Horrors came to be, a film shot in just two days on a set borrowed from another Corman production, A Bucket of Blood. We marvel at Corman's legendary efficiency and his ability to create entertaining films on a shoestring budget. We also discuss the film's unique blend of horror and comedy, noting how the comedic elements ultimately overshadow the horror, making for a surprisingly funny viewing experience. We analyze the film's sharp, witty dialogue, packed with puns, wordplay, and topical references that would have resonated with audiences in 1960.

Other Buds to Snip From This Conversation

  • Jack Nicholson's small but memorable role
  • The film's connection to the later stage musical and film adaptation
  • The somewhat effective practical effects used to bring Audrey Jr. to life
  • The film's lasting legacy as a cult classic
  • The differences between the original ending and the ending of the musical

The Little Shop of Horrors is a fascinating time capsule of early 1960s filmmaking and a testament to Roger Corman's ingenuity and talent. It's a fun, fast-paced, and surprisingly funny film that holds up remarkably well today. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> “You didn't mean it. You never mean it. You didn't mean it the time when you put up the bouquet with the 'get well' card in the funeral parlor, and sent the black lilies to the old lady in the hospital, you didn't mean it.”
Roger Corman's 38th Film in 5 Years

The year was 1960. The American movie landscape was dominated by Westerns, sword-and-sandal epics, and Rock and Roll musicals. But in the underbelly of Hollywood, a different kind of movie was brewing. This was the era of exploitation cinema, and Roger Corman was its undisputed king. With a knack for spotting talent and squeezing every penny out of a budget, Corman churned out low-budget genre films at an astonishing rate. The Little Shop of Horrors was one of them. Join us – Pete Wright and Andy Nelson – as we kick off our Member Bonus Roger Corman series with a conversation about his 1960 film The Little Shop of Horrors.

Don't Feed the Jokes

In this episode, we dig into the fascinating backstory of how The Little Shop of Horrors came to be, a film shot in just two days on a set borrowed from another Corman production, A Bucket of Blood. We marvel at Corman's legendary efficiency and his ability to create entertaining films on a shoestring budget. We also discuss the film's unique blend of horror and comedy, noting how the comedic elements ultimately overshadow the horror, making for a surprisingly funny viewing experience. We analyze the film's sharp, witty dialogue, packed with puns, wordplay, and topical references that would have resonated with audiences in 1960.

Other Buds to Snip From This Conversation

  • Jack Nicholson's small but memorable role
  • The film's connection to the later stage musical and film adaptation
  • The somewhat effective practical effects used to bring Audrey Jr. to life
  • The film's lasting legacy as a cult classic
  • The differences between the original ending and the ending of the musical

The Little Shop of Horrors is a fascinating time capsule of early 1960s filmmaking and a testament to Roger Corman's ingenuity and talent. It's a fun, fast-paced, and surprisingly funny film that holds up remarkably well today. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> Sat, 31 Aug 2024 03:00:00 -0700 TruStory FM TruStory FM 691 “You didn't mean it. You never mean it. You didn't mean it the time when you put up the bouquet with the 'get well' card in the funeral parlor, and sent the black lilies to the old lady in the hospital, you didn't mean it.”
Roger Corman's 38th Film in 5 Years

The year was 1960. The American movie landscape was dominated by Westerns, sword-and-sandal epics, and Rock and Roll musicals. But in the underbelly of Hollywood, a different kind of movie was brewing. This was the era of exploitation cinema, and Roger Corman was its undisputed king. With a knack for spotting talent and squeezing every penny out of a budget, Corman churned out low-budget genre films at an astonishing rate. The Little Shop of Horrors was one of them. Join us – Pete Wright and Andy Nelson – as we kick off our Member Bonus Roger Corman series with a conversation about his 1960 film The Little Shop of Horrors.

Don't Feed the Jokes

In this episode, we dig into the fascinating backstory of how The Little Shop of Horrors came to be, a film shot in just two days on a set borrowed from another Corman production, A Bucket of Blood. We marvel at Corman's legendary efficiency and his ability to create entertaining films on a shoestring budget. We also discuss the film's unique blend of horror and comedy, noting how the comedic elements ultimately overshadow the horror, making for a surprisingly funny viewing experience. We analyze the film's sharp, witty dialogue, packed with puns, wordplay, and topical references that would have resonated with audiences in 1960.

Other Buds to Snip From This Conversation

  • Jack Nicholson's small but memorable role
  • The film's connection to the later stage musical and film adaptation
  • The somewhat effective practical effects used to bring Audrey Jr. to life
  • The film's lasting legacy as a cult classic
  • The differences between the original ending and the ending of the musical

The Little Shop of Horrors is a fascinating time capsule of early 1960s filmmaking and a testament to Roger Corman's ingenuity and talent. It's a fun, fast-paced, and surprisingly funny film that holds up remarkably well today. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> 1960, 1960s, Member Bonus, Roger Corman No Andy Nelson Pete Wright Johnny Got His Gun • The Next Reel 14 14 5 5 Johnny Got His Gun • The Next Reel full 038e3840-a473-410c-9432-3680c0795b0f https://share.transistor.fm/s/a37024d9 “How can you tell what’s a dream or what’s real when you can’t even tell when you’re awake or when you’re asleep?”
Dalton Trumbo's Controversial Anti-War Classic

In 1971, blacklisted screenwriter Dalton Trumbo adapted his own 1939 anti-war novel Johnny Got His Gun for the big screen. The film marked Trumbo's directorial debut and only feature film as director. Set during World War I, the story follows a young American soldier who becomes a quadruple amputee after being hit by an artillery shell. Trumbo's powerful critique of war and its devastating effects on soldiers resonated strongly in the Vietnam War era. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about Johnny Got His Gun.

Locked-In Horror: A Haunting Tale of War's Casualties

We dive deep into the film's harrowing portrayal of Joe Bonham, played by Timothy Bottoms, as he struggles with his horrific injuries and loss of autonomy. The movie's exploration of disability rights and the dehumanization of wounded veterans sparks a thoughtful discussion. We examine how Trumbo's adaptation differs from his novel, particularly in its use of flashbacks and dream sequences to break up the claustrophobic hospital scenes. While we appreciate the film's powerful anti-war message, we debate the effectiveness of some of its more surreal elements.

Other points of discussion include:

• Timothy Bottoms' compelling performance as Joe Bonham
• The impact of Jason Robards as Joe's father
• Donald Sutherland's portrayal of Christ in dream sequences
• The film's bleak ending and its emotional impact
• Comparisons to other "locked-in" films like The Diving Bell and the Butterfly
• Trumbo's transition from novelist to filmmaker

A Thought-Provoking Journey Through War's Aftermath

Johnny Got His Gun remains a powerful and disturbing examination of war's human cost. While we found some aspects of the film more effective than others, we agree that it's an important work that continues to resonate decades after its release. Its unflinching look at the physical and psychological toll of combat makes it a challenging but worthwhile viewing experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “How can you tell what’s a dream or what’s real when you can’t even tell when you’re awake or when you’re asleep?”
Dalton Trumbo's Controversial Anti-War Classic

In 1971, blacklisted screenwriter Dalton Trumbo adapted his own 1939 anti-war novel Johnny Got His Gun for the big screen. The film marked Trumbo's directorial debut and only feature film as director. Set during World War I, the story follows a young American soldier who becomes a quadruple amputee after being hit by an artillery shell. Trumbo's powerful critique of war and its devastating effects on soldiers resonated strongly in the Vietnam War era. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about Johnny Got His Gun.

Locked-In Horror: A Haunting Tale of War's Casualties

We dive deep into the film's harrowing portrayal of Joe Bonham, played by Timothy Bottoms, as he struggles with his horrific injuries and loss of autonomy. The movie's exploration of disability rights and the dehumanization of wounded veterans sparks a thoughtful discussion. We examine how Trumbo's adaptation differs from his novel, particularly in its use of flashbacks and dream sequences to break up the claustrophobic hospital scenes. While we appreciate the film's powerful anti-war message, we debate the effectiveness of some of its more surreal elements.

Other points of discussion include:

• Timothy Bottoms' compelling performance as Joe Bonham
• The impact of Jason Robards as Joe's father
• Donald Sutherland's portrayal of Christ in dream sequences
• The film's bleak ending and its emotional impact
• Comparisons to other "locked-in" films like The Diving Bell and the Butterfly
• Trumbo's transition from novelist to filmmaker

A Thought-Provoking Journey Through War's Aftermath

Johnny Got His Gun remains a powerful and disturbing examination of war's human cost. While we found some aspects of the film more effective than others, we agree that it's an important work that continues to resonate decades after its release. Its unflinching look at the physical and psychological toll of combat makes it a challenging but worthwhile viewing experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 29 Aug 2024 03:00:00 -0700 TruStory FM TruStory FM 3694 “How can you tell what’s a dream or what’s real when you can’t even tell when you’re awake or when you’re asleep?”
Dalton Trumbo's Controversial Anti-War Classic

In 1971, blacklisted screenwriter Dalton Trumbo adapted his own 1939 anti-war novel Johnny Got His Gun for the big screen. The film marked Trumbo's directorial debut and only feature film as director. Set during World War I, the story follows a young American soldier who becomes a quadruple amputee after being hit by an artillery shell. Trumbo's powerful critique of war and its devastating effects on soldiers resonated strongly in the Vietnam War era. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about Johnny Got His Gun.

Locked-In Horror: A Haunting Tale of War's Casualties

We dive deep into the film's harrowing portrayal of Joe Bonham, played by Timothy Bottoms, as he struggles with his horrific injuries and loss of autonomy. The movie's exploration of disability rights and the dehumanization of wounded veterans sparks a thoughtful discussion. We examine how Trumbo's adaptation differs from his novel, particularly in its use of flashbacks and dream sequences to break up the claustrophobic hospital scenes. While we appreciate the film's powerful anti-war message, we debate the effectiveness of some of its more surreal elements.

Other points of discussion include:

• Timothy Bottoms' compelling performance as Joe Bonham
• The impact of Jason Robards as Joe's father
• Donald Sutherland's portrayal of Christ in dream sequences
• The film's bleak ending and its emotional impact
• Comparisons to other "locked-in" films like The Diving Bell and the Butterfly
• Trumbo's transition from novelist to filmmaker

A Thought-Provoking Journey Through War's Aftermath

Johnny Got His Gun remains a powerful and disturbing examination of war's human cost. While we found some aspects of the film more effective than others, we agree that it's an important work that continues to resonate decades after its release. Its unflinching look at the physical and psychological toll of combat makes it a challenging but worthwhile viewing experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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]]> 1971, 1970s, Dalton Trumbo, One-and-Done No Andy Nelson Pete Wright Wanda • The Next Reel 14 14 4 4 Wanda • The Next Reel full 95210212-eaa0-4323-bdf4-d0d855da01e8 https://share.transistor.fm/s/d25b4eca “I don’t have anything. Never did have anything. Never will have anything.”
The Tale of Barbara Loden's Unsung Masterpiece

In the late 1960s, actress Barbara Loden came across a newspaper article about a woman on trial for bank robbery who thanked the judge for her sentence. Perplexed by what could drive a woman to such a point, Loden crafted a story that would become her sole feature film, Wanda. Despite being married to acclaimed director Elia Kazan, Loden struggled to get the film made, eventually scraping together a meager budget and shooting on 16mm. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about Wanda.

A Portrait of Aimlessness and Apathy in Rural America

On the surface, Wanda may seem like a bleak and meandering character study, but it's precisely those qualities that make it such a fascinating film. We dive into Loden's raw, cinema verité-style approach to storytelling, which eschews traditional Hollywood structure in favor of a more naturalistic portrayal of its titular character's directionless existence. From her passive acceptance of a divorce that leaves her children in the care of their father to her listless drift into a life of crime with a small-time thief, Wanda's journey is one of quiet desperation and longing for purpose.

Throughout our discussion, we grapple with the film's deliberate pacing, sparse cinematography, and lack of a traditional character arc. While Pete finds the film's unrelenting bleakness and Wanda's apparent lack of agency challenging, Andy argues that the film's power lies in its unflinching portrayal of a marginalized woman's experience.

Wanda may not be an easy watch, but it remains a powerful and uncompromising portrait of a woman adrift in a world that offers her little in the way of hope or purpose. Barbara Loden's singular vision and commitment to telling an untold story make this a film that demands to be seen and discussed. Despite our differing reactions to the film, we both agree that Wanda is a work of undeniable importance and a testament to Loden's talent as a filmmaker. 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


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]]> “I don’t have anything. Never did have anything. Never will have anything.”
The Tale of Barbara Loden's Unsung Masterpiece

In the late 1960s, actress Barbara Loden came across a newspaper article about a woman on trial for bank robbery who thanked the judge for her sentence. Perplexed by what could drive a woman to such a point, Loden crafted a story that would become her sole feature film, Wanda. Despite being married to acclaimed director Elia Kazan, Loden struggled to get the film made, eventually scraping together a meager budget and shooting on 16mm. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about Wanda.

A Portrait of Aimlessness and Apathy in Rural America

On the surface, Wanda may seem like a bleak and meandering character study, but it's precisely those qualities that make it such a fascinating film. We dive into Loden's raw, cinema verité-style approach to storytelling, which eschews traditional Hollywood structure in favor of a more naturalistic portrayal of its titular character's directionless existence. From her passive acceptance of a divorce that leaves her children in the care of their father to her listless drift into a life of crime with a small-time thief, Wanda's journey is one of quiet desperation and longing for purpose.

Throughout our discussion, we grapple with the film's deliberate pacing, sparse cinematography, and lack of a traditional character arc. While Pete finds the film's unrelenting bleakness and Wanda's apparent lack of agency challenging, Andy argues that the film's power lies in its unflinching portrayal of a marginalized woman's experience.

Wanda may not be an easy watch, but it remains a powerful and uncompromising portrait of a woman adrift in a world that offers her little in the way of hope or purpose. Barbara Loden's singular vision and commitment to telling an untold story make this a film that demands to be seen and discussed. Despite our differing reactions to the film, we both agree that Wanda is a work of undeniable importance and a testament to Loden's talent as a filmmaker. 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


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]]> Thu, 22 Aug 2024 03:00:00 -0700 TruStory FM TruStory FM 3199 “I don’t have anything. Never did have anything. Never will have anything.”
The Tale of Barbara Loden's Unsung Masterpiece

In the late 1960s, actress Barbara Loden came across a newspaper article about a woman on trial for bank robbery who thanked the judge for her sentence. Perplexed by what could drive a woman to such a point, Loden crafted a story that would become her sole feature film, Wanda. Despite being married to acclaimed director Elia Kazan, Loden struggled to get the film made, eventually scraping together a meager budget and shooting on 16mm. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about Wanda.

A Portrait of Aimlessness and Apathy in Rural America

On the surface, Wanda may seem like a bleak and meandering character study, but it's precisely those qualities that make it such a fascinating film. We dive into Loden's raw, cinema verité-style approach to storytelling, which eschews traditional Hollywood structure in favor of a more naturalistic portrayal of its titular character's directionless existence. From her passive acceptance of a divorce that leaves her children in the care of their father to her listless drift into a life of crime with a small-time thief, Wanda's journey is one of quiet desperation and longing for purpose.

Throughout our discussion, we grapple with the film's deliberate pacing, sparse cinematography, and lack of a traditional character arc. While Pete finds the film's unrelenting bleakness and Wanda's apparent lack of agency challenging, Andy argues that the film's power lies in its unflinching portrayal of a marginalized woman's experience.

Wanda may not be an easy watch, but it remains a powerful and uncompromising portrait of a woman adrift in a world that offers her little in the way of hope or purpose. Barbara Loden's singular vision and commitment to telling an untold story make this a film that demands to be seen and discussed. Despite our differing reactions to the film, we both agree that Wanda is a work of undeniable importance and a testament to Loden's talent as a filmmaker. 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


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]]> 1970, 1970s, Barbara Loden, One-and-Done No Andy Nelson Pete Wright The Honeymoon Killers • The Next Reel 14 14 3 3 The Honeymoon Killers • The Next Reel full 90ffe38b-5a50-49ea-bd39-dcda1f119445 https://share.transistor.fm/s/edf83b62 “Now that you know everything about me, you still love me?”
A Twisted Love Story and a Director's Only Film

The Honeymoon Killers, released in 1970, is a crime drama based on the real-life story of Raymond Fernandez and Martha Beck, the infamous "Lonely Hearts Killers" who murdered as many as 20 women in the 1940s. The film was originally set to be directed by a young Martin Scorsese, but after a start too slow for the budget, the project was handed over to the producer’s friend and roommate Leonard Kastle, a composer and opera director with no prior filmmaking experience. Kastle had written the screenplay and so was asked to also direct the film, which would be his only foray into the world of cinema. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about The Honeymoon Killers.

Discussion Points

  • The film's low-budget, black-and-white aesthetic and its impact on the overall atmosphere
  • The sequences directed by Martin Scorsese and how they fit into the larger narrative
  • The real-life story of the "Lonely Hearts Killers" and how the film adapts and fictionalizes certain elements
  • The film's controversial and provocative marketing campaign, including its sexually charged poster
  • Oliver Wood's striking cinematography in his first solo job, particularly the powerful closeups that heighten the film's emotional intensity

A Singular Vision Worth Rediscovering

Despite its grim subject matter and challenging characters, The Honeymoon Killers remains a fascinating and singular work of cinema, one that showcases Leonard Kastle's unique vision, the fearless performances of its lead actors, and Oliver Wood's evocative cinematography. It's a shame that Kastle never directed another film, as his debut suggests a talent for crafting complex, emotionally charged stories that push the boundaries of conventional Hollywood storytelling. 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


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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “Now that you know everything about me, you still love me?”
A Twisted Love Story and a Director's Only Film

The Honeymoon Killers, released in 1970, is a crime drama based on the real-life story of Raymond Fernandez and Martha Beck, the infamous "Lonely Hearts Killers" who murdered as many as 20 women in the 1940s. The film was originally set to be directed by a young Martin Scorsese, but after a start too slow for the budget, the project was handed over to the producer’s friend and roommate Leonard Kastle, a composer and opera director with no prior filmmaking experience. Kastle had written the screenplay and so was asked to also direct the film, which would be his only foray into the world of cinema. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about The Honeymoon Killers.

Discussion Points

  • The film's low-budget, black-and-white aesthetic and its impact on the overall atmosphere
  • The sequences directed by Martin Scorsese and how they fit into the larger narrative
  • The real-life story of the "Lonely Hearts Killers" and how the film adapts and fictionalizes certain elements
  • The film's controversial and provocative marketing campaign, including its sexually charged poster
  • Oliver Wood's striking cinematography in his first solo job, particularly the powerful closeups that heighten the film's emotional intensity

A Singular Vision Worth Rediscovering

Despite its grim subject matter and challenging characters, The Honeymoon Killers remains a fascinating and singular work of cinema, one that showcases Leonard Kastle's unique vision, the fearless performances of its lead actors, and Oliver Wood's evocative cinematography. It's a shame that Kastle never directed another film, as his debut suggests a talent for crafting complex, emotionally charged stories that push the boundaries of conventional Hollywood storytelling. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 15 Aug 2024 03:00:00 -0700 TruStory FM TruStory FM 2995 “Now that you know everything about me, you still love me?”
A Twisted Love Story and a Director's Only Film

The Honeymoon Killers, released in 1970, is a crime drama based on the real-life story of Raymond Fernandez and Martha Beck, the infamous "Lonely Hearts Killers" who murdered as many as 20 women in the 1940s. The film was originally set to be directed by a young Martin Scorsese, but after a start too slow for the budget, the project was handed over to the producer’s friend and roommate Leonard Kastle, a composer and opera director with no prior filmmaking experience. Kastle had written the screenplay and so was asked to also direct the film, which would be his only foray into the world of cinema. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about The Honeymoon Killers.

Discussion Points

  • The film's low-budget, black-and-white aesthetic and its impact on the overall atmosphere
  • The sequences directed by Martin Scorsese and how they fit into the larger narrative
  • The real-life story of the "Lonely Hearts Killers" and how the film adapts and fictionalizes certain elements
  • The film's controversial and provocative marketing campaign, including its sexually charged poster
  • Oliver Wood's striking cinematography in his first solo job, particularly the powerful closeups that heighten the film's emotional intensity

A Singular Vision Worth Rediscovering

Despite its grim subject matter and challenging characters, The Honeymoon Killers remains a fascinating and singular work of cinema, one that showcases Leonard Kastle's unique vision, the fearless performances of its lead actors, and Oliver Wood's evocative cinematography. It's a shame that Kastle never directed another film, as his debut suggests a talent for crafting complex, emotionally charged stories that push the boundaries of conventional Hollywood storytelling. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1970, 1970s, Leonard Kastle, One-and-Done No Andy Nelson Pete Wright Carnival of Souls • The Next Reel 14 14 2 2 Carnival of Souls • The Next Reel full ef156d46-4d41-462f-a4a5-4f81a89e2905 https://share.transistor.fm/s/d80d0340 “Why can’t anybody hear me?!”
The Fascinating Origins of a Classic Horror Film

In the early 1960s, director Herk Harvey stumbled upon an abandoned amusement park in Salt Lake City, sparking the idea for what would become the classic horror film Carnival of Souls. With a shoestring budget and a cast of mostly unknown actors, Harvey set out to capture the haunting atmosphere of that desolate park. Join us – Pete Wright and Andy Nelson – as we kick off the One-and-Done series with a conversation about Harvey's 1962 film Carnival of Souls.

Exploring the Liminal Space Between Life and Death

Our discussion of Carnival of Souls delves into the film's unique storytelling approach and its exploration of the space between life and death. We examine how the protagonist, Mary Henry (played by Candace Hilligoss), navigates this liminal space after surviving a tragic car accident, and how her experiences blur the lines between reality and the supernatural.

Throughout our conversation, we touch on:

  • The effective use (overuse?) of organ music and striking visual imagery
  • The ambiguity of certain scenes and their room for interpretation
  • The film's influence on later horror movies

A Timeless Classic That Continues to Captivate

Despite its low budget and relatively unknown cast, Carnival of Souls has endured as a classic of the horror genre. Its haunting imagery, ambiguous storytelling, and exploration of existential themes continue to captivate audiences decades after its initial release. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Why can’t anybody hear me?!”
The Fascinating Origins of a Classic Horror Film

In the early 1960s, director Herk Harvey stumbled upon an abandoned amusement park in Salt Lake City, sparking the idea for what would become the classic horror film Carnival of Souls. With a shoestring budget and a cast of mostly unknown actors, Harvey set out to capture the haunting atmosphere of that desolate park. Join us – Pete Wright and Andy Nelson – as we kick off the One-and-Done series with a conversation about Harvey's 1962 film Carnival of Souls.

Exploring the Liminal Space Between Life and Death

Our discussion of Carnival of Souls delves into the film's unique storytelling approach and its exploration of the space between life and death. We examine how the protagonist, Mary Henry (played by Candace Hilligoss), navigates this liminal space after surviving a tragic car accident, and how her experiences blur the lines between reality and the supernatural.

Throughout our conversation, we touch on:

  • The effective use (overuse?) of organ music and striking visual imagery
  • The ambiguity of certain scenes and their room for interpretation
  • The film's influence on later horror movies

A Timeless Classic That Continues to Captivate

Despite its low budget and relatively unknown cast, Carnival of Souls has endured as a classic of the horror genre. Its haunting imagery, ambiguous storytelling, and exploration of existential themes continue to captivate audiences decades after its initial release. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 08 Aug 2024 03:00:00 -0700 TruStory FM TruStory FM 3210 “Why can’t anybody hear me?!”
The Fascinating Origins of a Classic Horror Film

In the early 1960s, director Herk Harvey stumbled upon an abandoned amusement park in Salt Lake City, sparking the idea for what would become the classic horror film Carnival of Souls. With a shoestring budget and a cast of mostly unknown actors, Harvey set out to capture the haunting atmosphere of that desolate park. Join us – Pete Wright and Andy Nelson – as we kick off the One-and-Done series with a conversation about Harvey's 1962 film Carnival of Souls.

Exploring the Liminal Space Between Life and Death

Our discussion of Carnival of Souls delves into the film's unique storytelling approach and its exploration of the space between life and death. We examine how the protagonist, Mary Henry (played by Candace Hilligoss), navigates this liminal space after surviving a tragic car accident, and how her experiences blur the lines between reality and the supernatural.

Throughout our conversation, we touch on:

  • The effective use (overuse?) of organ music and striking visual imagery
  • The ambiguity of certain scenes and their room for interpretation
  • The film's influence on later horror movies

A Timeless Classic That Continues to Captivate

Despite its low budget and relatively unknown cast, Carnival of Souls has endured as a classic of the horror genre. Its haunting imagery, ambiguous storytelling, and exploration of existential themes continue to captivate audiences decades after its initial release. 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


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]]> 1962, 1960s, Herk Harvey, One-and-Done No Andy Nelson Pete Wright Indiana Jones and the Dial of Destiny • The Next Reel 14 14 1 1 Indiana Jones and the Dial of Destiny • The Next Reel full c9972ff3-e1ff-43cb-9d1c-4694c2b04b97 https://share.transistor.fm/s/dc3d4b9e “I don't believe in magic, Wombat, but a few times in my life, I've seen things. Things I can't explain. And I've come to believe it's not so much what you believe. It's how hard you believe it.”
The Final Chapter(?) in the Indiana Jones Saga

After a 15-year hiatus, the legendary archaeologist Indiana Jones returns for one last adventure in Indiana Jones and the Dial of Destiny. Directed by James Mangold, this fifth installment aims to capture the spirit of the original trilogy while bringing the series to a satisfying conclusion. Join us – Pete Wright and Andy Nelson – as we wrap up (again) the Indiana Jones series with a conversation about Indiana Jones and the Dial of Destiny.

Dialing Up the Nostalgia or Stuck in the Past?

In our discussion, we explore the various aspects of Indiana Jones and the Dial of Destiny that worked well and those that may have fallen short. We delve into the film's attempts to recapture the magic of the original trilogy and debate whether the callbacks enhance the experience or make the film feel repetitive. Throughout the episode, we grapple with the question of whether this movie manages to justify its existence as a fitting conclusion to the franchise or if it ultimately feels unnecessary.

A Polarizing Send-Off?

As we conclude our discussion, it becomes clear that this final installment has sparked a range of reactions among fans and critics alike. Regardless of one's personal opinion, it's evident that the film has generated a lively debate about the legacy of Indiana Jones and the challenges of crafting a fitting end to a beloved 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “I don't believe in magic, Wombat, but a few times in my life, I've seen things. Things I can't explain. And I've come to believe it's not so much what you believe. It's how hard you believe it.”
The Final Chapter(?) in the Indiana Jones Saga

After a 15-year hiatus, the legendary archaeologist Indiana Jones returns for one last adventure in Indiana Jones and the Dial of Destiny. Directed by James Mangold, this fifth installment aims to capture the spirit of the original trilogy while bringing the series to a satisfying conclusion. Join us – Pete Wright and Andy Nelson – as we wrap up (again) the Indiana Jones series with a conversation about Indiana Jones and the Dial of Destiny.

Dialing Up the Nostalgia or Stuck in the Past?

In our discussion, we explore the various aspects of Indiana Jones and the Dial of Destiny that worked well and those that may have fallen short. We delve into the film's attempts to recapture the magic of the original trilogy and debate whether the callbacks enhance the experience or make the film feel repetitive. Throughout the episode, we grapple with the question of whether this movie manages to justify its existence as a fitting conclusion to the franchise or if it ultimately feels unnecessary.

A Polarizing Send-Off?

As we conclude our discussion, it becomes clear that this final installment has sparked a range of reactions among fans and critics alike. Regardless of one's personal opinion, it's evident that the film has generated a lively debate about the legacy of Indiana Jones and the challenges of crafting a fitting end to a beloved 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 01 Aug 2024 03:00:00 -0700 TruStory FM TruStory FM 3868 “I don't believe in magic, Wombat, but a few times in my life, I've seen things. Things I can't explain. And I've come to believe it's not so much what you believe. It's how hard you believe it.”
The Final Chapter(?) in the Indiana Jones Saga

After a 15-year hiatus, the legendary archaeologist Indiana Jones returns for one last adventure in Indiana Jones and the Dial of Destiny. Directed by James Mangold, this fifth installment aims to capture the spirit of the original trilogy while bringing the series to a satisfying conclusion. Join us – Pete Wright and Andy Nelson – as we wrap up (again) the Indiana Jones series with a conversation about Indiana Jones and the Dial of Destiny.

Dialing Up the Nostalgia or Stuck in the Past?

In our discussion, we explore the various aspects of Indiana Jones and the Dial of Destiny that worked well and those that may have fallen short. We delve into the film's attempts to recapture the magic of the original trilogy and debate whether the callbacks enhance the experience or make the film feel repetitive. Throughout the episode, we grapple with the question of whether this movie manages to justify its existence as a fitting conclusion to the franchise or if it ultimately feels unnecessary.

A Polarizing Send-Off?

As we conclude our discussion, it becomes clear that this final installment has sparked a range of reactions among fans and critics alike. Regardless of one's personal opinion, it's evident that the film has generated a lively debate about the legacy of Indiana Jones and the challenges of crafting a fitting end to a beloved 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 2023, 2020s, James Mangold, Indiana Jones No Andy Nelson Pete Wright Unforgiven • The Next Reel • Member Bonus 13 13 60 60 Unforgiven • The Next Reel • Member Bonus full c2dcc459-98e5-4284-80cc-970a7dc775b8 https://share.transistor.fm/s/b4e7109e “It’s a helluva thing, killin’ a man.”
A Western Classic Revisited

Clint Eastwood's 1992 Western masterpiece, Unforgiven, was a critical and commercial success upon its release. The film, which Eastwood directed and starred in, was a revisionist take on the classic Western genre, exploring themes of violence, redemption, and the myth of the American West. With its complex characters and morally ambiguous storyline, Unforgiven challenged traditional Western tropes and helped revitalize the genre for a new generation of filmgoers. Join us – Pete Wright and Andy Nelson – as we conclude our member bonus series looking at the 1993 Academy Award Best Film Editing Nominees with Eastwood’s 1992 film Unforgiven.

Exploring the Depths of Unforgiven

We discuss how the film subverts traditional Western archetypes, presenting a more realistic and gritty portrayal of life on the frontier. We also explore the film's themes of violence and redemption, examining how Eastwood's character, William Munny, grapples with his past as a notorious outlaw and his desire to leave that life behind.

Throughout the discussion, we highlight several key aspects of Unforgiven that make it a standout entry in the Western genre. We praise Eastwood's direction and performance, as well as the supporting cast, which includes Gene Hackman, Morgan Freeman, and Richard Harris. We also touch on the film's cinematography, which captures the stark beauty of the American West while also conveying a sense of danger and unease.

Other Topics Covered

  • The film's commentary on the mythologizing of the American West
  • The moral ambiguity of the characters and their actions
  • The role of women in the Western genre
  • The film's place within Eastwood's larger body of work as a director and actor

A Western for the Ages

Ultimately, we conclude that Unforgiven is a masterful example of the Western genre and a film that continues to resonate with audiences over three decades after its release. Through its nuanced exploration of complex themes and its subversion of traditional Western tropes, Unforgiven stands as a testament to Eastwood's skill as a filmmaker and his enduring legacy in American cinema. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> “It’s a helluva thing, killin’ a man.”
A Western Classic Revisited

Clint Eastwood's 1992 Western masterpiece, Unforgiven, was a critical and commercial success upon its release. The film, which Eastwood directed and starred in, was a revisionist take on the classic Western genre, exploring themes of violence, redemption, and the myth of the American West. With its complex characters and morally ambiguous storyline, Unforgiven challenged traditional Western tropes and helped revitalize the genre for a new generation of filmgoers. Join us – Pete Wright and Andy Nelson – as we conclude our member bonus series looking at the 1993 Academy Award Best Film Editing Nominees with Eastwood’s 1992 film Unforgiven.

Exploring the Depths of Unforgiven

We discuss how the film subverts traditional Western archetypes, presenting a more realistic and gritty portrayal of life on the frontier. We also explore the film's themes of violence and redemption, examining how Eastwood's character, William Munny, grapples with his past as a notorious outlaw and his desire to leave that life behind.

Throughout the discussion, we highlight several key aspects of Unforgiven that make it a standout entry in the Western genre. We praise Eastwood's direction and performance, as well as the supporting cast, which includes Gene Hackman, Morgan Freeman, and Richard Harris. We also touch on the film's cinematography, which captures the stark beauty of the American West while also conveying a sense of danger and unease.

Other Topics Covered

  • The film's commentary on the mythologizing of the American West
  • The moral ambiguity of the characters and their actions
  • The role of women in the Western genre
  • The film's place within Eastwood's larger body of work as a director and actor

A Western for the Ages

Ultimately, we conclude that Unforgiven is a masterful example of the Western genre and a film that continues to resonate with audiences over three decades after its release. Through its nuanced exploration of complex themes and its subversion of traditional Western tropes, Unforgiven stands as a testament to Eastwood's skill as a filmmaker and his enduring legacy in American cinema. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> Wed, 31 Jul 2024 02:00:00 -0700 TruStory FM TruStory FM 660 “It’s a helluva thing, killin’ a man.”
A Western Classic Revisited

Clint Eastwood's 1992 Western masterpiece, Unforgiven, was a critical and commercial success upon its release. The film, which Eastwood directed and starred in, was a revisionist take on the classic Western genre, exploring themes of violence, redemption, and the myth of the American West. With its complex characters and morally ambiguous storyline, Unforgiven challenged traditional Western tropes and helped revitalize the genre for a new generation of filmgoers. Join us – Pete Wright and Andy Nelson – as we conclude our member bonus series looking at the 1993 Academy Award Best Film Editing Nominees with Eastwood’s 1992 film Unforgiven.

Exploring the Depths of Unforgiven

We discuss how the film subverts traditional Western archetypes, presenting a more realistic and gritty portrayal of life on the frontier. We also explore the film's themes of violence and redemption, examining how Eastwood's character, William Munny, grapples with his past as a notorious outlaw and his desire to leave that life behind.

Throughout the discussion, we highlight several key aspects of Unforgiven that make it a standout entry in the Western genre. We praise Eastwood's direction and performance, as well as the supporting cast, which includes Gene Hackman, Morgan Freeman, and Richard Harris. We also touch on the film's cinematography, which captures the stark beauty of the American West while also conveying a sense of danger and unease.

Other Topics Covered

  • The film's commentary on the mythologizing of the American West
  • The moral ambiguity of the characters and their actions
  • The role of women in the Western genre
  • The film's place within Eastwood's larger body of work as a director and actor

A Western for the Ages

Ultimately, we conclude that Unforgiven is a masterful example of the Western genre and a film that continues to resonate with audiences over three decades after its release. Through its nuanced exploration of complex themes and its subversion of traditional Western tropes, Unforgiven stands as a testament to Eastwood's skill as a filmmaker and his enduring legacy in American cinema. 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

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> 1992, 1990s, Clint Eastwood, 1993 Academy Awards Best Film Editing Nominees, member bonus No Andy Nelson Pete Wright The Player • The Next Reel • Member Bonus 13 13 59 59 The Player • The Next Reel • Member Bonus full f918653e-3606-4e0b-bd80-81b05555e91f https://share.transistor.fm/s/848a842d “Can we talk about something other than Hollywood for a change?”
Robert Altman's The Player is a satirical dark comedy that takes a sharp look at the inner workings of Hollywood and the movie industry. The film was nominated for Best Film Editing at the 1993 Academy Awards, competing against Basic Instinct, The Crying Game, A Few Good Men, and the winner Unforgiven. The Player marked Altman's return to the spotlight after a string of critical and commercial disappointments in the 1980s.

Join us – Pete Wright and Andy Nelson – as we continue the member bonus 1993 Academy Awards Best Film Editing Nominees series with a conversation about The Player.

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get member bonus content in extended episodes, access to members-only Discord channels, access to watch episodes live when we record and comment along with it, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

Film Sundries

]]> “Can we talk about something other than Hollywood for a change?”
Robert Altman's The Player is a satirical dark comedy that takes a sharp look at the inner workings of Hollywood and the movie industry. The film was nominated for Best Film Editing at the 1993 Academy Awards, competing against Basic Instinct, The Crying Game, A Few Good Men, and the winner Unforgiven. The Player marked Altman's return to the spotlight after a string of critical and commercial disappointments in the 1980s.

Join us – Pete Wright and Andy Nelson – as we continue the member bonus 1993 Academy Awards Best Film Editing Nominees series with a conversation about The Player.

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get member bonus content in extended episodes, access to members-only Discord channels, access to watch episodes live when we record and comment along with it, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

Film Sundries

]]> Sun, 30 Jun 2024 02:00:00 -0700 TruStory FM TruStory FM 597 “Can we talk about something other than Hollywood for a change?”
Robert Altman's The Player is a satirical dark comedy that takes a sharp look at the inner workings of Hollywood and the movie industry. The film was nominated for Best Film Editing at the 1993 Academy Awards, competing against Basic Instinct, The Crying Game, A Few Good Men, and the winner Unforgiven. The Player marked Altman's return to the spotlight after a string of critical and commercial disappointments in the 1980s.

Join us – Pete Wright and Andy Nelson – as we continue the member bonus 1993 Academy Awards Best Film Editing Nominees series with a conversation about The Player.

This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get member bonus content in extended episodes, access to members-only Discord channels, access to watch episodes live when we record and comment along with it, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

Film Sundries

]]> 1992, 1990s, Robert Altman, 1993 Academy Awards Best Film Editing Nominees, member bonus No Andy Nelson Pete Wright Everything Everywhere All at Once • The Next Reel 13 13 58 58 Everything Everywhere All at Once • The Next Reel full 86261307-e9bf-4dc5-b982-84800c396766 https://share.transistor.fm/s/63838a2f “We’re all useless alone. It’s a good thing you’re not alone.”
Everything Everywhere All at Once is a unique and ambitious film that defies genre conventions. Directed by the Daniels (Daniel Kwan and Daniel Scheinert), the film was born out of their desire to create something that would explore the multiverse concept in a fresh and exciting way. With an all-star cast led by Michelle Yeoh, the Daniels set out to craft a story that would not only entertain but also provoke thought and emotion. Join us – Pete Wright and Andy Nelson – as we continue the 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about Everything Everywhere All at Once.

A Mind-Bending Journey Through the Multiverse

In our discussion, we delve into the film's exploration of the multiverse concept and how it uses this premise to tell a deeply personal story about a mother-daughter relationship and a husband-wife relationship (and a daughter-father relationship). We examine how the Daniels masterfully weave together multiple genres, from science fiction to martial arts to comedy, creating a unique and engaging viewing experience. Additionally, we analyze how the film's inventive use of aspect ratios and visual effects enhances the narrative and immerses the audience in the various universes.

Other Topics Covered

  • The stellar performances by the cast, particularly Michelle Yeoh and Ke Huy Quan
  • The film's exploration of themes such as family, identity, and the choices we make
  • The Daniels' distinctive directorial style and how it elevates the material
  • The emotional resonance of the story and its ability to connect with audiences

Why Everything Everywhere All at Once is a Must-See Film

Everything Everywhere All at Once is a film that pushes the boundaries of storytelling and filmmaking. It is a testament to the Daniels' creativity and vision, as well as the incredible talent of the cast and crew. Despite its complex narrative and unconventional structure, the film remains accessible and emotionally engaging, thanks to its relatable characters and universal themes. We thoroughly enjoyed discussing this unique and thought-provoking film, and we highly recommend it to anyone looking for a fresh and exciting cinematic experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


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]]> “We’re all useless alone. It’s a good thing you’re not alone.”
Everything Everywhere All at Once is a unique and ambitious film that defies genre conventions. Directed by the Daniels (Daniel Kwan and Daniel Scheinert), the film was born out of their desire to create something that would explore the multiverse concept in a fresh and exciting way. With an all-star cast led by Michelle Yeoh, the Daniels set out to craft a story that would not only entertain but also provoke thought and emotion. Join us – Pete Wright and Andy Nelson – as we continue the 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about Everything Everywhere All at Once.

A Mind-Bending Journey Through the Multiverse

In our discussion, we delve into the film's exploration of the multiverse concept and how it uses this premise to tell a deeply personal story about a mother-daughter relationship and a husband-wife relationship (and a daughter-father relationship). We examine how the Daniels masterfully weave together multiple genres, from science fiction to martial arts to comedy, creating a unique and engaging viewing experience. Additionally, we analyze how the film's inventive use of aspect ratios and visual effects enhances the narrative and immerses the audience in the various universes.

Other Topics Covered

  • The stellar performances by the cast, particularly Michelle Yeoh and Ke Huy Quan
  • The film's exploration of themes such as family, identity, and the choices we make
  • The Daniels' distinctive directorial style and how it elevates the material
  • The emotional resonance of the story and its ability to connect with audiences

Why Everything Everywhere All at Once is a Must-See Film

Everything Everywhere All at Once is a film that pushes the boundaries of storytelling and filmmaking. It is a testament to the Daniels' creativity and vision, as well as the incredible talent of the cast and crew. Despite its complex narrative and unconventional structure, the film remains accessible and emotionally engaging, thanks to its relatable characters and universal themes. We thoroughly enjoyed discussing this unique and thought-provoking film, and we highly recommend it to anyone looking for a fresh and exciting cinematic experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 27 Jun 2024 03:00:00 -0700 TruStory FM TruStory FM 3084 “We’re all useless alone. It’s a good thing you’re not alone.”
Everything Everywhere All at Once is a unique and ambitious film that defies genre conventions. Directed by the Daniels (Daniel Kwan and Daniel Scheinert), the film was born out of their desire to create something that would explore the multiverse concept in a fresh and exciting way. With an all-star cast led by Michelle Yeoh, the Daniels set out to craft a story that would not only entertain but also provoke thought and emotion. Join us – Pete Wright and Andy Nelson – as we continue the 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about Everything Everywhere All at Once.

A Mind-Bending Journey Through the Multiverse

In our discussion, we delve into the film's exploration of the multiverse concept and how it uses this premise to tell a deeply personal story about a mother-daughter relationship and a husband-wife relationship (and a daughter-father relationship). We examine how the Daniels masterfully weave together multiple genres, from science fiction to martial arts to comedy, creating a unique and engaging viewing experience. Additionally, we analyze how the film's inventive use of aspect ratios and visual effects enhances the narrative and immerses the audience in the various universes.

Other Topics Covered

  • The stellar performances by the cast, particularly Michelle Yeoh and Ke Huy Quan
  • The film's exploration of themes such as family, identity, and the choices we make
  • The Daniels' distinctive directorial style and how it elevates the material
  • The emotional resonance of the story and its ability to connect with audiences

Why Everything Everywhere All at Once is a Must-See Film

Everything Everywhere All at Once is a film that pushes the boundaries of storytelling and filmmaking. It is a testament to the Daniels' creativity and vision, as well as the incredible talent of the cast and crew. Despite its complex narrative and unconventional structure, the film remains accessible and emotionally engaging, thanks to its relatable characters and universal themes. We thoroughly enjoyed discussing this unique and thought-provoking film, and we highly recommend it to anyone looking for a fresh and exciting cinematic experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 2022, 2020s, 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees, Daniel Kwan, Daniel Scheinert No Andy Nelson Pete Wright Top Gun: Maverick • The Next Reel 13 13 57 57 Top Gun: Maverick • The Next Reel full 58d6d66c-feba-4e62-93a6-62758eb138f4 https://share.transistor.fm/s/18dd42ea “It’s not the plane, sir. It’s the pilot.”
The Long Road to Top Gun: Maverick

The original Top Gun was a massive success in 1986, but it took over 30 years for a sequel to finally take flight. Development on Top Gun: Maverick began in 2010 when Paramount Pictures approached producer Jerry Bruckheimer and director Tony Scott about a sequel. Unfortunately, the project was put on hold after Scott's death in 2012. The studio eventually moved forward with the sequel in 2017, with Joseph Kosinski taking the helm and Tom Cruise reprising his iconic role as Pete "Maverick" Mitchell. Join us – Pete Wright and Andy Nelson – as we continue the 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about Top Gun: Maverick.

Feeling the Need for Speed in Top Gun: Maverick

In our discussion of Top Gun: Maverick, we dive into the film's thrilling action sequences and how they compare to the original. We also explore the movie's themes of legacy, aging, and the changing nature of warfare. Additionally, we examine how the sequel handles the absence of key characters from the first film and introduces new ones.

Other Discussion Points

  • The film's impressive practical effects and minimal use of CGI
  • Tom Cruise's commitment to the team actually flying
  • The emotional weight of Maverick's relationship with Rooster, Goose's son
  • Jennifer Connelly's strong performance as Penny Benjamin
  • The movie's nostalgic callbacks to the original Top Gun

Why Top Gun: Maverick Soars

Top Gun: Maverick is a rare sequel that manages to capture the spirit of the original while updating it for a new generation. The film's stunning aerial sequences, coupled with its exploration of complex themes and character relationships, make it a worthy addition to the Top Gun legacy. While the movie may lean heavily on nostalgia at times, it still manages to stand on its own as an entertaining and emotionally resonant blockbuster. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “It’s not the plane, sir. It’s the pilot.”
The Long Road to Top Gun: Maverick

The original Top Gun was a massive success in 1986, but it took over 30 years for a sequel to finally take flight. Development on Top Gun: Maverick began in 2010 when Paramount Pictures approached producer Jerry Bruckheimer and director Tony Scott about a sequel. Unfortunately, the project was put on hold after Scott's death in 2012. The studio eventually moved forward with the sequel in 2017, with Joseph Kosinski taking the helm and Tom Cruise reprising his iconic role as Pete "Maverick" Mitchell. Join us – Pete Wright and Andy Nelson – as we continue the 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about Top Gun: Maverick.

Feeling the Need for Speed in Top Gun: Maverick

In our discussion of Top Gun: Maverick, we dive into the film's thrilling action sequences and how they compare to the original. We also explore the movie's themes of legacy, aging, and the changing nature of warfare. Additionally, we examine how the sequel handles the absence of key characters from the first film and introduces new ones.

Other Discussion Points

  • The film's impressive practical effects and minimal use of CGI
  • Tom Cruise's commitment to the team actually flying
  • The emotional weight of Maverick's relationship with Rooster, Goose's son
  • Jennifer Connelly's strong performance as Penny Benjamin
  • The movie's nostalgic callbacks to the original Top Gun

Why Top Gun: Maverick Soars

Top Gun: Maverick is a rare sequel that manages to capture the spirit of the original while updating it for a new generation. The film's stunning aerial sequences, coupled with its exploration of complex themes and character relationships, make it a worthy addition to the Top Gun legacy. While the movie may lean heavily on nostalgia at times, it still manages to stand on its own as an entertaining and emotionally resonant blockbuster. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 20 Jun 2024 03:00:00 -0700 TruStory FM TruStory FM 4477 “It’s not the plane, sir. It’s the pilot.”
The Long Road to Top Gun: Maverick

The original Top Gun was a massive success in 1986, but it took over 30 years for a sequel to finally take flight. Development on Top Gun: Maverick began in 2010 when Paramount Pictures approached producer Jerry Bruckheimer and director Tony Scott about a sequel. Unfortunately, the project was put on hold after Scott's death in 2012. The studio eventually moved forward with the sequel in 2017, with Joseph Kosinski taking the helm and Tom Cruise reprising his iconic role as Pete "Maverick" Mitchell. Join us – Pete Wright and Andy Nelson – as we continue the 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about Top Gun: Maverick.

Feeling the Need for Speed in Top Gun: Maverick

In our discussion of Top Gun: Maverick, we dive into the film's thrilling action sequences and how they compare to the original. We also explore the movie's themes of legacy, aging, and the changing nature of warfare. Additionally, we examine how the sequel handles the absence of key characters from the first film and introduces new ones.

Other Discussion Points

  • The film's impressive practical effects and minimal use of CGI
  • Tom Cruise's commitment to the team actually flying
  • The emotional weight of Maverick's relationship with Rooster, Goose's son
  • Jennifer Connelly's strong performance as Penny Benjamin
  • The movie's nostalgic callbacks to the original Top Gun

Why Top Gun: Maverick Soars

Top Gun: Maverick is a rare sequel that manages to capture the spirit of the original while updating it for a new generation. The film's stunning aerial sequences, coupled with its exploration of complex themes and character relationships, make it a worthy addition to the Top Gun legacy. While the movie may lean heavily on nostalgia at times, it still manages to stand on its own as an entertaining and emotionally resonant blockbuster. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2022, 2020s, Joseph Kosinski, 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees No Andy Nelson Pete Wright Tár • The Next Reel 13 13 56 56 Tár • The Next Reel full 14534c26-ae6a-4e7a-95bf-8363a6fdbe56 https://share.transistor.fm/s/78bcce7f “You want to dance the masque, you must service the composer. You gotta sublimate yourself, your ego, and, yes, your identity. You must, in fact, stand in front of the public and God and obliterate yourself.”
A Cinematic Masterpiece from Director Todd Field

Director Todd Field may not be a prolific filmmaker, but his small body of work showcases his incredible talent and strong voice. After a 16-year hiatus, Field returns to the director's chair with Tár, a film that has been praised as a perfect piece of cinema and a masterful character study.

Join us – Pete Wright and Andy Nelson – as we continue the 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about Tár.

Conducting a Symphony of Power and Manipulation

In our discussion of Tár, we dive into the complex themes and character dynamics that make this film so compelling. We explore how the film positions Lydia Tár (Cate Blanchett) as an antagonist against youth perspectives on art versus the artist, and how her own ideology and manipulative behavior inevitably lead to her downfall.

We also delve into the gender dynamics at play in the film, with Tár using her power and position as a woman in a male-dominated field to manipulate and control those around her. Blanchett's performance is a standout, delivering a believable portrayal of a diabolical character that is rarely seen played by women in film.

Other topics covered in our conversation include:

  • The film's unorthodox opening credits and how they set the stage for the story
  • The signature scene of Tár's guest lecture at Juilliard and how it represents the film's central themes
  • The inevitability of Tár's behavior and how the film builds a case for her corruption by power
  • The importance of representation and understanding changing perspectives in the arts

Tár is a film that showcases the incredible talent of both its director and lead actress, delivering a powerful character study that explores themes of power, manipulation, and the corrupting influence of artistic genius. It's a film that is sure to spark discussion and leave a lasting impact on viewers.

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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You want to dance the masque, you must service the composer. You gotta sublimate yourself, your ego, and, yes, your identity. You must, in fact, stand in front of the public and God and obliterate yourself.”
A Cinematic Masterpiece from Director Todd Field

Director Todd Field may not be a prolific filmmaker, but his small body of work showcases his incredible talent and strong voice. After a 16-year hiatus, Field returns to the director's chair with Tár, a film that has been praised as a perfect piece of cinema and a masterful character study.

Join us – Pete Wright and Andy Nelson – as we continue the 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about Tár.

Conducting a Symphony of Power and Manipulation

In our discussion of Tár, we dive into the complex themes and character dynamics that make this film so compelling. We explore how the film positions Lydia Tár (Cate Blanchett) as an antagonist against youth perspectives on art versus the artist, and how her own ideology and manipulative behavior inevitably lead to her downfall.

We also delve into the gender dynamics at play in the film, with Tár using her power and position as a woman in a male-dominated field to manipulate and control those around her. Blanchett's performance is a standout, delivering a believable portrayal of a diabolical character that is rarely seen played by women in film.

Other topics covered in our conversation include:

  • The film's unorthodox opening credits and how they set the stage for the story
  • The signature scene of Tár's guest lecture at Juilliard and how it represents the film's central themes
  • The inevitability of Tár's behavior and how the film builds a case for her corruption by power
  • The importance of representation and understanding changing perspectives in the arts

Tár is a film that showcases the incredible talent of both its director and lead actress, delivering a powerful character study that explores themes of power, manipulation, and the corrupting influence of artistic genius. It's a film that is sure to spark discussion and leave a lasting impact on viewers.

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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 13 Jun 2024 03:00:00 -0700 TruStory FM TruStory FM 3868 “You want to dance the masque, you must service the composer. You gotta sublimate yourself, your ego, and, yes, your identity. You must, in fact, stand in front of the public and God and obliterate yourself.”
A Cinematic Masterpiece from Director Todd Field

Director Todd Field may not be a prolific filmmaker, but his small body of work showcases his incredible talent and strong voice. After a 16-year hiatus, Field returns to the director's chair with Tár, a film that has been praised as a perfect piece of cinema and a masterful character study.

Join us – Pete Wright and Andy Nelson – as we continue the 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about Tár.

Conducting a Symphony of Power and Manipulation

In our discussion of Tár, we dive into the complex themes and character dynamics that make this film so compelling. We explore how the film positions Lydia Tár (Cate Blanchett) as an antagonist against youth perspectives on art versus the artist, and how her own ideology and manipulative behavior inevitably lead to her downfall.

We also delve into the gender dynamics at play in the film, with Tár using her power and position as a woman in a male-dominated field to manipulate and control those around her. Blanchett's performance is a standout, delivering a believable portrayal of a diabolical character that is rarely seen played by women in film.

Other topics covered in our conversation include:

  • The film's unorthodox opening credits and how they set the stage for the story
  • The signature scene of Tár's guest lecture at Juilliard and how it represents the film's central themes
  • The inevitability of Tár's behavior and how the film builds a case for her corruption by power
  • The importance of representation and understanding changing perspectives in the arts

Tár is a film that showcases the incredible talent of both its director and lead actress, delivering a powerful character study that explores themes of power, manipulation, and the corrupting influence of artistic genius. It's a film that is sure to spark discussion and leave a lasting impact on viewers.

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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2022, 2020s, Todd Field, 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees No Andy Nelson Pete Wright The Fabelmans • The Next Reel 13 13 54 54 The Fabelmans • The Next Reel full 9d300b18-7d85-4707-8552-960b3f17fbdb https://share.transistor.fm/s/49d7be71 “Everything happens for a reason.”
Spielberg's Passion Project Comes to Life

Few filmmakers have had as much impact on cinema as Steven Spielberg, but it wasn't until recently that he felt ready to tackle his most personal project yet. With the passing of his parents, Spielberg finally felt he could tell the story of his youth and early days as a filmmaker without hurting their feelings. Join us – Pete Wright and Andy Nelson – as we continue the 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about The Fabelmans.

A Fabelman's Home Movie Reveals Spielberg's Roots

In The Fabelmans, we see young Sammy Fabelman discovering his passion for filmmaking, learning to use the camera to confront his fears and insecurities. As he grows older, his camera becomes both a tool for artistic expression and a shield from life's challenges, including his parents' crumbling marriage. We discuss how Spielberg masterfully weaves together the threads of Sammy's personal journey with his development as a filmmaker, showcasing the power of the medium to shape perceptions and evoke emotions.

Throughout our conversation, we marvel at the film's authenticity and vulnerability, as Spielberg bares his soul on screen. We also touch on:

  • The exceptional performances by Gabriel LaBelle, Michelle Williams, and Paul Dano
  • Spielberg's signature themes of broken families, fear, and the unknown
  • The evolution of Sammy's filmmaking techniques and understanding of the craft
  • The film's poignant exploration of the artist's struggle and the sacrifices they make

A Love Letter to Cinema

The Fabelmans is more than just a coming-of-age story; it's a love letter to the power of cinema and the passion of those who create it. Through Sammy's journey, Spielberg reminds us of the magic that can happen when we surrender ourselves to the movies, and the courage it takes to bring our own stories to life on screen. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Everything happens for a reason.”
Spielberg's Passion Project Comes to Life

Few filmmakers have had as much impact on cinema as Steven Spielberg, but it wasn't until recently that he felt ready to tackle his most personal project yet. With the passing of his parents, Spielberg finally felt he could tell the story of his youth and early days as a filmmaker without hurting their feelings. Join us – Pete Wright and Andy Nelson – as we continue the 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about The Fabelmans.

A Fabelman's Home Movie Reveals Spielberg's Roots

In The Fabelmans, we see young Sammy Fabelman discovering his passion for filmmaking, learning to use the camera to confront his fears and insecurities. As he grows older, his camera becomes both a tool for artistic expression and a shield from life's challenges, including his parents' crumbling marriage. We discuss how Spielberg masterfully weaves together the threads of Sammy's personal journey with his development as a filmmaker, showcasing the power of the medium to shape perceptions and evoke emotions.

Throughout our conversation, we marvel at the film's authenticity and vulnerability, as Spielberg bares his soul on screen. We also touch on:

  • The exceptional performances by Gabriel LaBelle, Michelle Williams, and Paul Dano
  • Spielberg's signature themes of broken families, fear, and the unknown
  • The evolution of Sammy's filmmaking techniques and understanding of the craft
  • The film's poignant exploration of the artist's struggle and the sacrifices they make

A Love Letter to Cinema

The Fabelmans is more than just a coming-of-age story; it's a love letter to the power of cinema and the passion of those who create it. Through Sammy's journey, Spielberg reminds us of the magic that can happen when we surrender ourselves to the movies, and the courage it takes to bring our own stories to life on screen. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 06 Jun 2024 03:00:00 -0700 TruStory FM TruStory FM 3524 “Everything happens for a reason.”
Spielberg's Passion Project Comes to Life

Few filmmakers have had as much impact on cinema as Steven Spielberg, but it wasn't until recently that he felt ready to tackle his most personal project yet. With the passing of his parents, Spielberg finally felt he could tell the story of his youth and early days as a filmmaker without hurting their feelings. Join us – Pete Wright and Andy Nelson – as we continue the 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about The Fabelmans.

A Fabelman's Home Movie Reveals Spielberg's Roots

In The Fabelmans, we see young Sammy Fabelman discovering his passion for filmmaking, learning to use the camera to confront his fears and insecurities. As he grows older, his camera becomes both a tool for artistic expression and a shield from life's challenges, including his parents' crumbling marriage. We discuss how Spielberg masterfully weaves together the threads of Sammy's personal journey with his development as a filmmaker, showcasing the power of the medium to shape perceptions and evoke emotions.

Throughout our conversation, we marvel at the film's authenticity and vulnerability, as Spielberg bares his soul on screen. We also touch on:

  • The exceptional performances by Gabriel LaBelle, Michelle Williams, and Paul Dano
  • Spielberg's signature themes of broken families, fear, and the unknown
  • The evolution of Sammy's filmmaking techniques and understanding of the craft
  • The film's poignant exploration of the artist's struggle and the sacrifices they make

A Love Letter to Cinema

The Fabelmans is more than just a coming-of-age story; it's a love letter to the power of cinema and the passion of those who create it. Through Sammy's journey, Spielberg reminds us of the magic that can happen when we surrender ourselves to the movies, and the courage it takes to bring our own stories to life on screen. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 2022, 2020s, Steven Spielberg, 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees No Andy Nelson Pete Wright A Few Good Men • The Next Reel • Member Bonus 13 13 55 55 A Few Good Men • The Next Reel • Member Bonus full 5976a00e-0b38-4f79-af31-078a9143c25e https://share.transistor.fm/s/6fac8bee “You’re an ambulance chaser with a rank. You’re nothing.”
This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get member content in episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.
Courtroom Drama Meets Military Ethics – and Hollywood Ethics – in Sorkin's Debut

Before A Few Good Men hit the big screen, Aaron Sorkin's riveting story about two U.S. Marines accused of murder premiered on Broadway in 1989. The play, inspired by true events but not explicitly marketed as such, caught the attention of Hollywood heavyweights, leading to the 1992 film adaptation directed by Rob Reiner. With an all-star cast including Tom Cruise, Jack Nicholson, and Demi Moore, the movie garnered critical acclaim and four Academy Award nominations, including Best Film Editing. Join us – Pete Wright and Andy Nelson – as we continue the 1993 Academy Awards Best Film Editing Nominees member bonus series with a conversation about A Few Good Men.

Unraveling the Truth Behind the Code Red

In our discussion of A Few Good Men, we dive into the central theme of the film – the tension between following orders and doing what's right. As the story unfolds, we witness the journey of Lt. Daniel Kaffee (Tom Cruise) as he navigates the complex world of military justice. We analyze how the film effectively builds suspense, particularly during the intense courtroom scenes, which showcase Sorkin's signature rapid-fire dialogue.

Throughout the episode, we highlight the performances of the stellar cast, including Jack Nicholson's iconic portrayal of Col. Nathan R. Jessup and Demi Moore's strong presence as Lt. Cdr. JoAnne Galloway. We also touch on the film's exploration of the Guantanamo Bay military base and its significance in the story, as well as the fact that the story is based on real events, despite not being explicitly marketed as a "true story."

Other Talking Points

  • The film's opening sequence and its impact on setting the tone
  • Rob Reiner's direction and his successful run of films in the late 80s and early 90s
  • The challenges of adapting a stage play for the big screen
  • The film's commentary on the military hierarchy and its potential for abuse of power

A Few Good Men stands as a testament to the power of storytelling, as it expertly weaves together elements of drama, suspense, and moral ambiguity. The film's thought-provoking themes, combined with its outstanding performances and skilled editing, make it a must-see for any fan of courtroom dramas or military-themed movies. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries

]]> “You’re an ambulance chaser with a rank. You’re nothing.”
This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get member content in episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.
Courtroom Drama Meets Military Ethics – and Hollywood Ethics – in Sorkin's Debut

Before A Few Good Men hit the big screen, Aaron Sorkin's riveting story about two U.S. Marines accused of murder premiered on Broadway in 1989. The play, inspired by true events but not explicitly marketed as such, caught the attention of Hollywood heavyweights, leading to the 1992 film adaptation directed by Rob Reiner. With an all-star cast including Tom Cruise, Jack Nicholson, and Demi Moore, the movie garnered critical acclaim and four Academy Award nominations, including Best Film Editing. Join us – Pete Wright and Andy Nelson – as we continue the 1993 Academy Awards Best Film Editing Nominees member bonus series with a conversation about A Few Good Men.

Unraveling the Truth Behind the Code Red

In our discussion of A Few Good Men, we dive into the central theme of the film – the tension between following orders and doing what's right. As the story unfolds, we witness the journey of Lt. Daniel Kaffee (Tom Cruise) as he navigates the complex world of military justice. We analyze how the film effectively builds suspense, particularly during the intense courtroom scenes, which showcase Sorkin's signature rapid-fire dialogue.

Throughout the episode, we highlight the performances of the stellar cast, including Jack Nicholson's iconic portrayal of Col. Nathan R. Jessup and Demi Moore's strong presence as Lt. Cdr. JoAnne Galloway. We also touch on the film's exploration of the Guantanamo Bay military base and its significance in the story, as well as the fact that the story is based on real events, despite not being explicitly marketed as a "true story."

Other Talking Points

  • The film's opening sequence and its impact on setting the tone
  • Rob Reiner's direction and his successful run of films in the late 80s and early 90s
  • The challenges of adapting a stage play for the big screen
  • The film's commentary on the military hierarchy and its potential for abuse of power

A Few Good Men stands as a testament to the power of storytelling, as it expertly weaves together elements of drama, suspense, and moral ambiguity. The film's thought-provoking themes, combined with its outstanding performances and skilled editing, make it a must-see for any fan of courtroom dramas or military-themed movies. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries

]]> Fri, 31 May 2024 02:00:00 -0700 TruStory FM TruStory FM 438 “You’re an ambulance chaser with a rank. You’re nothing.”
This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get member content in episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.
Courtroom Drama Meets Military Ethics – and Hollywood Ethics – in Sorkin's Debut

Before A Few Good Men hit the big screen, Aaron Sorkin's riveting story about two U.S. Marines accused of murder premiered on Broadway in 1989. The play, inspired by true events but not explicitly marketed as such, caught the attention of Hollywood heavyweights, leading to the 1992 film adaptation directed by Rob Reiner. With an all-star cast including Tom Cruise, Jack Nicholson, and Demi Moore, the movie garnered critical acclaim and four Academy Award nominations, including Best Film Editing. Join us – Pete Wright and Andy Nelson – as we continue the 1993 Academy Awards Best Film Editing Nominees member bonus series with a conversation about A Few Good Men.

Unraveling the Truth Behind the Code Red

In our discussion of A Few Good Men, we dive into the central theme of the film – the tension between following orders and doing what's right. As the story unfolds, we witness the journey of Lt. Daniel Kaffee (Tom Cruise) as he navigates the complex world of military justice. We analyze how the film effectively builds suspense, particularly during the intense courtroom scenes, which showcase Sorkin's signature rapid-fire dialogue.

Throughout the episode, we highlight the performances of the stellar cast, including Jack Nicholson's iconic portrayal of Col. Nathan R. Jessup and Demi Moore's strong presence as Lt. Cdr. JoAnne Galloway. We also touch on the film's exploration of the Guantanamo Bay military base and its significance in the story, as well as the fact that the story is based on real events, despite not being explicitly marketed as a "true story."

Other Talking Points

  • The film's opening sequence and its impact on setting the tone
  • Rob Reiner's direction and his successful run of films in the late 80s and early 90s
  • The challenges of adapting a stage play for the big screen
  • The film's commentary on the military hierarchy and its potential for abuse of power

A Few Good Men stands as a testament to the power of storytelling, as it expertly weaves together elements of drama, suspense, and moral ambiguity. The film's thought-provoking themes, combined with its outstanding performances and skilled editing, make it a must-see for any fan of courtroom dramas or military-themed movies. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries

]]> 1992, 1990s, 1993 Academy Awards Best Film Editing Nominees, member bonus, Rob Reiner No Andy Nelson Pete Wright The Banshees of Inisherin • The Next Reel 13 13 53 53 The Banshees of Inisherin • The Next Reel full 5a6641fc-a616-4df0-ad50-636994eaf77b https://share.transistor.fm/s/e6fdcdb7 “It was all going fine until he chopped off all his fingers.”
In 2022, writer-director Martin McDonagh reunited with his In Bruges stars, Colin Farrell and Brendan Gleeson, to create a haunting tale of friendship, loss, and the far-reaching consequences of our actions. Set against the backdrop of the Irish Civil War in 1923, The Banshees of Inisherin was filmed on the breathtaking Achill Island and Inishmore, capturing the essence of a remote Irish community. Join us – Pete Wright and Andy Nelson – as we kick off the final series in this season of looking at films nominated in various award categories over the last 100 years – a format we've thoroughly enjoyed exploring. We begin our 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about The Banshees of Inisherin.

A Microcosm of War and Friendship

In our discussion, we explore how The Banshees of Inisherin serves as a microcosm for the larger conflict of the Irish Civil War. The sudden dissolution of Pádraic and Colm's friendship mirrors the division and brutality of the war, with both men stubbornly refusing to reconcile. We also delve into the film's examination of the dehumanization of violence and how even the most trivial of disagreements can escalate into devastating battles.

Throughout the episode, we touch upon various aspects of the film that contribute to its brilliance, such as the powerhouse performances of Farrell, Gleeson, Kerry Condon, and Barry Keoghan; the stunning Irish landscapes that create a captivating atmosphere; and the role of animals as extensions of the characters' identities and emotional states. We also ponder the potential for this story to become a legendary tale passed down through generations, becoming an origin story for future pub conversations.

Other topics covered in our conversation include:

  • The exploration of blind spots in self-perception and the journey of self-discovery
  • The cultural conflicts and stereotypes at play within the island community
  • The tragic consequences of the characters' inability to move past their differences
  • The film's seamless blending of humor and heartbreak

The Banshees of Inisherin is a masterful exploration of the complexities of human relationships and the far-reaching consequences of our actions. Martin McDonagh's deft direction, combined with the brilliant performances of the cast, makes for a film that is both thought-provoking and emotionally resonant. While the film's darker themes may not be for everyone, we found it to be a captivating and worthwhile cinematic experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “It was all going fine until he chopped off all his fingers.”
In 2022, writer-director Martin McDonagh reunited with his In Bruges stars, Colin Farrell and Brendan Gleeson, to create a haunting tale of friendship, loss, and the far-reaching consequences of our actions. Set against the backdrop of the Irish Civil War in 1923, The Banshees of Inisherin was filmed on the breathtaking Achill Island and Inishmore, capturing the essence of a remote Irish community. Join us – Pete Wright and Andy Nelson – as we kick off the final series in this season of looking at films nominated in various award categories over the last 100 years – a format we've thoroughly enjoyed exploring. We begin our 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about The Banshees of Inisherin.

A Microcosm of War and Friendship

In our discussion, we explore how The Banshees of Inisherin serves as a microcosm for the larger conflict of the Irish Civil War. The sudden dissolution of Pádraic and Colm's friendship mirrors the division and brutality of the war, with both men stubbornly refusing to reconcile. We also delve into the film's examination of the dehumanization of violence and how even the most trivial of disagreements can escalate into devastating battles.

Throughout the episode, we touch upon various aspects of the film that contribute to its brilliance, such as the powerhouse performances of Farrell, Gleeson, Kerry Condon, and Barry Keoghan; the stunning Irish landscapes that create a captivating atmosphere; and the role of animals as extensions of the characters' identities and emotional states. We also ponder the potential for this story to become a legendary tale passed down through generations, becoming an origin story for future pub conversations.

Other topics covered in our conversation include:

  • The exploration of blind spots in self-perception and the journey of self-discovery
  • The cultural conflicts and stereotypes at play within the island community
  • The tragic consequences of the characters' inability to move past their differences
  • The film's seamless blending of humor and heartbreak

The Banshees of Inisherin is a masterful exploration of the complexities of human relationships and the far-reaching consequences of our actions. Martin McDonagh's deft direction, combined with the brilliant performances of the cast, makes for a film that is both thought-provoking and emotionally resonant. While the film's darker themes may not be for everyone, we found it to be a captivating and worthwhile cinematic experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 30 May 2024 03:00:00 -0700 TruStory FM TruStory FM 3922 “It was all going fine until he chopped off all his fingers.”
In 2022, writer-director Martin McDonagh reunited with his In Bruges stars, Colin Farrell and Brendan Gleeson, to create a haunting tale of friendship, loss, and the far-reaching consequences of our actions. Set against the backdrop of the Irish Civil War in 1923, The Banshees of Inisherin was filmed on the breathtaking Achill Island and Inishmore, capturing the essence of a remote Irish community. Join us – Pete Wright and Andy Nelson – as we kick off the final series in this season of looking at films nominated in various award categories over the last 100 years – a format we've thoroughly enjoyed exploring. We begin our 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees series with a conversation about The Banshees of Inisherin.

A Microcosm of War and Friendship

In our discussion, we explore how The Banshees of Inisherin serves as a microcosm for the larger conflict of the Irish Civil War. The sudden dissolution of Pádraic and Colm's friendship mirrors the division and brutality of the war, with both men stubbornly refusing to reconcile. We also delve into the film's examination of the dehumanization of violence and how even the most trivial of disagreements can escalate into devastating battles.

Throughout the episode, we touch upon various aspects of the film that contribute to its brilliance, such as the powerhouse performances of Farrell, Gleeson, Kerry Condon, and Barry Keoghan; the stunning Irish landscapes that create a captivating atmosphere; and the role of animals as extensions of the characters' identities and emotional states. We also ponder the potential for this story to become a legendary tale passed down through generations, becoming an origin story for future pub conversations.

Other topics covered in our conversation include:

  • The exploration of blind spots in self-perception and the journey of self-discovery
  • The cultural conflicts and stereotypes at play within the island community
  • The tragic consequences of the characters' inability to move past their differences
  • The film's seamless blending of humor and heartbreak

The Banshees of Inisherin is a masterful exploration of the complexities of human relationships and the far-reaching consequences of our actions. Martin McDonagh's deft direction, combined with the brilliant performances of the cast, makes for a film that is both thought-provoking and emotionally resonant. While the film's darker themes may not be for everyone, we found it to be a captivating and worthwhile cinematic experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2022, 2020s, Martin McDonagh, 2023 DGA Awards Outstanding Directorial Achievement in Theatrical Feature Film Nominees No Andy Nelson Pete Wright The Woman in Black • The Next Reel 13 13 52 52 The Woman in Black • The Next Reel full 4e14130e-f7bd-456a-8895-61c00a37a988 https://share.transistor.fm/s/97b1589c “Don’t go chasing shadows, Arthur.”
Adapting a Classic Ghost Story for the Big Screen

The Woman in Black, based on Susan Hill's 1983 novel of the same name, has been adapted for the stage, television, and radio. In 2012, James Watkins directed a feature film version starring Daniel Radcliffe in his first major role since the Harry Potter series. With a talented team behind the camera and a compelling lead actor, The Woman in Black aimed to bring a classic ghost story to life for a new generation. Join us – Pete Wright and Andy Nelson – as we continue the 2013 Fangoria Chainsaw Awards Best Actor Nominees series with a conversation about The Woman in Black.

Radcliffe's Post-Potter Performance and the Film's Ghostly Atmosphere

In our discussion, we explore Daniel Radcliffe's performance as Arthur Kipps, a young lawyer grappling with grief and tasked with settling the estate of the mysterious Alice Drablow. Radcliffe's portrayal marks a significant departure from his iconic role as Harry Potter, showcasing his range as an actor. We also delve into the film's effective use of atmosphere, from the eerie Eel Marsh House and causeway leading to it to the unsettling appearances of the titular specter. However, we note that the reliance on jump scares and horror tropes may detract from the overall impact of the story.

Other Topics Covered

  • The differences between the novel, previous adaptations, and the 2012 film
  • The film's exploration of grief and loss
  • The effectiveness of the period setting and production design
  • The use of children in peril as a horror element

The Woman in Black offers a haunting tale of a vengeful spirit and the devastating impact of loss. While the film may lean heavily on familiar ghost story conventions, it succeeds in creating a chilling atmosphere and showcasing Daniel Radcliffe's post-Potter acting chops. Despite some reservations about the ending and the reliance on jump scares, The Woman in Black remains a solid entry in the gothic horror genre and a testament to the enduring power of Susan Hill's original novel. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Don’t go chasing shadows, Arthur.”
Adapting a Classic Ghost Story for the Big Screen

The Woman in Black, based on Susan Hill's 1983 novel of the same name, has been adapted for the stage, television, and radio. In 2012, James Watkins directed a feature film version starring Daniel Radcliffe in his first major role since the Harry Potter series. With a talented team behind the camera and a compelling lead actor, The Woman in Black aimed to bring a classic ghost story to life for a new generation. Join us – Pete Wright and Andy Nelson – as we continue the 2013 Fangoria Chainsaw Awards Best Actor Nominees series with a conversation about The Woman in Black.

Radcliffe's Post-Potter Performance and the Film's Ghostly Atmosphere

In our discussion, we explore Daniel Radcliffe's performance as Arthur Kipps, a young lawyer grappling with grief and tasked with settling the estate of the mysterious Alice Drablow. Radcliffe's portrayal marks a significant departure from his iconic role as Harry Potter, showcasing his range as an actor. We also delve into the film's effective use of atmosphere, from the eerie Eel Marsh House and causeway leading to it to the unsettling appearances of the titular specter. However, we note that the reliance on jump scares and horror tropes may detract from the overall impact of the story.

Other Topics Covered

  • The differences between the novel, previous adaptations, and the 2012 film
  • The film's exploration of grief and loss
  • The effectiveness of the period setting and production design
  • The use of children in peril as a horror element

The Woman in Black offers a haunting tale of a vengeful spirit and the devastating impact of loss. While the film may lean heavily on familiar ghost story conventions, it succeeds in creating a chilling atmosphere and showcasing Daniel Radcliffe's post-Potter acting chops. Despite some reservations about the ending and the reliance on jump scares, The Woman in Black remains a solid entry in the gothic horror genre and a testament to the enduring power of Susan Hill's original novel. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 23 May 2024 03:00:00 -0700 TruStory FM TruStory FM 3847 “Don’t go chasing shadows, Arthur.”
Adapting a Classic Ghost Story for the Big Screen

The Woman in Black, based on Susan Hill's 1983 novel of the same name, has been adapted for the stage, television, and radio. In 2012, James Watkins directed a feature film version starring Daniel Radcliffe in his first major role since the Harry Potter series. With a talented team behind the camera and a compelling lead actor, The Woman in Black aimed to bring a classic ghost story to life for a new generation. Join us – Pete Wright and Andy Nelson – as we continue the 2013 Fangoria Chainsaw Awards Best Actor Nominees series with a conversation about The Woman in Black.

Radcliffe's Post-Potter Performance and the Film's Ghostly Atmosphere

In our discussion, we explore Daniel Radcliffe's performance as Arthur Kipps, a young lawyer grappling with grief and tasked with settling the estate of the mysterious Alice Drablow. Radcliffe's portrayal marks a significant departure from his iconic role as Harry Potter, showcasing his range as an actor. We also delve into the film's effective use of atmosphere, from the eerie Eel Marsh House and causeway leading to it to the unsettling appearances of the titular specter. However, we note that the reliance on jump scares and horror tropes may detract from the overall impact of the story.

Other Topics Covered

  • The differences between the novel, previous adaptations, and the 2012 film
  • The film's exploration of grief and loss
  • The effectiveness of the period setting and production design
  • The use of children in peril as a horror element

The Woman in Black offers a haunting tale of a vengeful spirit and the devastating impact of loss. While the film may lean heavily on familiar ghost story conventions, it succeeds in creating a chilling atmosphere and showcasing Daniel Radcliffe's post-Potter acting chops. Despite some reservations about the ending and the reliance on jump scares, The Woman in Black remains a solid entry in the gothic horror genre and a testament to the enduring power of Susan Hill's original novel. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2012, 2010s, James Watkins, 2013 Fangoria Chainsaw Awards Best Actor Nominees No Andy Nelson Pete Wright Sleep Tight (Mientras Duermes) • The Next Reel 13 13 51 51 Sleep Tight (Mientras Duermes) • The Next Reel full 6e598c27-6258-4eae-9d43-065da39839b4 https://share.transistor.fm/s/323aa72f “Happy. That’s exactly my problem – that I can’t be happy. Not even when good things happen to me.”
A Gripping Spanish Psychological Thriller

Sleep Tight (Mientras Duermes) is a 2011 thriller directed by Jaume Balagueró that delves into the complex themes of obsession, trust, and the violation of personal space. The film follows César, a concierge at an apartment building, and his interactions with the residents, particularly Clara. Join us – Pete Wright and Andy Nelson – as we continue the 2013 Fangoria Chainsaw Awards Best Actor Nominees series with a conversation about Sleep Tight.

A Slow Burn That Keeps You Guessing

One of the most intriguing aspects of Sleep Tight is how it gradually reveals its central mystery, keeping the audience engaged and guessing throughout the narrative. The film excels at building suspense and creating an atmosphere of unease, as it explores the lives of the apartment building's residents and the role César plays in their daily routines. We discuss how the film's pacing and the careful release of information contribute to the overall sense of tension and anticipation. It's important to note that Sleep Tight is best experienced with as little prior knowledge of the plot as possible, allowing the story to unfold in its own surprising and unsettling way.

Luis Tosar's Mesmerizing Performance

At the heart of Sleep Tight is Luis Tosar's remarkable performance as César, which earned him many accolades. Tosar's portrayal of the complex and multi-layered character is a testament to his acting prowess, as he navigates the emotional depths and motivations of César with finesse. We explore how Tosar's performance is instrumental in driving the narrative forward and keeping the audience invested in the story, even as the film takes unexpected turns.

Other topics covered in our conversation include:

  • The film's exploration of the blurred lines between public and private life
  • The use of claustrophobic spaces and voyeuristic elements to heighten tension
  • The effectiveness of the film's conclusion and its impact on the viewer
  • The universal themes of loneliness, isolation, and the need for connection

Sleep Tight is a masterfully crafted psychological thriller that keeps the audience on the edges of their seats until the very end. With its slow-burn approach to storytelling, atmospheric tension, and a powerhouse lead performance by Luis Tosar, the film offers a gripping and thought-provoking experience that lingers long after the credits roll. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Happy. That’s exactly my problem – that I can’t be happy. Not even when good things happen to me.”
A Gripping Spanish Psychological Thriller

Sleep Tight (Mientras Duermes) is a 2011 thriller directed by Jaume Balagueró that delves into the complex themes of obsession, trust, and the violation of personal space. The film follows César, a concierge at an apartment building, and his interactions with the residents, particularly Clara. Join us – Pete Wright and Andy Nelson – as we continue the 2013 Fangoria Chainsaw Awards Best Actor Nominees series with a conversation about Sleep Tight.

A Slow Burn That Keeps You Guessing

One of the most intriguing aspects of Sleep Tight is how it gradually reveals its central mystery, keeping the audience engaged and guessing throughout the narrative. The film excels at building suspense and creating an atmosphere of unease, as it explores the lives of the apartment building's residents and the role César plays in their daily routines. We discuss how the film's pacing and the careful release of information contribute to the overall sense of tension and anticipation. It's important to note that Sleep Tight is best experienced with as little prior knowledge of the plot as possible, allowing the story to unfold in its own surprising and unsettling way.

Luis Tosar's Mesmerizing Performance

At the heart of Sleep Tight is Luis Tosar's remarkable performance as César, which earned him many accolades. Tosar's portrayal of the complex and multi-layered character is a testament to his acting prowess, as he navigates the emotional depths and motivations of César with finesse. We explore how Tosar's performance is instrumental in driving the narrative forward and keeping the audience invested in the story, even as the film takes unexpected turns.

Other topics covered in our conversation include:

  • The film's exploration of the blurred lines between public and private life
  • The use of claustrophobic spaces and voyeuristic elements to heighten tension
  • The effectiveness of the film's conclusion and its impact on the viewer
  • The universal themes of loneliness, isolation, and the need for connection

Sleep Tight is a masterfully crafted psychological thriller that keeps the audience on the edges of their seats until the very end. With its slow-burn approach to storytelling, atmospheric tension, and a powerhouse lead performance by Luis Tosar, the film offers a gripping and thought-provoking experience that lingers long after the credits roll. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 16 May 2024 03:00:00 -0700 TruStory FM TruStory FM 3668 “Happy. That’s exactly my problem – that I can’t be happy. Not even when good things happen to me.”
A Gripping Spanish Psychological Thriller

Sleep Tight (Mientras Duermes) is a 2011 thriller directed by Jaume Balagueró that delves into the complex themes of obsession, trust, and the violation of personal space. The film follows César, a concierge at an apartment building, and his interactions with the residents, particularly Clara. Join us – Pete Wright and Andy Nelson – as we continue the 2013 Fangoria Chainsaw Awards Best Actor Nominees series with a conversation about Sleep Tight.

A Slow Burn That Keeps You Guessing

One of the most intriguing aspects of Sleep Tight is how it gradually reveals its central mystery, keeping the audience engaged and guessing throughout the narrative. The film excels at building suspense and creating an atmosphere of unease, as it explores the lives of the apartment building's residents and the role César plays in their daily routines. We discuss how the film's pacing and the careful release of information contribute to the overall sense of tension and anticipation. It's important to note that Sleep Tight is best experienced with as little prior knowledge of the plot as possible, allowing the story to unfold in its own surprising and unsettling way.

Luis Tosar's Mesmerizing Performance

At the heart of Sleep Tight is Luis Tosar's remarkable performance as César, which earned him many accolades. Tosar's portrayal of the complex and multi-layered character is a testament to his acting prowess, as he navigates the emotional depths and motivations of César with finesse. We explore how Tosar's performance is instrumental in driving the narrative forward and keeping the audience invested in the story, even as the film takes unexpected turns.

Other topics covered in our conversation include:

  • The film's exploration of the blurred lines between public and private life
  • The use of claustrophobic spaces and voyeuristic elements to heighten tension
  • The effectiveness of the film's conclusion and its impact on the viewer
  • The universal themes of loneliness, isolation, and the need for connection

Sleep Tight is a masterfully crafted psychological thriller that keeps the audience on the edges of their seats until the very end. With its slow-burn approach to storytelling, atmospheric tension, and a powerhouse lead performance by Luis Tosar, the film offers a gripping and thought-provoking experience that lingers long after the credits roll. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

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]]> Jaume Balagueró, 2011, 2010s, 2013 Fangoria Chainsaw Awards Best Actor Nominees No Andy Nelson Pete Wright Sinister • The Next Reel 13 13 50 50 Sinister • The Next Reel full fb238061-6ecb-45d7-bdf4-78893393d28c https://share.transistor.fm/s/bba76551 “I like that you made the movies longer, they are better this way.”
Scott Derrickson's nightmare after watching The Ring sparked the creation of Sinister, a chilling tale that taps into the growing fascination with true crime. Co-written with his frequent collaborator C. Robert Cargill, Derrickson's film follows a true crime writer who moves his family into a house with a brutal past, only to uncover a sinister supernatural force at work. Released in 2012, Sinister arrived just as the true crime craze was gaining momentum, with podcasts and television shows exploring the darker side of human nature. Join us – Pete Wright and Andy Nelson – as we continue the 2013 Fangoria Chainsaw Awards Best Actor Nominees series with a conversation about Sinister.

Ethan Hawke's Descent into Darkness

In Sinister, Ethan Hawke delivers a brooding and moody performance as a true crime writer determined to unravel the mystery behind a series of disturbing home movies. As he delves deeper into the investigation, Hawke's character becomes increasingly obsessed, putting his family in danger and blurring the lines between reality and the supernatural. We discuss how the film uses jump scares and horrific imagery to create a sense of dread and unease, keeping the audience on the edge of their seats.

Haunted Houses and Demonic Deeds

One of the key points we explore in our discussion is how Sinister subverts the "haunted house" trope. Instead of the horror being confined to a single location, the film has the demon Bughuul's influence follow the family even after they leave the murder house. This raises questions about the logic of Bughuul's actions and whether the film needed to provide a clearer explanation for his behavior. We debate the effectiveness of this approach and how it contributes to the overall sense of unease that permeates the film.

Sinister Sounds and Creepy Kids

  • The film's effective use of sound design and lighting to create a creepy atmosphere
  • The unsettling portrayal of the ghost children and their role in the murders
  • The challenges of working with child actors in horror films and how Sinister handles their creepy scenes

The Verdict on Sinister

Sinister is a film that effectively taps into the growing fascination with true crime and delivers a creepy and unsettling horror experience. While the logic of Buhguul’s actions may not hold up under scrutiny, the film's strong atmosphere, effective scares, and thought-provoking themes make it a standout entry in the horror genre. We have a great time discussing the film's strengths and weaknesses, so check it out and then tune in to hear our full conversation. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


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The Next Reel Family of Film Shows:

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]]> “I like that you made the movies longer, they are better this way.”
Scott Derrickson's nightmare after watching The Ring sparked the creation of Sinister, a chilling tale that taps into the growing fascination with true crime. Co-written with his frequent collaborator C. Robert Cargill, Derrickson's film follows a true crime writer who moves his family into a house with a brutal past, only to uncover a sinister supernatural force at work. Released in 2012, Sinister arrived just as the true crime craze was gaining momentum, with podcasts and television shows exploring the darker side of human nature. Join us – Pete Wright and Andy Nelson – as we continue the 2013 Fangoria Chainsaw Awards Best Actor Nominees series with a conversation about Sinister.

Ethan Hawke's Descent into Darkness

In Sinister, Ethan Hawke delivers a brooding and moody performance as a true crime writer determined to unravel the mystery behind a series of disturbing home movies. As he delves deeper into the investigation, Hawke's character becomes increasingly obsessed, putting his family in danger and blurring the lines between reality and the supernatural. We discuss how the film uses jump scares and horrific imagery to create a sense of dread and unease, keeping the audience on the edge of their seats.

Haunted Houses and Demonic Deeds

One of the key points we explore in our discussion is how Sinister subverts the "haunted house" trope. Instead of the horror being confined to a single location, the film has the demon Bughuul's influence follow the family even after they leave the murder house. This raises questions about the logic of Bughuul's actions and whether the film needed to provide a clearer explanation for his behavior. We debate the effectiveness of this approach and how it contributes to the overall sense of unease that permeates the film.

Sinister Sounds and Creepy Kids

  • The film's effective use of sound design and lighting to create a creepy atmosphere
  • The unsettling portrayal of the ghost children and their role in the murders
  • The challenges of working with child actors in horror films and how Sinister handles their creepy scenes

The Verdict on Sinister

Sinister is a film that effectively taps into the growing fascination with true crime and delivers a creepy and unsettling horror experience. While the logic of Buhguul’s actions may not hold up under scrutiny, the film's strong atmosphere, effective scares, and thought-provoking themes make it a standout entry in the horror genre. We have a great time discussing the film's strengths and weaknesses, so check it out and then tune in to hear our full conversation. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

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]]> Thu, 09 May 2024 03:00:00 -0700 TruStory FM TruStory FM 4458 “I like that you made the movies longer, they are better this way.”
Scott Derrickson's nightmare after watching The Ring sparked the creation of Sinister, a chilling tale that taps into the growing fascination with true crime. Co-written with his frequent collaborator C. Robert Cargill, Derrickson's film follows a true crime writer who moves his family into a house with a brutal past, only to uncover a sinister supernatural force at work. Released in 2012, Sinister arrived just as the true crime craze was gaining momentum, with podcasts and television shows exploring the darker side of human nature. Join us – Pete Wright and Andy Nelson – as we continue the 2013 Fangoria Chainsaw Awards Best Actor Nominees series with a conversation about Sinister.

Ethan Hawke's Descent into Darkness

In Sinister, Ethan Hawke delivers a brooding and moody performance as a true crime writer determined to unravel the mystery behind a series of disturbing home movies. As he delves deeper into the investigation, Hawke's character becomes increasingly obsessed, putting his family in danger and blurring the lines between reality and the supernatural. We discuss how the film uses jump scares and horrific imagery to create a sense of dread and unease, keeping the audience on the edge of their seats.

Haunted Houses and Demonic Deeds

One of the key points we explore in our discussion is how Sinister subverts the "haunted house" trope. Instead of the horror being confined to a single location, the film has the demon Bughuul's influence follow the family even after they leave the murder house. This raises questions about the logic of Bughuul's actions and whether the film needed to provide a clearer explanation for his behavior. We debate the effectiveness of this approach and how it contributes to the overall sense of unease that permeates the film.

Sinister Sounds and Creepy Kids

  • The film's effective use of sound design and lighting to create a creepy atmosphere
  • The unsettling portrayal of the ghost children and their role in the murders
  • The challenges of working with child actors in horror films and how Sinister handles their creepy scenes

The Verdict on Sinister

Sinister is a film that effectively taps into the growing fascination with true crime and delivers a creepy and unsettling horror experience. While the logic of Buhguul’s actions may not hold up under scrutiny, the film's strong atmosphere, effective scares, and thought-provoking themes make it a standout entry in the horror genre. We have a great time discussing the film's strengths and weaknesses, so check it out and then tune in to hear our full conversation. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


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]]> 2012, 2010s, Scott Derrickson, 2013 Fangoria Chainsaw Awards Best Actor Nominees No Andy Nelson Pete Wright Kill List • The Next Reel 13 13 48 48 Kill List • The Next Reel full 15cd98a6-bf94-4744-b649-42aaa489e37b https://share.transistor.fm/s/20d09801 “How many on the list?”
A Slow-Burn Descent into Darkness

Ben Wheatley's second feature film, Kill List, was released in 2011 to critical acclaim. The film follows Jay, a former soldier turned hitman, as he takes on a new job with his friend Gal after a traumatic event in Kiev leaves him unable to work for eight months. As Jay and Gal begin their new assignment, they quickly realize that there is more to their targets than meets the eye, and they find themselves embroiled in a dark and twisted conspiracy.

Unraveling the Mysteries of Kill List

In this episode of The Next Reel, we dive deep into the many layers of Kill List. We discuss how the film slowly reveals information about Jay's past and his work as a hitman, keeping the audience guessing until the very end. We also explore the film's shift from what’s been described as a kitchen sink drama to a hitman story and finally to a cult conspiracy, and how Wheatley ties all of these elements together in a satisfying way – at least for us.

Throughout our discussion, we highlight the incredible performance of Neil Maskell as Jay, a man struggling with trauma and rage. We also touch on the film's exploration of masculinity and the ways in which Jay's inability to express his emotions leads to violence and destruction.

Other Points of Discussion

  • The film's references to Arthurian legend and how they relate to Jay's character
  • The twist ending and its impact on the story
  • The relationship between Jay and his wife Shel, played by MyAnna Buring
  • The relationship between Jay and Gal, his best friend and co-worker, played by Michael Smiley
  • The film's use of violence and how it serves the story

Kill List is a film that feels like one that will reward us on multiple viewings, as each watch hopefully will reveal new clues and connections that we may have been missed the first time around. While the ending may be polarizing for some viewers, we found it to be a satisfying conclusion to a story that keeps you guessing until the very last frame.

A Must-See for Fans of Slow-Burn Thrillers

Overall, we thoroughly enjoyed Kill List and its slow-burn approach to storytelling. Ben Wheatley and his wife/co-writer Amy Jump craft a tense and unsettling atmosphere that keeps you on the edge of your seat, and the performances from the entire cast are top-notch. If you're a fan of films that take their time to unravel their mysteries and leave you with plenty to think about after the credits roll, then Kill List is definitely worth checking 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!

Film Sundries


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The Next Reel Family of Film Shows:

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]]> “How many on the list?”
A Slow-Burn Descent into Darkness

Ben Wheatley's second feature film, Kill List, was released in 2011 to critical acclaim. The film follows Jay, a former soldier turned hitman, as he takes on a new job with his friend Gal after a traumatic event in Kiev leaves him unable to work for eight months. As Jay and Gal begin their new assignment, they quickly realize that there is more to their targets than meets the eye, and they find themselves embroiled in a dark and twisted conspiracy.

Unraveling the Mysteries of Kill List

In this episode of The Next Reel, we dive deep into the many layers of Kill List. We discuss how the film slowly reveals information about Jay's past and his work as a hitman, keeping the audience guessing until the very end. We also explore the film's shift from what’s been described as a kitchen sink drama to a hitman story and finally to a cult conspiracy, and how Wheatley ties all of these elements together in a satisfying way – at least for us.

Throughout our discussion, we highlight the incredible performance of Neil Maskell as Jay, a man struggling with trauma and rage. We also touch on the film's exploration of masculinity and the ways in which Jay's inability to express his emotions leads to violence and destruction.

Other Points of Discussion

  • The film's references to Arthurian legend and how they relate to Jay's character
  • The twist ending and its impact on the story
  • The relationship between Jay and his wife Shel, played by MyAnna Buring
  • The relationship between Jay and Gal, his best friend and co-worker, played by Michael Smiley
  • The film's use of violence and how it serves the story

Kill List is a film that feels like one that will reward us on multiple viewings, as each watch hopefully will reveal new clues and connections that we may have been missed the first time around. While the ending may be polarizing for some viewers, we found it to be a satisfying conclusion to a story that keeps you guessing until the very last frame.

A Must-See for Fans of Slow-Burn Thrillers

Overall, we thoroughly enjoyed Kill List and its slow-burn approach to storytelling. Ben Wheatley and his wife/co-writer Amy Jump craft a tense and unsettling atmosphere that keeps you on the edge of your seat, and the performances from the entire cast are top-notch. If you're a fan of films that take their time to unravel their mysteries and leave you with plenty to think about after the credits roll, then Kill List is definitely worth checking 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 02 May 2024 03:00:00 -0700 TruStory FM TruStory FM 3487 “How many on the list?”
A Slow-Burn Descent into Darkness

Ben Wheatley's second feature film, Kill List, was released in 2011 to critical acclaim. The film follows Jay, a former soldier turned hitman, as he takes on a new job with his friend Gal after a traumatic event in Kiev leaves him unable to work for eight months. As Jay and Gal begin their new assignment, they quickly realize that there is more to their targets than meets the eye, and they find themselves embroiled in a dark and twisted conspiracy.

Unraveling the Mysteries of Kill List

In this episode of The Next Reel, we dive deep into the many layers of Kill List. We discuss how the film slowly reveals information about Jay's past and his work as a hitman, keeping the audience guessing until the very end. We also explore the film's shift from what’s been described as a kitchen sink drama to a hitman story and finally to a cult conspiracy, and how Wheatley ties all of these elements together in a satisfying way – at least for us.

Throughout our discussion, we highlight the incredible performance of Neil Maskell as Jay, a man struggling with trauma and rage. We also touch on the film's exploration of masculinity and the ways in which Jay's inability to express his emotions leads to violence and destruction.

Other Points of Discussion

  • The film's references to Arthurian legend and how they relate to Jay's character
  • The twist ending and its impact on the story
  • The relationship between Jay and his wife Shel, played by MyAnna Buring
  • The relationship between Jay and Gal, his best friend and co-worker, played by Michael Smiley
  • The film's use of violence and how it serves the story

Kill List is a film that feels like one that will reward us on multiple viewings, as each watch hopefully will reveal new clues and connections that we may have been missed the first time around. While the ending may be polarizing for some viewers, we found it to be a satisfying conclusion to a story that keeps you guessing until the very last frame.

A Must-See for Fans of Slow-Burn Thrillers

Overall, we thoroughly enjoyed Kill List and its slow-burn approach to storytelling. Ben Wheatley and his wife/co-writer Amy Jump craft a tense and unsettling atmosphere that keeps you on the edge of your seat, and the performances from the entire cast are top-notch. If you're a fan of films that take their time to unravel their mysteries and leave you with plenty to think about after the credits roll, then Kill List is definitely worth checking 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!

Film Sundries


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The Next Reel Family of Film Shows:

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]]> 2011, 2010s, Ben Wheatley, 2013 Fangoria Chainsaw Awards Best Actor nominees No Andy Nelson Pete Wright The Grey • The Next Reel 13 13 47 47 The Grey • The Next Reel full cd8c9418-737b-4ef5-a64f-fd3a023ad51e https://share.transistor.fm/s/e9a47c6b “They weren’t eating him. They were killing him.”
A Harrowing Tale of Survival in the Alaskan Wilderness

In 2011, director Joe Carnahan set out to create a film that would push the boundaries of the survival genre. With a script co-written by Ian Mackenzie Jeffers, based on his short story "Ghost Walker," Carnahan assembled a talented cast led by Liam Neeson to bring this harrowing tale to life. Filming took place in the harsh conditions of British Columbia, Canada, where the cast and crew faced frigid temperatures and unforgiving terrain. Join us – Pete Wright and Andy Nelson – as we kick off the 2013 Fangoria Chainsaw Awards Best Actor nominees series with a conversation about The Grey.

Survival, Philosophy, and the Meaning of Life in the Face of Death

In our discussion, we delve into the film's exploration of survival, philosophy, and the meaning of life. The Grey is more than just a tale of man versus nature; it's a deeply introspective journey that forces its characters to confront their own mortality and find purpose in the face of death. We analyze the powerful performances, particularly those of Liam Neeson and Frank Grillo, who bring depth and vulnerability to their roles.

The film's stunning cinematography and realistic portrayal of the Alaskan wilderness are also topics of discussion. We examine how Carnahan and his team utilized a combination of practical effects, CGI, and real wolves to create a visceral and immersive experience for the audience. However, we also note some inconsistencies in the characters' clothing choices, which occasionally detract from the overall believability of the film. (At least for Pete’s wife.)

Other Points of Interest

  • The symbolism of the wolf pack and its parallel to the group of survivors
  • The use of poetry as a recurring motif throughout the film
  • The controversial ending and its post-credits scene
  • The film's themes of masculinity, redemption, and facing one's fears

The Grey is a film that stays with you long after the credits roll. It's a testament to the human spirit and the lengths we will go to survive in the face of overwhelming odds. Carnahan's direction, coupled with the powerful performances from the ensemble cast, makes for a gripping and emotionally charged viewing experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “They weren’t eating him. They were killing him.”
A Harrowing Tale of Survival in the Alaskan Wilderness

In 2011, director Joe Carnahan set out to create a film that would push the boundaries of the survival genre. With a script co-written by Ian Mackenzie Jeffers, based on his short story "Ghost Walker," Carnahan assembled a talented cast led by Liam Neeson to bring this harrowing tale to life. Filming took place in the harsh conditions of British Columbia, Canada, where the cast and crew faced frigid temperatures and unforgiving terrain. Join us – Pete Wright and Andy Nelson – as we kick off the 2013 Fangoria Chainsaw Awards Best Actor nominees series with a conversation about The Grey.

Survival, Philosophy, and the Meaning of Life in the Face of Death

In our discussion, we delve into the film's exploration of survival, philosophy, and the meaning of life. The Grey is more than just a tale of man versus nature; it's a deeply introspective journey that forces its characters to confront their own mortality and find purpose in the face of death. We analyze the powerful performances, particularly those of Liam Neeson and Frank Grillo, who bring depth and vulnerability to their roles.

The film's stunning cinematography and realistic portrayal of the Alaskan wilderness are also topics of discussion. We examine how Carnahan and his team utilized a combination of practical effects, CGI, and real wolves to create a visceral and immersive experience for the audience. However, we also note some inconsistencies in the characters' clothing choices, which occasionally detract from the overall believability of the film. (At least for Pete’s wife.)

Other Points of Interest

  • The symbolism of the wolf pack and its parallel to the group of survivors
  • The use of poetry as a recurring motif throughout the film
  • The controversial ending and its post-credits scene
  • The film's themes of masculinity, redemption, and facing one's fears

The Grey is a film that stays with you long after the credits roll. It's a testament to the human spirit and the lengths we will go to survive in the face of overwhelming odds. Carnahan's direction, coupled with the powerful performances from the ensemble cast, makes for a gripping and emotionally charged viewing experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 25 Apr 2024 03:00:00 -0700 TruStory FM TruStory FM 4593 “They weren’t eating him. They were killing him.”
A Harrowing Tale of Survival in the Alaskan Wilderness

In 2011, director Joe Carnahan set out to create a film that would push the boundaries of the survival genre. With a script co-written by Ian Mackenzie Jeffers, based on his short story "Ghost Walker," Carnahan assembled a talented cast led by Liam Neeson to bring this harrowing tale to life. Filming took place in the harsh conditions of British Columbia, Canada, where the cast and crew faced frigid temperatures and unforgiving terrain. Join us – Pete Wright and Andy Nelson – as we kick off the 2013 Fangoria Chainsaw Awards Best Actor nominees series with a conversation about The Grey.

Survival, Philosophy, and the Meaning of Life in the Face of Death

In our discussion, we delve into the film's exploration of survival, philosophy, and the meaning of life. The Grey is more than just a tale of man versus nature; it's a deeply introspective journey that forces its characters to confront their own mortality and find purpose in the face of death. We analyze the powerful performances, particularly those of Liam Neeson and Frank Grillo, who bring depth and vulnerability to their roles.

The film's stunning cinematography and realistic portrayal of the Alaskan wilderness are also topics of discussion. We examine how Carnahan and his team utilized a combination of practical effects, CGI, and real wolves to create a visceral and immersive experience for the audience. However, we also note some inconsistencies in the characters' clothing choices, which occasionally detract from the overall believability of the film. (At least for Pete’s wife.)

Other Points of Interest

  • The symbolism of the wolf pack and its parallel to the group of survivors
  • The use of poetry as a recurring motif throughout the film
  • The controversial ending and its post-credits scene
  • The film's themes of masculinity, redemption, and facing one's fears

The Grey is a film that stays with you long after the credits roll. It's a testament to the human spirit and the lengths we will go to survive in the face of overwhelming odds. Carnahan's direction, coupled with the powerful performances from the ensemble cast, makes for a gripping and emotionally charged viewing experience. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 2011, 2010s, Joe Carnahan, 2013 Fangoria Chainsaw Awards Best Actor nominees No Andy Nelson Pete Wright Dialect Coach William Conacher on Ferris Bueller’s Day Off • Movies We Like 13 13 Dialect Coach William Conacher on Ferris Bueller’s Day Off • Movies We Like bonus 9ac43612-46d4-4d74-8fad-79570efe0973 https://share.transistor.fm/s/d2947d63 “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it."
Talking About Ferris Bueller’s Day Off with our guest, dialect coach William Conacher

In this episode of Movies We Like, Andy Nelson and Pete Wright are joined by renowned dialect coach William Conacher to discuss his fascinating career and the beloved classic Ferris Bueller's Day Off. Conacher shares his journey from actor to dialect coach, working on projects like The Crown, Spencer, and No Time to Die, and the intricate process of teaching actors to master various accents and dialects.

Conacher delves into the art of breaking down accents into teachable components, the importance of finding authentic speech samples, and the challenges well-known actors face when taking on accents, noting that they often receive more scrutiny and criticism compared to lesser-known actors, even when their accents are executed perfectly. He also shares insights on his role as a dialogue supervisor and the nuances of coaching actors in different languages and time periods.

The discussion touches on Conacher's experience working with actors like Kristen Stewart, Rami Malek, and members of the cast of The Crown, as well as his approach to coaching made-up dialects in films like The Chronicles of Narnia: Prince Caspian. Conacher also explores the diversity of London accents and the influence of ethnicity and culture on speech patterns.

Ferris Bueller's Day Off remains a timeless classic that continues to captivate audiences with its wit, charm, and unforgettable performances. William Conacher's expertise and insights into the world of dialect coaching add a fascinating layer to the appreciation of this beloved film. Join Andy, Pete, and William as they celebrate the enduring appeal of Ferris Bueller's Day Off and explore the art of bringing authentic voices to the screen.

Film Sundries


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]]> “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it."
Talking About Ferris Bueller’s Day Off with our guest, dialect coach William Conacher

In this episode of Movies We Like, Andy Nelson and Pete Wright are joined by renowned dialect coach William Conacher to discuss his fascinating career and the beloved classic Ferris Bueller's Day Off. Conacher shares his journey from actor to dialect coach, working on projects like The Crown, Spencer, and No Time to Die, and the intricate process of teaching actors to master various accents and dialects.

Conacher delves into the art of breaking down accents into teachable components, the importance of finding authentic speech samples, and the challenges well-known actors face when taking on accents, noting that they often receive more scrutiny and criticism compared to lesser-known actors, even when their accents are executed perfectly. He also shares insights on his role as a dialogue supervisor and the nuances of coaching actors in different languages and time periods.

The discussion touches on Conacher's experience working with actors like Kristen Stewart, Rami Malek, and members of the cast of The Crown, as well as his approach to coaching made-up dialects in films like The Chronicles of Narnia: Prince Caspian. Conacher also explores the diversity of London accents and the influence of ethnicity and culture on speech patterns.

Ferris Bueller's Day Off remains a timeless classic that continues to captivate audiences with its wit, charm, and unforgettable performances. William Conacher's expertise and insights into the world of dialect coaching add a fascinating layer to the appreciation of this beloved film. Join Andy, Pete, and William as they celebrate the enduring appeal of Ferris Bueller's Day Off and explore the art of bringing authentic voices to the screen.

Film Sundries


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]]> Mon, 22 Apr 2024 03:00:00 -0700 TruStory FM TruStory FM 4417 “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it."
Talking About Ferris Bueller’s Day Off with our guest, dialect coach William Conacher

In this episode of Movies We Like, Andy Nelson and Pete Wright are joined by renowned dialect coach William Conacher to discuss his fascinating career and the beloved classic Ferris Bueller's Day Off. Conacher shares his journey from actor to dialect coach, working on projects like The Crown, Spencer, and No Time to Die, and the intricate process of teaching actors to master various accents and dialects.

Conacher delves into the art of breaking down accents into teachable components, the importance of finding authentic speech samples, and the challenges well-known actors face when taking on accents, noting that they often receive more scrutiny and criticism compared to lesser-known actors, even when their accents are executed perfectly. He also shares insights on his role as a dialogue supervisor and the nuances of coaching actors in different languages and time periods.

The discussion touches on Conacher's experience working with actors like Kristen Stewart, Rami Malek, and members of the cast of The Crown, as well as his approach to coaching made-up dialects in films like The Chronicles of Narnia: Prince Caspian. Conacher also explores the diversity of London accents and the influence of ethnicity and culture on speech patterns.

Ferris Bueller's Day Off remains a timeless classic that continues to captivate audiences with its wit, charm, and unforgettable performances. William Conacher's expertise and insights into the world of dialect coaching add a fascinating layer to the appreciation of this beloved film. Join Andy, Pete, and William as they celebrate the enduring appeal of Ferris Bueller's Day Off and explore the art of bringing authentic voices to the screen.

Film Sundries


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]]> 1986, 1980s, John Hughes No Andy Nelson Pete Wright Mulholland Dr. • The Next Reel 13 13 46 46 Mulholland Dr. • The Next Reel full a47fede5-3dba-4fc9-900a-ecad2ad31ca4 https://share.transistor.fm/s/d75802c8 “It'll be just like in the movies. We'll pretend to be someone else.”
A Winding Road to Production

David Lynch's Mulholland Dr. started life as a television pilot for ABC, but when the network passed on the project, Lynch reworked it into a feature film. The resulting movie is a surreal, non-linear exploration of the dark side of Hollywood, blending elements of mystery, romance, and psychological horror. Join us – Pete Wright and Andy Nelson – as we continue the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about Mulholland Dr.

Dreams, Illusions, and the Seedy Underbelly of Tinseltown

In our discussion, we delve into the film's complex narrative structure and the various interpretations of its plot. At least how we see it. We examine how Lynch uses the concept of dreams and illusions to explore the characters' psyches and the darker aspects of the entertainment industry. The film's cinematography, nominated for a Spirit Award, is also a focal point of our conversation, as we analyze how Lynch and his team create a haunting, dreamlike atmosphere that enhances the story's themes.

Unraveling the Mysteries of Mulholland Dr.

  • The stellar performances of Naomi Watts and Laura Elena Harring
  • The film's origins as a television pilot and how it influences the final product
  • Lynch's refusal to explain the film's meaning and the audience's role in interpretation
  • The use of symbolism and recurring motifs throughout the narrative

A Mesmerizing Journey into the Subconscious

Mulholland Dr. is a film that demands multiple viewings and encourages deep analysis. Its enigmatic nature and layered storytelling make it a prime example of Lynch's unique style and vision. While the movie's unconventional structure and surreal elements may not appeal to everyone, it remains a fascinating exploration of identity, dreams, and the dark side of ambition. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “It'll be just like in the movies. We'll pretend to be someone else.”
A Winding Road to Production

David Lynch's Mulholland Dr. started life as a television pilot for ABC, but when the network passed on the project, Lynch reworked it into a feature film. The resulting movie is a surreal, non-linear exploration of the dark side of Hollywood, blending elements of mystery, romance, and psychological horror. Join us – Pete Wright and Andy Nelson – as we continue the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about Mulholland Dr.

Dreams, Illusions, and the Seedy Underbelly of Tinseltown

In our discussion, we delve into the film's complex narrative structure and the various interpretations of its plot. At least how we see it. We examine how Lynch uses the concept of dreams and illusions to explore the characters' psyches and the darker aspects of the entertainment industry. The film's cinematography, nominated for a Spirit Award, is also a focal point of our conversation, as we analyze how Lynch and his team create a haunting, dreamlike atmosphere that enhances the story's themes.

Unraveling the Mysteries of Mulholland Dr.

  • The stellar performances of Naomi Watts and Laura Elena Harring
  • The film's origins as a television pilot and how it influences the final product
  • Lynch's refusal to explain the film's meaning and the audience's role in interpretation
  • The use of symbolism and recurring motifs throughout the narrative

A Mesmerizing Journey into the Subconscious

Mulholland Dr. is a film that demands multiple viewings and encourages deep analysis. Its enigmatic nature and layered storytelling make it a prime example of Lynch's unique style and vision. While the movie's unconventional structure and surreal elements may not appeal to everyone, it remains a fascinating exploration of identity, dreams, and the dark side of ambition. 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


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]]> Thu, 18 Apr 2024 03:00:00 -0700 TruStory FM TruStory FM 4349 “It'll be just like in the movies. We'll pretend to be someone else.”
A Winding Road to Production

David Lynch's Mulholland Dr. started life as a television pilot for ABC, but when the network passed on the project, Lynch reworked it into a feature film. The resulting movie is a surreal, non-linear exploration of the dark side of Hollywood, blending elements of mystery, romance, and psychological horror. Join us – Pete Wright and Andy Nelson – as we continue the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about Mulholland Dr.

Dreams, Illusions, and the Seedy Underbelly of Tinseltown

In our discussion, we delve into the film's complex narrative structure and the various interpretations of its plot. At least how we see it. We examine how Lynch uses the concept of dreams and illusions to explore the characters' psyches and the darker aspects of the entertainment industry. The film's cinematography, nominated for a Spirit Award, is also a focal point of our conversation, as we analyze how Lynch and his team create a haunting, dreamlike atmosphere that enhances the story's themes.

Unraveling the Mysteries of Mulholland Dr.

  • The stellar performances of Naomi Watts and Laura Elena Harring
  • The film's origins as a television pilot and how it influences the final product
  • Lynch's refusal to explain the film's meaning and the audience's role in interpretation
  • The use of symbolism and recurring motifs throughout the narrative

A Mesmerizing Journey into the Subconscious

Mulholland Dr. is a film that demands multiple viewings and encourages deep analysis. Its enigmatic nature and layered storytelling make it a prime example of Lynch's unique style and vision. While the movie's unconventional structure and surreal elements may not appeal to everyone, it remains a fascinating exploration of identity, dreams, and the dark side of ambition. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 2001, 2000s, David Lynch, 2002 Film Independent Spirit Awards Best Cinematography Nominees No Andy Nelson Pete Wright Memento • Rebroadcast • The Next Reel 13 13 Memento • Rebroadcast • The Next Reel bonus d0b2a7ae-7a7d-49ad-9359-ab3cd1a526a9 https://share.transistor.fm/s/0b15bde6 "You can’t trust a man’s life to your little notes and pictures.”
REBROADCAST

Christopher Nolan’s second film, Memento from 2001, caught a lot of attention on its release. The clever screenplay structure where the story unfolds both forward and backward in time creates an experience much like that of 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 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 as his cinematographer and David Julyan composed music. Do we like the look and 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. The 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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> "You can’t trust a man’s life to your little notes and pictures.”
REBROADCAST

Christopher Nolan’s second film, Memento from 2001, caught a lot of attention on its release. The clever screenplay structure where the story unfolds both forward and backward in time creates an experience much like that of 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 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 as his cinematographer and David Julyan composed music. Do we like the look and 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. The 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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 15 Apr 2024 03:00:00 -0700 TruStory FM TruStory FM 3887 "You can’t trust a man’s life to your little notes and pictures.”
REBROADCAST

Christopher Nolan’s second film, Memento from 2001, caught a lot of attention on its release. The clever screenplay structure where the story unfolds both forward and backward in time creates an experience much like that of 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 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 as his cinematographer and David Julyan composed music. Do we like the look and 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. The 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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2001, 2000s, Christopher Nolan, 2002 Film Independent Spirit Awards Best Cinematography Nominees No Andy Nelson Pete Wright Hedwig and the Angry Inch • The Next Reel 13 13 45 45 Hedwig and the Angry Inch • The Next Reel full ceea0f17-34b0-4310-88e0-4b5b31332372 https://share.transistor.fm/s/2a140bd6 “It’s what I have to work with.”
Adapted from the critically acclaimed Off-Broadway musical, Hedwig and the Angry Inch tells the story of an East German rock star on a journey of self-discovery. Directed by and starring John Cameron Mitchell, the film premiered at the 2001 Sundance Film Festival. Join us – Pete Wright and Andy Nelson – as we continue the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about Hedwig and the Angry Inch.

With standout performances from Mitchell as well as Michael Pitt and Miriam Shore, Hedwig wrestles with difficult questions around gender that still resonate today. While our opinions differ on certain story elements, both agree the trailblazing musical remains an artful and subversive work.

We discuss some musical numbers, the complex journeys of Hedwig, Yitzhak, and ‘antagonist’ Tommy Gnosis, as well as supporting roles from Andrea Martin and Stephen Trask. Debates emerge around how the film brings its story to a close through dreamlike imagery. Both come to appreciate Hedwig even more through discussing its timeless message of self-acceptance.

With weighty themes balanced with humor and rock, the film leaves much to contemplate. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “It’s what I have to work with.”
Adapted from the critically acclaimed Off-Broadway musical, Hedwig and the Angry Inch tells the story of an East German rock star on a journey of self-discovery. Directed by and starring John Cameron Mitchell, the film premiered at the 2001 Sundance Film Festival. Join us – Pete Wright and Andy Nelson – as we continue the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about Hedwig and the Angry Inch.

With standout performances from Mitchell as well as Michael Pitt and Miriam Shore, Hedwig wrestles with difficult questions around gender that still resonate today. While our opinions differ on certain story elements, both agree the trailblazing musical remains an artful and subversive work.

We discuss some musical numbers, the complex journeys of Hedwig, Yitzhak, and ‘antagonist’ Tommy Gnosis, as well as supporting roles from Andrea Martin and Stephen Trask. Debates emerge around how the film brings its story to a close through dreamlike imagery. Both come to appreciate Hedwig even more through discussing its timeless message of self-acceptance.

With weighty themes balanced with humor and rock, the film leaves much to contemplate. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 11 Apr 2024 03:00:00 -0700 TruStory FM TruStory FM 3029 “It’s what I have to work with.”
Adapted from the critically acclaimed Off-Broadway musical, Hedwig and the Angry Inch tells the story of an East German rock star on a journey of self-discovery. Directed by and starring John Cameron Mitchell, the film premiered at the 2001 Sundance Film Festival. Join us – Pete Wright and Andy Nelson – as we continue the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about Hedwig and the Angry Inch.

With standout performances from Mitchell as well as Michael Pitt and Miriam Shore, Hedwig wrestles with difficult questions around gender that still resonate today. While our opinions differ on certain story elements, both agree the trailblazing musical remains an artful and subversive work.

We discuss some musical numbers, the complex journeys of Hedwig, Yitzhak, and ‘antagonist’ Tommy Gnosis, as well as supporting roles from Andrea Martin and Stephen Trask. Debates emerge around how the film brings its story to a close through dreamlike imagery. Both come to appreciate Hedwig even more through discussing its timeless message of self-acceptance.

With weighty themes balanced with humor and rock, the film leaves much to contemplate. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2001, 2000s, John Cameron Mitchell, 2002 Film Independent Spirit Awards Best Cinematography Nominees No Andy Nelson Pete Wright The Deep End • The Next Reel 13 13 43 43 The Deep End • The Next Reel full 0b2269c3-8a35-498e-ad73-81ac25d48361 https://share.transistor.fm/s/e6435b0c “Make a sound and I’m going to drown you in the lake.”
A Sundance Standout That Earned Cinematography Honors

Scott McGehee and David Siegel, the directing duo behind The Deep End, began developing the project in the late 1990s. Inspired by the 1940s novel The Blank Wall by Elisabeth Sanxay Holding and the 1949 film adaptation The Reckless Moment directed by Max Ophüls, they set out to create a modern noir thriller centered around a mother's fierce love and protection for her son. With the help of cinematographer Giles Nuttgens, they crafted a visually stunning and emotionally charged film that caught the attention of the Sundance Film Festival and beyond. Join us – Pete Wright and Andy Nelson – as we continue the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about The Deep End.

A Mother's Love, a Son's Secret, and a Blackmailer's Agenda

In our discussion of The Deep End, we explore the central premise of the film – a mother who discovers a dead body and believes her son is responsible. Tilda Swinton portrays Margaret Hall, a woman who makes a quick decision to cover up the crime. As the plot progresses, a blackmailer enters the picture, complicating matters further. While we both appreciate aspects of the film, we find ourselves divided on the effectiveness of the story and Swinton's performance. The cinematography, however, remains a standout element, earning its Independent Spirit Award nomination.

Other Discussion Points

  • The supporting performance of Goran Visnjic as the blackmailer Alek Spera and how his character evolves throughout the film
  • The film's handling of the son's sexuality and the potential consequences of his father discovering the truth
  • The use of Lake Tahoe as a setting and its contribution to the overall atmosphere
  • Pacing issues and plot points that we found problematic or unbelievable

The Deep End is an intriguing and visually captivating thriller that sparked a lively discussion between us. While we may not see eye-to-eye on all aspects of the film, particularly Tilda Swinton's performance and the overall effectiveness of the story, we agree that the cinematography is truly remarkable and worthy of its Independent Spirit Award nomination. The film's exploration of complex themes and moral dilemmas makes it a thought-provoking watch, even if it doesn't quite hit the mark in all areas. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Make a sound and I’m going to drown you in the lake.”
A Sundance Standout That Earned Cinematography Honors

Scott McGehee and David Siegel, the directing duo behind The Deep End, began developing the project in the late 1990s. Inspired by the 1940s novel The Blank Wall by Elisabeth Sanxay Holding and the 1949 film adaptation The Reckless Moment directed by Max Ophüls, they set out to create a modern noir thriller centered around a mother's fierce love and protection for her son. With the help of cinematographer Giles Nuttgens, they crafted a visually stunning and emotionally charged film that caught the attention of the Sundance Film Festival and beyond. Join us – Pete Wright and Andy Nelson – as we continue the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about The Deep End.

A Mother's Love, a Son's Secret, and a Blackmailer's Agenda

In our discussion of The Deep End, we explore the central premise of the film – a mother who discovers a dead body and believes her son is responsible. Tilda Swinton portrays Margaret Hall, a woman who makes a quick decision to cover up the crime. As the plot progresses, a blackmailer enters the picture, complicating matters further. While we both appreciate aspects of the film, we find ourselves divided on the effectiveness of the story and Swinton's performance. The cinematography, however, remains a standout element, earning its Independent Spirit Award nomination.

Other Discussion Points

  • The supporting performance of Goran Visnjic as the blackmailer Alek Spera and how his character evolves throughout the film
  • The film's handling of the son's sexuality and the potential consequences of his father discovering the truth
  • The use of Lake Tahoe as a setting and its contribution to the overall atmosphere
  • Pacing issues and plot points that we found problematic or unbelievable

The Deep End is an intriguing and visually captivating thriller that sparked a lively discussion between us. While we may not see eye-to-eye on all aspects of the film, particularly Tilda Swinton's performance and the overall effectiveness of the story, we agree that the cinematography is truly remarkable and worthy of its Independent Spirit Award nomination. The film's exploration of complex themes and moral dilemmas makes it a thought-provoking watch, even if it doesn't quite hit the mark in all areas. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 04 Apr 2024 03:00:00 -0700 TruStory FM TruStory FM 3558 “Make a sound and I’m going to drown you in the lake.”
A Sundance Standout That Earned Cinematography Honors

Scott McGehee and David Siegel, the directing duo behind The Deep End, began developing the project in the late 1990s. Inspired by the 1940s novel The Blank Wall by Elisabeth Sanxay Holding and the 1949 film adaptation The Reckless Moment directed by Max Ophüls, they set out to create a modern noir thriller centered around a mother's fierce love and protection for her son. With the help of cinematographer Giles Nuttgens, they crafted a visually stunning and emotionally charged film that caught the attention of the Sundance Film Festival and beyond. Join us – Pete Wright and Andy Nelson – as we continue the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about The Deep End.

A Mother's Love, a Son's Secret, and a Blackmailer's Agenda

In our discussion of The Deep End, we explore the central premise of the film – a mother who discovers a dead body and believes her son is responsible. Tilda Swinton portrays Margaret Hall, a woman who makes a quick decision to cover up the crime. As the plot progresses, a blackmailer enters the picture, complicating matters further. While we both appreciate aspects of the film, we find ourselves divided on the effectiveness of the story and Swinton's performance. The cinematography, however, remains a standout element, earning its Independent Spirit Award nomination.

Other Discussion Points

  • The supporting performance of Goran Visnjic as the blackmailer Alek Spera and how his character evolves throughout the film
  • The film's handling of the son's sexuality and the potential consequences of his father discovering the truth
  • The use of Lake Tahoe as a setting and its contribution to the overall atmosphere
  • Pacing issues and plot points that we found problematic or unbelievable

The Deep End is an intriguing and visually captivating thriller that sparked a lively discussion between us. While we may not see eye-to-eye on all aspects of the film, particularly Tilda Swinton's performance and the overall effectiveness of the story, we agree that the cinematography is truly remarkable and worthy of its Independent Spirit Award nomination. The film's exploration of complex themes and moral dilemmas makes it a thought-provoking watch, even if it doesn't quite hit the mark in all areas. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2001, 2000s, Scott McGehee, David Siegel No Andy Nelson Pete Wright The American Astronaut • The Next Reel 13 13 42 42 The American Astronaut • The Next Reel full 03ffa1aa-d6c9-45a7-a57c-2f0919b4ee5e https://share.transistor.fm/s/214d050c “I’ve never understood this joke, but then I’ve never been to Earth.”
Shooting for the Stars on a Shoestring Budget

In 1996, writer/director Cory McAbee set out to make a wholly unique film that blended elements of science fiction, Western, comedy and musical genres. With a background in music and short films, McAbee threw everything he had into crafting the world of The American Astronaut. Shot on stark black and white 35mm film, this low-budget labor of love caught the attention of the Film Independent Spirit Awards, earning a Best Cinematography nomination. Join us – Pete Wright and Andy Nelson – as we kick off the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about McAbee’s 2001 film The American Astronaut.

Traversing the Quirky Universe of The American Astronaut

Our discussion launches into the film's fascinating blend of genre tropes and cinematic influences. The lo-fi special effects, particularly in depicting space travel, somehow work perfectly in the established universe. We marvel at the creative framing and cinematography that elevate the low-budget production design. The memorable musical numbers get us singing along. At the heart of the story, we explore how this space Western playfully taps into themes of masculinity and loneliness across the cosmos.

Further Points of Discussion

  • Appreciating the authentic, understated performances
  • Noting the film's multitude of cinematic influences
  • Struggling with the underdeveloped antagonist storyline
  • Reveling in the earworm-inducing soundtrack
  • Comparing The American Astronaut to other quirky genre-benders

A Flawed but Ambitious Debut

The American Astronaut is a testament to the power of a singular creative vision. While the ending stumbles a bit in its execution, the totality of Cory McAbee's debut feature is an undeniably striking and inventive piece of independent filmmaking. The cinematography rightfully earns its place among the Film Independent Spirit Awards nominees. Despite the budgetary limitations, this is a film that sticks with you long after the credits roll. 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

The Next Reel’s Family of Film Podcasts


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I’ve never understood this joke, but then I’ve never been to Earth.”
Shooting for the Stars on a Shoestring Budget

In 1996, writer/director Cory McAbee set out to make a wholly unique film that blended elements of science fiction, Western, comedy and musical genres. With a background in music and short films, McAbee threw everything he had into crafting the world of The American Astronaut. Shot on stark black and white 35mm film, this low-budget labor of love caught the attention of the Film Independent Spirit Awards, earning a Best Cinematography nomination. Join us – Pete Wright and Andy Nelson – as we kick off the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about McAbee’s 2001 film The American Astronaut.

Traversing the Quirky Universe of The American Astronaut

Our discussion launches into the film's fascinating blend of genre tropes and cinematic influences. The lo-fi special effects, particularly in depicting space travel, somehow work perfectly in the established universe. We marvel at the creative framing and cinematography that elevate the low-budget production design. The memorable musical numbers get us singing along. At the heart of the story, we explore how this space Western playfully taps into themes of masculinity and loneliness across the cosmos.

Further Points of Discussion

  • Appreciating the authentic, understated performances
  • Noting the film's multitude of cinematic influences
  • Struggling with the underdeveloped antagonist storyline
  • Reveling in the earworm-inducing soundtrack
  • Comparing The American Astronaut to other quirky genre-benders

A Flawed but Ambitious Debut

The American Astronaut is a testament to the power of a singular creative vision. While the ending stumbles a bit in its execution, the totality of Cory McAbee's debut feature is an undeniably striking and inventive piece of independent filmmaking. The cinematography rightfully earns its place among the Film Independent Spirit Awards nominees. Despite the budgetary limitations, this is a film that sticks with you long after the credits roll. 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

The Next Reel’s Family of Film Podcasts


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 28 Mar 2024 03:00:00 -0700 TruStory FM TruStory FM 3386 “I’ve never understood this joke, but then I’ve never been to Earth.”
Shooting for the Stars on a Shoestring Budget

In 1996, writer/director Cory McAbee set out to make a wholly unique film that blended elements of science fiction, Western, comedy and musical genres. With a background in music and short films, McAbee threw everything he had into crafting the world of The American Astronaut. Shot on stark black and white 35mm film, this low-budget labor of love caught the attention of the Film Independent Spirit Awards, earning a Best Cinematography nomination. Join us – Pete Wright and Andy Nelson – as we kick off the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about McAbee’s 2001 film The American Astronaut.

Traversing the Quirky Universe of The American Astronaut

Our discussion launches into the film's fascinating blend of genre tropes and cinematic influences. The lo-fi special effects, particularly in depicting space travel, somehow work perfectly in the established universe. We marvel at the creative framing and cinematography that elevate the low-budget production design. The memorable musical numbers get us singing along. At the heart of the story, we explore how this space Western playfully taps into themes of masculinity and loneliness across the cosmos.

Further Points of Discussion

  • Appreciating the authentic, understated performances
  • Noting the film's multitude of cinematic influences
  • Struggling with the underdeveloped antagonist storyline
  • Reveling in the earworm-inducing soundtrack
  • Comparing The American Astronaut to other quirky genre-benders

A Flawed but Ambitious Debut

The American Astronaut is a testament to the power of a singular creative vision. While the ending stumbles a bit in its execution, the totality of Cory McAbee's debut feature is an undeniably striking and inventive piece of independent filmmaking. The cinematography rightfully earns its place among the Film Independent Spirit Awards nominees. Despite the budgetary limitations, this is a film that sticks with you long after the credits roll. 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

The Next Reel’s Family of Film Podcasts


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2001, 2000s, Cory McAbee, 2002 Film Independent Spirit Awards Best Cinematography Nominees No Andy Nelson Pete Wright Wuxia Unleashed: Leon Hunt & Chris Hamm on Martial Arts and Myth • Cinema Scope • Bonus Episode 13 13 Wuxia Unleashed: Leon Hunt & Chris Hamm on Martial Arts and Myth • Cinema Scope • Bonus Episode bonus 8e8d8c7b-27aa-4567-ae0c-59d45ec9bef4 https://share.transistor.fm/s/2b91af4a In this inaugural episode of Cinema Scope, host Andy Nelson is joined by professors Leon Hunt and Chris Hamm to explore the captivating world of wuxia, a Chinese film genre that blends philosophy, action, and legend. They discuss the key elements that define wuxia, such as the chivalrous heroes, period settings, and fantastical elements, as well as the concept of jianghu, a unique world within wuxia stories.

Leon and Chris trace the evolution of wuxia from its roots in early Chinese literature to its influence on other genres, including Hollywood blockbusters. They also highlight notable works like A Touch of Zen, The Bride with White Hair, and Crouching Tiger, Hidden Dragon, analyzing their contributions to the development and popularity of wuxia cinema.

This engaging and informative episode will deepen your appreciation for the richness and complexity of the wuxia genre, inspiring you to explore more of these captivating films.

Film Sundries

]]> In this inaugural episode of Cinema Scope, host Andy Nelson is joined by professors Leon Hunt and Chris Hamm to explore the captivating world of wuxia, a Chinese film genre that blends philosophy, action, and legend. They discuss the key elements that define wuxia, such as the chivalrous heroes, period settings, and fantastical elements, as well as the concept of jianghu, a unique world within wuxia stories.

Leon and Chris trace the evolution of wuxia from its roots in early Chinese literature to its influence on other genres, including Hollywood blockbusters. They also highlight notable works like A Touch of Zen, The Bride with White Hair, and Crouching Tiger, Hidden Dragon, analyzing their contributions to the development and popularity of wuxia cinema.

This engaging and informative episode will deepen your appreciation for the richness and complexity of the wuxia genre, inspiring you to explore more of these captivating films.

Film Sundries

]]> Wed, 27 Mar 2024 03:00:00 -0700 TruStory FM TruStory FM 4701 In this inaugural episode of Cinema Scope, host Andy Nelson is joined by professors Leon Hunt and Chris Hamm to explore the captivating world of wuxia, a Chinese film genre that blends philosophy, action, and legend. They discuss the key elements that define wuxia, such as the chivalrous heroes, period settings, and fantastical elements, as well as the concept of jianghu, a unique world within wuxia stories.

Leon and Chris trace the evolution of wuxia from its roots in early Chinese literature to its influence on other genres, including Hollywood blockbusters. They also highlight notable works like A Touch of Zen, The Bride with White Hair, and Crouching Tiger, Hidden Dragon, analyzing their contributions to the development and popularity of wuxia cinema.

This engaging and informative episode will deepen your appreciation for the richness and complexity of the wuxia genre, inspiring you to explore more of these captivating films.

Film Sundries

]]> wuxia, Leon Hunt, Chris Hamm No Andy Nelson Pete Wright Actor Patrick Fabian on The Man Who Would Be King • Movies We Like 5 5 8 8 Actor Patrick Fabian on The Man Who Would Be King • Movies We Like full e2e9b82a-77b6-4d6a-8f8b-3d1bbbbc2fd2 https://share.transistor.fm/s/263628f7 “You call it luck. I call it destiny.”
Talking About John Huston’s The Man Who Would Be King with our guest, actor Patrick Fabian

In this engaging episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by special guest Patrick Fabian to discuss John Huston's epic adventure film, The Man Who Would Be King. Fabian, known for his roles in numerous TV shows and films, including his standout performance as Howard Hamlin in Better Call Saul, shares his passion for this classic movie and how it inspired him to pursue a career in acting.

Throughout the episode, Fabian delves into his early days as an aspiring actor, from his time as a band president in high school to his decision to pursue a master's degree in theater at Cal State Long Beach. He also shares anecdotes about his experiences working on various television shows and the valuable lessons he learned along the way, such as the importance of persistence and adaptability in the face of rejection.

As the conversation turns to The Man Who Would Be King, Fabian expresses his admiration for the film's sense of adventure, the strong bond between the lead characters, and the captivating performances by Sean Connery and Michael Caine. The hosts and guest explore the movie's themes, its representation of colonialism, and the enduring appeal of its grand storytelling.

The Man Who Would Be King is a timeless adventure that continues to enthrall audiences with its sweeping narrative, unforgettable performances, and exotic locales. Andy Nelson, Pete Wright, and Patrick Fabian's engaging discussion about the film and Fabian's fascinating career journey make this episode of Movies We Like a must-listen for fans of classic cinema and those interested in the world of acting. Join them as they celebrate the enduring power of storytelling and the indelible impact that a single film can have on one's life and career.

Film Sundries

The Next Reel’s Family of Film Podcasts


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]]> “You call it luck. I call it destiny.”
Talking About John Huston’s The Man Who Would Be King with our guest, actor Patrick Fabian

In this engaging episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by special guest Patrick Fabian to discuss John Huston's epic adventure film, The Man Who Would Be King. Fabian, known for his roles in numerous TV shows and films, including his standout performance as Howard Hamlin in Better Call Saul, shares his passion for this classic movie and how it inspired him to pursue a career in acting.

Throughout the episode, Fabian delves into his early days as an aspiring actor, from his time as a band president in high school to his decision to pursue a master's degree in theater at Cal State Long Beach. He also shares anecdotes about his experiences working on various television shows and the valuable lessons he learned along the way, such as the importance of persistence and adaptability in the face of rejection.

As the conversation turns to The Man Who Would Be King, Fabian expresses his admiration for the film's sense of adventure, the strong bond between the lead characters, and the captivating performances by Sean Connery and Michael Caine. The hosts and guest explore the movie's themes, its representation of colonialism, and the enduring appeal of its grand storytelling.

The Man Who Would Be King is a timeless adventure that continues to enthrall audiences with its sweeping narrative, unforgettable performances, and exotic locales. Andy Nelson, Pete Wright, and Patrick Fabian's engaging discussion about the film and Fabian's fascinating career journey make this episode of Movies We Like a must-listen for fans of classic cinema and those interested in the world of acting. Join them as they celebrate the enduring power of storytelling and the indelible impact that a single film can have on one's life and career.

Film Sundries

The Next Reel’s Family of Film Podcasts


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Mon, 25 Mar 2024 03:00:00 -0700 TruStory FM TruStory FM 3502 “You call it luck. I call it destiny.”
Talking About John Huston’s The Man Who Would Be King with our guest, actor Patrick Fabian

In this engaging episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by special guest Patrick Fabian to discuss John Huston's epic adventure film, The Man Who Would Be King. Fabian, known for his roles in numerous TV shows and films, including his standout performance as Howard Hamlin in Better Call Saul, shares his passion for this classic movie and how it inspired him to pursue a career in acting.

Throughout the episode, Fabian delves into his early days as an aspiring actor, from his time as a band president in high school to his decision to pursue a master's degree in theater at Cal State Long Beach. He also shares anecdotes about his experiences working on various television shows and the valuable lessons he learned along the way, such as the importance of persistence and adaptability in the face of rejection.

As the conversation turns to The Man Who Would Be King, Fabian expresses his admiration for the film's sense of adventure, the strong bond between the lead characters, and the captivating performances by Sean Connery and Michael Caine. The hosts and guest explore the movie's themes, its representation of colonialism, and the enduring appeal of its grand storytelling.

The Man Who Would Be King is a timeless adventure that continues to enthrall audiences with its sweeping narrative, unforgettable performances, and exotic locales. Andy Nelson, Pete Wright, and Patrick Fabian's engaging discussion about the film and Fabian's fascinating career journey make this episode of Movies We Like a must-listen for fans of classic cinema and those interested in the world of acting. Join them as they celebrate the enduring power of storytelling and the indelible impact that a single film can have on one's life and career.

Film Sundries

The Next Reel’s Family of Film Podcasts


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]]> Patrick Fabian, John Huston, 1975, 1970s No Andy Nelson Pete Wright Soul Food • The Next Reel 13 13 41 41 Soul Food • The Next Reel full f1281ab4-7255-441c-af36-7a8cea4618d9 https://share.transistor.fm/s/5dcc9a90 “My grandma always said, ‘Family pulling together in times of need will make it strong.’”
The Family That Eats Together: A Discussion of Soul Food

Before Soul Food hit theaters in 1997, writer and director George Tillman Jr. struggled to get his first feature film made. After selling the script, the production company went under before filming began. Undeterred, Tillman persevered and found new backing from Kenneth “Babyface” Edmonds and his wife Tracey. Their shared vision brought Tillman’s semi-autobiographical story to life. Soul Food went on to become a breakout hit, launching Tillman’s career and sparking an ongoing debate about family, culture, and tradition.

Join us – Pete Wright and Andy Nelson – as we continue the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Tillman Jr.’s 1997 film Soul Food.

Digging into Family, Food, and Forgiveness

In our lively discussion, we dig into the joys and tensions of the Joseph family’s Sunday dinners. We’re divided on the effectiveness of young Ahmad’s voiceover narration as a narrative device. The family relationships feel authentic, with standout performances from the actresses playing the three sisters – Vanessa Williams, Vivica A. Fox, and Nia Long. However, we take issue with some of the easy storytelling choices, especially regarding Lem’s return to prison. The “fairy tale” ending strains believability more for Andy than Pete, but it does raise thought-provoking questions about the role of food and togetherness in absolving past wrongs.

More Food for Thought

  • Appreciating the film’s universal messages about family bonds
  • Mama’s troubling role in cultivating the family’s unhealthy diet
  • Brandon Hammond’s sweet portrayal of young Ahmad
  • Michael Beach excelling with an interesting role
  • Director George Tillman Jr.’s growth between this film and The Hate U Give

Bringing Families Together

Soul Food succeeds in celebrating the aspirational joy of gathering family around the table. While we question some of the storytelling choices, the performances draw us into the sprawling Joseph family. Throughout our conversation, we find plenty to chew on, from fairy tale endings to the competing pulls of past and future. It makes for a nourishing discussion worth tuning in to. 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


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]]> “My grandma always said, ‘Family pulling together in times of need will make it strong.’”
The Family That Eats Together: A Discussion of Soul Food

Before Soul Food hit theaters in 1997, writer and director George Tillman Jr. struggled to get his first feature film made. After selling the script, the production company went under before filming began. Undeterred, Tillman persevered and found new backing from Kenneth “Babyface” Edmonds and his wife Tracey. Their shared vision brought Tillman’s semi-autobiographical story to life. Soul Food went on to become a breakout hit, launching Tillman’s career and sparking an ongoing debate about family, culture, and tradition.

Join us – Pete Wright and Andy Nelson – as we continue the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Tillman Jr.’s 1997 film Soul Food.

Digging into Family, Food, and Forgiveness

In our lively discussion, we dig into the joys and tensions of the Joseph family’s Sunday dinners. We’re divided on the effectiveness of young Ahmad’s voiceover narration as a narrative device. The family relationships feel authentic, with standout performances from the actresses playing the three sisters – Vanessa Williams, Vivica A. Fox, and Nia Long. However, we take issue with some of the easy storytelling choices, especially regarding Lem’s return to prison. The “fairy tale” ending strains believability more for Andy than Pete, but it does raise thought-provoking questions about the role of food and togetherness in absolving past wrongs.

More Food for Thought

  • Appreciating the film’s universal messages about family bonds
  • Mama’s troubling role in cultivating the family’s unhealthy diet
  • Brandon Hammond’s sweet portrayal of young Ahmad
  • Michael Beach excelling with an interesting role
  • Director George Tillman Jr.’s growth between this film and The Hate U Give

Bringing Families Together

Soul Food succeeds in celebrating the aspirational joy of gathering family around the table. While we question some of the storytelling choices, the performances draw us into the sprawling Joseph family. Throughout our conversation, we find plenty to chew on, from fairy tale endings to the competing pulls of past and future. It makes for a nourishing discussion worth tuning in to. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 21 Mar 2024 03:00:00 -0700 TruStory FM TruStory FM 4320 “My grandma always said, ‘Family pulling together in times of need will make it strong.’”
The Family That Eats Together: A Discussion of Soul Food

Before Soul Food hit theaters in 1997, writer and director George Tillman Jr. struggled to get his first feature film made. After selling the script, the production company went under before filming began. Undeterred, Tillman persevered and found new backing from Kenneth “Babyface” Edmonds and his wife Tracey. Their shared vision brought Tillman’s semi-autobiographical story to life. Soul Food went on to become a breakout hit, launching Tillman’s career and sparking an ongoing debate about family, culture, and tradition.

Join us – Pete Wright and Andy Nelson – as we continue the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Tillman Jr.’s 1997 film Soul Food.

Digging into Family, Food, and Forgiveness

In our lively discussion, we dig into the joys and tensions of the Joseph family’s Sunday dinners. We’re divided on the effectiveness of young Ahmad’s voiceover narration as a narrative device. The family relationships feel authentic, with standout performances from the actresses playing the three sisters – Vanessa Williams, Vivica A. Fox, and Nia Long. However, we take issue with some of the easy storytelling choices, especially regarding Lem’s return to prison. The “fairy tale” ending strains believability more for Andy than Pete, but it does raise thought-provoking questions about the role of food and togetherness in absolving past wrongs.

More Food for Thought

  • Appreciating the film’s universal messages about family bonds
  • Mama’s troubling role in cultivating the family’s unhealthy diet
  • Brandon Hammond’s sweet portrayal of young Ahmad
  • Michael Beach excelling with an interesting role
  • Director George Tillman Jr.’s growth between this film and The Hate U Give

Bringing Families Together

Soul Food succeeds in celebrating the aspirational joy of gathering family around the table. While we question some of the storytelling choices, the performances draw us into the sprawling Joseph family. Throughout our conversation, we find plenty to chew on, from fairy tale endings to the competing pulls of past and future. It makes for a nourishing discussion worth tuning in to. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1997, 1990s, George Tillman Jr., 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees No Andy Nelson Pete Wright Love Jones • The Next Reel 13 13 40 40 Love Jones • The Next Reel full 783d527c-83f5-46f9-8694-de1802391e75 https://share.transistor.fm/s/cb75c332 “Romance is about the possibility of the thing.”
Love Jones hit theaters in 1997 as writer/director Theodore Witcher’s acclaimed debut. With an eclectic jazz soundtrack and romantic story filled with poetry slams, complex relationships, and career passions, the film earned praise and award nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Witcher’s 1997 film Love Jones.

We Are at Odds With These Characters and Their Messy Relationships

In our lively chat, we dive into the characters and their relationships. We discuss how Andy connect’s with Nina and Darius’ messy, on-again-off-again romance and the realistic motivations behind their poor decisions – whereas Pete does not. Though we don’t always agree, we explore their complex connection and the miscommunications and betrayals that plague their path to love. Their story represents one filled with the universal relationship struggles we all face on the road to maturity. But does the script work? 

A Few Additional Areas of Conversation Regarding Love Jones

  • Passionate debate on the casting, particularly of lead actor Lorenz Tate – too young and naive or just right?
  • Our differing views on the authenticity of the script and dialogue
  • Examining the photography backdrop and Nina's career motivations
  • The interesting social commentary within the group of friends

Other Notable Discussion Points

  • Appreciation for the supporting cast like Isaiah Washington and Lisa Nicole Carson
  • The effectiveness of the melancholy jazz score and hip soundtrack
  • Our thoughts on the photography capturing life in 1990s Chicago
  • The timeless nature of relationship struggles depicted

For a look at the origins of a modern black romance classic, tune in to hear our in-depth conversation on all aspects of Love Jones. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “Romance is about the possibility of the thing.”
Love Jones hit theaters in 1997 as writer/director Theodore Witcher’s acclaimed debut. With an eclectic jazz soundtrack and romantic story filled with poetry slams, complex relationships, and career passions, the film earned praise and award nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Witcher’s 1997 film Love Jones.

We Are at Odds With These Characters and Their Messy Relationships

In our lively chat, we dive into the characters and their relationships. We discuss how Andy connect’s with Nina and Darius’ messy, on-again-off-again romance and the realistic motivations behind their poor decisions – whereas Pete does not. Though we don’t always agree, we explore their complex connection and the miscommunications and betrayals that plague their path to love. Their story represents one filled with the universal relationship struggles we all face on the road to maturity. But does the script work? 

A Few Additional Areas of Conversation Regarding Love Jones

  • Passionate debate on the casting, particularly of lead actor Lorenz Tate – too young and naive or just right?
  • Our differing views on the authenticity of the script and dialogue
  • Examining the photography backdrop and Nina's career motivations
  • The interesting social commentary within the group of friends

Other Notable Discussion Points

  • Appreciation for the supporting cast like Isaiah Washington and Lisa Nicole Carson
  • The effectiveness of the melancholy jazz score and hip soundtrack
  • Our thoughts on the photography capturing life in 1990s Chicago
  • The timeless nature of relationship struggles depicted

For a look at the origins of a modern black romance classic, tune in to hear our in-depth conversation on all aspects of Love Jones. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 14 Mar 2024 03:00:00 -0700 TruStory FM TruStory FM 3120 “Romance is about the possibility of the thing.”
Love Jones hit theaters in 1997 as writer/director Theodore Witcher’s acclaimed debut. With an eclectic jazz soundtrack and romantic story filled with poetry slams, complex relationships, and career passions, the film earned praise and award nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Witcher’s 1997 film Love Jones.

We Are at Odds With These Characters and Their Messy Relationships

In our lively chat, we dive into the characters and their relationships. We discuss how Andy connect’s with Nina and Darius’ messy, on-again-off-again romance and the realistic motivations behind their poor decisions – whereas Pete does not. Though we don’t always agree, we explore their complex connection and the miscommunications and betrayals that plague their path to love. Their story represents one filled with the universal relationship struggles we all face on the road to maturity. But does the script work? 

A Few Additional Areas of Conversation Regarding Love Jones

  • Passionate debate on the casting, particularly of lead actor Lorenz Tate – too young and naive or just right?
  • Our differing views on the authenticity of the script and dialogue
  • Examining the photography backdrop and Nina's career motivations
  • The interesting social commentary within the group of friends

Other Notable Discussion Points

  • Appreciation for the supporting cast like Isaiah Washington and Lisa Nicole Carson
  • The effectiveness of the melancholy jazz score and hip soundtrack
  • Our thoughts on the photography capturing life in 1990s Chicago
  • The timeless nature of relationship struggles depicted

For a look at the origins of a modern black romance classic, tune in to hear our in-depth conversation on all aspects of Love Jones. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1997, 1990s, Theodore Witcher, 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees No Andy Nelson Pete Wright Jackie Brown • The Next Reel 13 13 38 38 Jackie Brown • The Next Reel full 4d206585-9039-4c4d-b16e-e4ec8921797a https://share.transistor.fm/s/cfb0ba2d “Let’s be realistic. Now, sooner or later, they’re going to get around to offering me a plea deal, and you know that. That’s why you are here to kill me.”
Jackie Brown Rides High in Tarantino’s Homage to Blaxploitation

Quentin Tarantino burst onto the film scene in the 1990s with unique stylistic choices and sharp dialogue. After achieving critical acclaim for Reservoir Dogs and Pulp Fiction, Tarantino turned to Elmore Leonard’s novel Rum Punch for his third directorial effort, Jackie Brown. Set in the seedy underworld of gun runners and bail bondsmen, Jackie Brown pays homage to 1970s blaxploitation films while putting Tarantino’s signature spin on the crime thriller genre.

Join us – Pete Wright and Andy Nelson – as we continue our 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Tarantino’s 1997 film Jackie Brown.

Fun With Time, Great Performances, and Controversy

We dive deep into Tarantino’s playful use of time jumps, split screens, and flashbacks to reveal the intricacies of the heist plot. The stellar cast shines, especially Pam Grier in the title role and Robert Forster as the bail bondsman helping her out, not to mention turns by Robert De Niro, Samuel L. Jackson, Bridget Fonda, and Michael Keaton. We also touch on the controversy around Tarantino’s use of the N-word. Overall, we find lots to love in this homage-filled film.

More Topics From Our Chat

  • Beautiful cinematography and lighting choices
  • Forster and Grier’s heartbreaking final scene
  • Keaton’s surprising but perfect casting
  • The fantastic soundtrack
  • Tarantino’s masterful directing skills on display
  • Great discussion of awards snubs and box office numbers

Final Thoughts on Jackie Brown

With its loving homage to 1970s blaxploitation films, great soundtrack, and stellar cast, Jackie Brown shows Tarantino at the height of his powers. We have a great time talking about this underappreciated gem. Check it out, then tune in to hear our conversation. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Let’s be realistic. Now, sooner or later, they’re going to get around to offering me a plea deal, and you know that. That’s why you are here to kill me.”
Jackie Brown Rides High in Tarantino’s Homage to Blaxploitation

Quentin Tarantino burst onto the film scene in the 1990s with unique stylistic choices and sharp dialogue. After achieving critical acclaim for Reservoir Dogs and Pulp Fiction, Tarantino turned to Elmore Leonard’s novel Rum Punch for his third directorial effort, Jackie Brown. Set in the seedy underworld of gun runners and bail bondsmen, Jackie Brown pays homage to 1970s blaxploitation films while putting Tarantino’s signature spin on the crime thriller genre.

Join us – Pete Wright and Andy Nelson – as we continue our 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Tarantino’s 1997 film Jackie Brown.

Fun With Time, Great Performances, and Controversy

We dive deep into Tarantino’s playful use of time jumps, split screens, and flashbacks to reveal the intricacies of the heist plot. The stellar cast shines, especially Pam Grier in the title role and Robert Forster as the bail bondsman helping her out, not to mention turns by Robert De Niro, Samuel L. Jackson, Bridget Fonda, and Michael Keaton. We also touch on the controversy around Tarantino’s use of the N-word. Overall, we find lots to love in this homage-filled film.

More Topics From Our Chat

  • Beautiful cinematography and lighting choices
  • Forster and Grier’s heartbreaking final scene
  • Keaton’s surprising but perfect casting
  • The fantastic soundtrack
  • Tarantino’s masterful directing skills on display
  • Great discussion of awards snubs and box office numbers

Final Thoughts on Jackie Brown

With its loving homage to 1970s blaxploitation films, great soundtrack, and stellar cast, Jackie Brown shows Tarantino at the height of his powers. We have a great time talking about this underappreciated gem. Check it out, then tune in to hear our conversation. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 07 Mar 2024 03:00:00 -0800 TruStory FM TruStory FM 3694 “Let’s be realistic. Now, sooner or later, they’re going to get around to offering me a plea deal, and you know that. That’s why you are here to kill me.”
Jackie Brown Rides High in Tarantino’s Homage to Blaxploitation

Quentin Tarantino burst onto the film scene in the 1990s with unique stylistic choices and sharp dialogue. After achieving critical acclaim for Reservoir Dogs and Pulp Fiction, Tarantino turned to Elmore Leonard’s novel Rum Punch for his third directorial effort, Jackie Brown. Set in the seedy underworld of gun runners and bail bondsmen, Jackie Brown pays homage to 1970s blaxploitation films while putting Tarantino’s signature spin on the crime thriller genre.

Join us – Pete Wright and Andy Nelson – as we continue our 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Tarantino’s 1997 film Jackie Brown.

Fun With Time, Great Performances, and Controversy

We dive deep into Tarantino’s playful use of time jumps, split screens, and flashbacks to reveal the intricacies of the heist plot. The stellar cast shines, especially Pam Grier in the title role and Robert Forster as the bail bondsman helping her out, not to mention turns by Robert De Niro, Samuel L. Jackson, Bridget Fonda, and Michael Keaton. We also touch on the controversy around Tarantino’s use of the N-word. Overall, we find lots to love in this homage-filled film.

More Topics From Our Chat

  • Beautiful cinematography and lighting choices
  • Forster and Grier’s heartbreaking final scene
  • Keaton’s surprising but perfect casting
  • The fantastic soundtrack
  • Tarantino’s masterful directing skills on display
  • Great discussion of awards snubs and box office numbers

Final Thoughts on Jackie Brown

With its loving homage to 1970s blaxploitation films, great soundtrack, and stellar cast, Jackie Brown shows Tarantino at the height of his powers. We have a great time talking about this underappreciated gem. Check it out, then tune in to hear our conversation. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1997, 1990s, Quentin Tarantino, 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees No Andy Nelson Pete Wright Eve’s Bayou • The Next Reel 13 13 37 37 Eve’s Bayou • The Next Reel full f9b11123-26b0-49fa-9438-3783d442d76b https://share.transistor.fm/s/c07e3398 “Memory is a selection of images, some elusive, others imprinted indelibly in the brain. The summer I killed my father, I was ten years old.”
Exploring the Layers of Eve's Bayou

With her moody directorial debut Eve's Bayou, independent filmmaker Kasi Lemmons immerses us in a vividly realized Louisiana bayou community in the 1960s. Through the eyes of daughter Eve Batiste, we witness the complexity of her affluent African-American family as simmering secrets threaten to tear them apart. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees with a fascinating discussion about Lemmons’ 1997 film Eve's Bayou.

Capturing the Complexities of Family

At its core, Eve's Bayou is a film about the intricacies of family - both its warmth and its darkness. We analyze the exceptional performances, particularly from Lynn Whitfield as the dignified matriarch and Debbi Morgan as the insightful aunt. The perspective from daughter Eve gives an intimate viewpoint on the shifting family dynamics.

More to Explore in Eve’s Bayou

  • Samuel L. Jackson's conflicted performance as the philandering patriarch
  • The talented young cast, especially lead Jurnee Smollett
  • Themes of adultery, legacy, memory and morality
  • Magical realism elements with voodoo and psychic powers

Eve's Bayou offers no easy answers, only thoughtful examination of family bonds tested by adversity. We thoroughly enjoy analyzing this beautifully crafted and moving film. Check it out then tune in! When the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Memory is a selection of images, some elusive, others imprinted indelibly in the brain. The summer I killed my father, I was ten years old.”
Exploring the Layers of Eve's Bayou

With her moody directorial debut Eve's Bayou, independent filmmaker Kasi Lemmons immerses us in a vividly realized Louisiana bayou community in the 1960s. Through the eyes of daughter Eve Batiste, we witness the complexity of her affluent African-American family as simmering secrets threaten to tear them apart. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees with a fascinating discussion about Lemmons’ 1997 film Eve's Bayou.

Capturing the Complexities of Family

At its core, Eve's Bayou is a film about the intricacies of family - both its warmth and its darkness. We analyze the exceptional performances, particularly from Lynn Whitfield as the dignified matriarch and Debbi Morgan as the insightful aunt. The perspective from daughter Eve gives an intimate viewpoint on the shifting family dynamics.

More to Explore in Eve’s Bayou

  • Samuel L. Jackson's conflicted performance as the philandering patriarch
  • The talented young cast, especially lead Jurnee Smollett
  • Themes of adultery, legacy, memory and morality
  • Magical realism elements with voodoo and psychic powers

Eve's Bayou offers no easy answers, only thoughtful examination of family bonds tested by adversity. We thoroughly enjoy analyzing this beautifully crafted and moving film. Check it out then tune in! When the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 29 Feb 2024 03:00:00 -0800 TruStory FM TruStory FM 3431 “Memory is a selection of images, some elusive, others imprinted indelibly in the brain. The summer I killed my father, I was ten years old.”
Exploring the Layers of Eve's Bayou

With her moody directorial debut Eve's Bayou, independent filmmaker Kasi Lemmons immerses us in a vividly realized Louisiana bayou community in the 1960s. Through the eyes of daughter Eve Batiste, we witness the complexity of her affluent African-American family as simmering secrets threaten to tear them apart. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees with a fascinating discussion about Lemmons’ 1997 film Eve's Bayou.

Capturing the Complexities of Family

At its core, Eve's Bayou is a film about the intricacies of family - both its warmth and its darkness. We analyze the exceptional performances, particularly from Lynn Whitfield as the dignified matriarch and Debbi Morgan as the insightful aunt. The perspective from daughter Eve gives an intimate viewpoint on the shifting family dynamics.

More to Explore in Eve’s Bayou

  • Samuel L. Jackson's conflicted performance as the philandering patriarch
  • The talented young cast, especially lead Jurnee Smollett
  • Themes of adultery, legacy, memory and morality
  • Magical realism elements with voodoo and psychic powers

Eve's Bayou offers no easy answers, only thoughtful examination of family bonds tested by adversity. We thoroughly enjoy analyzing this beautifully crafted and moving film. Check it out then tune in! When the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1997, 1990s, 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees, Kasi Lemmons No Andy Nelson Pete Wright Costume Designer Antoinette Messam on Amélie • Movies We Like 5 5 7 7 Costume Designer Antoinette Messam on Amélie • Movies We Like full 9f6d2992-36aa-44ad-bee2-cbbfd18a60a9 https://share.transistor.fm/s/984613ea Talking About Jean-Pierre Jeunet’s Amélie with our guest, Costume Designer Antoinette Messam

On this episode of Movies We Like, we speak with costume designer Antoinette Messam about her incredible career in film and one of her favorite movies, Jean-Pierre Jeunet's magical 2001 film Amélie.

We have a fascinating conversation with Antoinette about her journey into costume design, including rebelling against family expectations, finding her way from fashion to film, and learning on the job. She shares amazing stories about her experience collaborating with directors like Ryan Coogler (Creed), F. Gary Gray (Lift), and Jeymes Samuel (The Harder They Fall, The Book of Clarence), and dressing icons like Sylvester Stallone and Michael B. Jordan.

When it comes to Amélie, we dive deep into the stunning use of color and how it brings the whimsical world to life. Antoinette explains how the color palette was meticulously constructed through collaboration between the director, production design, costume, and more - truly effortless worldbuilding. We also discuss the joyful spirit of the film, Audrey Tautou’s masterful performance, and how the music perfectly complements the visuals.

Our chat with Antoinette gives rare insight into the art of costume design and the magic of movies. Amélie is a vibrant, feel-good film with incredible attention to detail that we highly recommend. We have an amazing time learning from Antoinette's experiences and perspectives on this delightful movie.

Film Sundries


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]]> Talking About Jean-Pierre Jeunet’s Amélie with our guest, Costume Designer Antoinette Messam

On this episode of Movies We Like, we speak with costume designer Antoinette Messam about her incredible career in film and one of her favorite movies, Jean-Pierre Jeunet's magical 2001 film Amélie.

We have a fascinating conversation with Antoinette about her journey into costume design, including rebelling against family expectations, finding her way from fashion to film, and learning on the job. She shares amazing stories about her experience collaborating with directors like Ryan Coogler (Creed), F. Gary Gray (Lift), and Jeymes Samuel (The Harder They Fall, The Book of Clarence), and dressing icons like Sylvester Stallone and Michael B. Jordan.

When it comes to Amélie, we dive deep into the stunning use of color and how it brings the whimsical world to life. Antoinette explains how the color palette was meticulously constructed through collaboration between the director, production design, costume, and more - truly effortless worldbuilding. We also discuss the joyful spirit of the film, Audrey Tautou’s masterful performance, and how the music perfectly complements the visuals.

Our chat with Antoinette gives rare insight into the art of costume design and the magic of movies. Amélie is a vibrant, feel-good film with incredible attention to detail that we highly recommend. We have an amazing time learning from Antoinette's experiences and perspectives on this delightful movie.

Film Sundries


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]]> Mon, 26 Feb 2024 03:00:00 -0800 TruStory FM TruStory FM 4405 Talking About Jean-Pierre Jeunet’s Amélie with our guest, Costume Designer Antoinette Messam

On this episode of Movies We Like, we speak with costume designer Antoinette Messam about her incredible career in film and one of her favorite movies, Jean-Pierre Jeunet's magical 2001 film Amélie.

We have a fascinating conversation with Antoinette about her journey into costume design, including rebelling against family expectations, finding her way from fashion to film, and learning on the job. She shares amazing stories about her experience collaborating with directors like Ryan Coogler (Creed), F. Gary Gray (Lift), and Jeymes Samuel (The Harder They Fall, The Book of Clarence), and dressing icons like Sylvester Stallone and Michael B. Jordan.

When it comes to Amélie, we dive deep into the stunning use of color and how it brings the whimsical world to life. Antoinette explains how the color palette was meticulously constructed through collaboration between the director, production design, costume, and more - truly effortless worldbuilding. We also discuss the joyful spirit of the film, Audrey Tautou’s masterful performance, and how the music perfectly complements the visuals.

Our chat with Antoinette gives rare insight into the art of costume design and the magic of movies. Amélie is a vibrant, feel-good film with incredible attention to detail that we highly recommend. We have an amazing time learning from Antoinette's experiences and perspectives on this delightful movie.

Film Sundries


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]]> 2001, 2000s, Antoinette Messam No Andy Nelson Pete Wright Waterworld • The Next Reel 13 13 36 36 Waterworld • The Next Reel full ad8da67c-0050-4464-902b-ea6dfacdc77a https://share.transistor.fm/s/bce713c1 “He’s a wily one, that ichthy-demon.”
Waterworld: Sinking Budgets and Soaring Spectacle

In the early 1990s, Kevin Costner was riding high after hits like Dances with Wolves and Robin Hood: Prince of Thieves. He teamed up again with his Robin Hood director Kevin Reynolds for an ambitious post-apocalyptic aquatic adventure called Waterworld. With its massive scale and elaborate water-based sets, the production quickly sank into major budget overruns and production nightmares.

Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Reynolds’ 1995 film Waterworld.

Diving Into Our Waterworld Chat

We dive deep into the troubled production and how it still managed to deliver an entertaining aquatic spectacle despite going way over budget. The world building stands out, creating an immersive post-apocalyptic seafaring society even if some plot points strain believability.

More Topics From Our Wide-Ranging Water Chat

  • How the Hollywood sheen holds it back from grittier cult classics like Mad Max
  • Dennis Hopper's gleeful villainy as the Deacon
  • Appreciating the rich world building and visuals despite flaws
  • The differences between the theatrical cut and extended Ulysses version
  • How it stacks up to other Razzie nominees for Worst Director

In the end, we found Waterworld to be a pleasant surprise given its reputation - an ambitious and imaginative, if imperfect, seafaring adventure. Despite its behind-the-scenes troubles, it delivers aquatic action and world building that entertained us.

Tune in to hear our full thoughts! The Next Reel – when the movie ends, our conversation begins!

Film Sundries


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]]> “He’s a wily one, that ichthy-demon.”
Waterworld: Sinking Budgets and Soaring Spectacle

In the early 1990s, Kevin Costner was riding high after hits like Dances with Wolves and Robin Hood: Prince of Thieves. He teamed up again with his Robin Hood director Kevin Reynolds for an ambitious post-apocalyptic aquatic adventure called Waterworld. With its massive scale and elaborate water-based sets, the production quickly sank into major budget overruns and production nightmares.

Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Reynolds’ 1995 film Waterworld.

Diving Into Our Waterworld Chat

We dive deep into the troubled production and how it still managed to deliver an entertaining aquatic spectacle despite going way over budget. The world building stands out, creating an immersive post-apocalyptic seafaring society even if some plot points strain believability.

More Topics From Our Wide-Ranging Water Chat

  • How the Hollywood sheen holds it back from grittier cult classics like Mad Max
  • Dennis Hopper's gleeful villainy as the Deacon
  • Appreciating the rich world building and visuals despite flaws
  • The differences between the theatrical cut and extended Ulysses version
  • How it stacks up to other Razzie nominees for Worst Director

In the end, we found Waterworld to be a pleasant surprise given its reputation - an ambitious and imaginative, if imperfect, seafaring adventure. Despite its behind-the-scenes troubles, it delivers aquatic action and world building that entertained us.

Tune in to hear our full thoughts! The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 22 Feb 2024 03:00:00 -0800 TruStory FM TruStory FM 4275 “He’s a wily one, that ichthy-demon.”
Waterworld: Sinking Budgets and Soaring Spectacle

In the early 1990s, Kevin Costner was riding high after hits like Dances with Wolves and Robin Hood: Prince of Thieves. He teamed up again with his Robin Hood director Kevin Reynolds for an ambitious post-apocalyptic aquatic adventure called Waterworld. With its massive scale and elaborate water-based sets, the production quickly sank into major budget overruns and production nightmares.

Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Reynolds’ 1995 film Waterworld.

Diving Into Our Waterworld Chat

We dive deep into the troubled production and how it still managed to deliver an entertaining aquatic spectacle despite going way over budget. The world building stands out, creating an immersive post-apocalyptic seafaring society even if some plot points strain believability.

More Topics From Our Wide-Ranging Water Chat

  • How the Hollywood sheen holds it back from grittier cult classics like Mad Max
  • Dennis Hopper's gleeful villainy as the Deacon
  • Appreciating the rich world building and visuals despite flaws
  • The differences between the theatrical cut and extended Ulysses version
  • How it stacks up to other Razzie nominees for Worst Director

In the end, we found Waterworld to be a pleasant surprise given its reputation - an ambitious and imaginative, if imperfect, seafaring adventure. Despite its behind-the-scenes troubles, it delivers aquatic action and world building that entertained us.

Tune in to hear our full thoughts! The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1995, 1990s, Kevin Reynolds, 1995 Golden Raspberry Awards Worst Director Nominees No Andy Nelson Pete Wright Showgirls • The Next Reel 13 13 35 35 Showgirls • The Next Reel full 62373563-f2cc-4c73-85b7-e49c0efa527a https://share.transistor.fm/s/1b9312d9 "Thrust it! Thrust it!”
Before the sequins and controversy hit the screen, Showgirls was a script that sparked excitement for its bold take on the glitz and grunge of Las Vegas life. Helmed by Paul Verhoeven and penned by Joe Eszterhas, the duo behind the provocative hit Basic Instinct, expectations were high for this journey into the world of Vegas showgirls. Yet, the resulting film would divide audiences and critics, becoming a cult classic for some and a cautionary tale of excess for others. The backdrop was set for a film that would be discussed and dissected for years to come. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Showgirls.

Here's a hint at what we talk about.

In this deep dive, Pete and Andy explore the contentious legacy of Showgirls, a film that's danced its way into infamy. They discuss the film's place in the 1995 Golden Raspberry Awards as a Worst Director Nominee, debating whether the film's over-the-top style was a misguided misstep or a misunderstood stroke of satirical genius. The hosts don't always see eye-to-eye, revealing a schism in their takes on the film's execution and its thematic intentions. They ponder whether Elizabeth Berkley's performance as Nomi was intentionally exaggerated to serve the film's satirical edge or if it was a misdirection that led to its critical panning. As part of their series on the Razzies, they delve into the broader conversation about what the nomination means for Showgirls and its place in cinematic history.

Here are a few other points in our discussion.

  • The Dickensian description of the film by some and the evolving public opinion over time
  • The comparison of Verhoeven's direction in Showgirls to his work in RoboCop and other films
  • The potential allegory of Hollywood and selling out as interpreted by Jonathan Rosenbaum
  • The contrasting performances, particularly Berkley's and Gina Gershon's, and their impact on the film's tone
  • The undercurrents of power and gender dynamics within the narrative
  • Our personal reactions to the comedic elements and whether they hit the mark or fell flat

As we peel back the layers of this high-kicking, high-stakes drama, we find a film that's as polarizing as it is fascinating. Despite its Razzie nods and the debates it sparks, Showgirls remains an electrifying topic of discussion for cinephiles and critics alike. Whether you view it as a glittering satire or a cautionary tale of excess, there's no denying the film's unique place in the landscape of '90s cinema. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> "Thrust it! Thrust it!”
Before the sequins and controversy hit the screen, Showgirls was a script that sparked excitement for its bold take on the glitz and grunge of Las Vegas life. Helmed by Paul Verhoeven and penned by Joe Eszterhas, the duo behind the provocative hit Basic Instinct, expectations were high for this journey into the world of Vegas showgirls. Yet, the resulting film would divide audiences and critics, becoming a cult classic for some and a cautionary tale of excess for others. The backdrop was set for a film that would be discussed and dissected for years to come. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Showgirls.

Here's a hint at what we talk about.

In this deep dive, Pete and Andy explore the contentious legacy of Showgirls, a film that's danced its way into infamy. They discuss the film's place in the 1995 Golden Raspberry Awards as a Worst Director Nominee, debating whether the film's over-the-top style was a misguided misstep or a misunderstood stroke of satirical genius. The hosts don't always see eye-to-eye, revealing a schism in their takes on the film's execution and its thematic intentions. They ponder whether Elizabeth Berkley's performance as Nomi was intentionally exaggerated to serve the film's satirical edge or if it was a misdirection that led to its critical panning. As part of their series on the Razzies, they delve into the broader conversation about what the nomination means for Showgirls and its place in cinematic history.

Here are a few other points in our discussion.

  • The Dickensian description of the film by some and the evolving public opinion over time
  • The comparison of Verhoeven's direction in Showgirls to his work in RoboCop and other films
  • The potential allegory of Hollywood and selling out as interpreted by Jonathan Rosenbaum
  • The contrasting performances, particularly Berkley's and Gina Gershon's, and their impact on the film's tone
  • The undercurrents of power and gender dynamics within the narrative
  • Our personal reactions to the comedic elements and whether they hit the mark or fell flat

As we peel back the layers of this high-kicking, high-stakes drama, we find a film that's as polarizing as it is fascinating. Despite its Razzie nods and the debates it sparks, Showgirls remains an electrifying topic of discussion for cinephiles and critics alike. Whether you view it as a glittering satire or a cautionary tale of excess, there's no denying the film's unique place in the landscape of '90s cinema. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Wed, 14 Feb 2024 03:00:00 -0800 TruStory FM TruStory FM 4316 "Thrust it! Thrust it!”
Before the sequins and controversy hit the screen, Showgirls was a script that sparked excitement for its bold take on the glitz and grunge of Las Vegas life. Helmed by Paul Verhoeven and penned by Joe Eszterhas, the duo behind the provocative hit Basic Instinct, expectations were high for this journey into the world of Vegas showgirls. Yet, the resulting film would divide audiences and critics, becoming a cult classic for some and a cautionary tale of excess for others. The backdrop was set for a film that would be discussed and dissected for years to come. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Showgirls.

Here's a hint at what we talk about.

In this deep dive, Pete and Andy explore the contentious legacy of Showgirls, a film that's danced its way into infamy. They discuss the film's place in the 1995 Golden Raspberry Awards as a Worst Director Nominee, debating whether the film's over-the-top style was a misguided misstep or a misunderstood stroke of satirical genius. The hosts don't always see eye-to-eye, revealing a schism in their takes on the film's execution and its thematic intentions. They ponder whether Elizabeth Berkley's performance as Nomi was intentionally exaggerated to serve the film's satirical edge or if it was a misdirection that led to its critical panning. As part of their series on the Razzies, they delve into the broader conversation about what the nomination means for Showgirls and its place in cinematic history.

Here are a few other points in our discussion.

  • The Dickensian description of the film by some and the evolving public opinion over time
  • The comparison of Verhoeven's direction in Showgirls to his work in RoboCop and other films
  • The potential allegory of Hollywood and selling out as interpreted by Jonathan Rosenbaum
  • The contrasting performances, particularly Berkley's and Gina Gershon's, and their impact on the film's tone
  • The undercurrents of power and gender dynamics within the narrative
  • Our personal reactions to the comedic elements and whether they hit the mark or fell flat

As we peel back the layers of this high-kicking, high-stakes drama, we find a film that's as polarizing as it is fascinating. Despite its Razzie nods and the debates it sparks, Showgirls remains an electrifying topic of discussion for cinephiles and critics alike. Whether you view it as a glittering satire or a cautionary tale of excess, there's no denying the film's unique place in the landscape of '90s cinema. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1995, 1990s, Paul Verhoeven, 1995 Golden Raspberry Awards Worst Director Nominees No Andy Nelson Pete Wright The Scarlet Letter • The Next Reel 13 13 34 34 The Scarlet Letter • The Next Reel full fc287875-0957-4964-9975-b83ed04b36ad https://share.transistor.fm/s/d772678f “Why do you wait? Put it on for it is not a badge of my shame, but your own.”
Roland Joffé took on the challenge of adapting Nathaniel Hawthorne’s classic 1850 novel The Scarlet Letter for the big screen in 1995. With a passion for the source material and a vision to expand the story in ways he felt Hawthorne was restricted from doing, Joffé assembled an impressive cast including Demi Moore, Gary Oldman and Robert Duvall. However, despite his noble intentions, many critics felt Joffé’s reach exceeded his grasp. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about The Scarlet Letter.

Here's a hint at what we talk about:

We discuss how Joffé's ambitions to elevate the material and expand the story ended up making the film feel overstuffed and unfocused. The heavy-handed symbolism, like the constantly reappearing "red bird of passion," also didn't work for us. And we both found the new "happy ending" Joffé devised to be a disappointment compared to the novel's more downbeat conclusion. However, we do appreciate his attempts to incorporate more of the indigenous American perspective.

Here are a few other points in our discussion:

  • The overly sentimental score by John Barry... that’s still an amazing score
  • Whether the principle cast was well-suited for a period drama
  • The absurdity of Robert Duvall's unhinged performance that’s still undeniably entertaining
  • The unnecessary Pearl voiceover narration

Overall, while we can appreciate some of what Joffé was trying to accomplish, we feel his reach exceeded his grasp in many ways, resulting in a film that feels messy and unsatisfying. But 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Why do you wait? Put it on for it is not a badge of my shame, but your own.”
Roland Joffé took on the challenge of adapting Nathaniel Hawthorne’s classic 1850 novel The Scarlet Letter for the big screen in 1995. With a passion for the source material and a vision to expand the story in ways he felt Hawthorne was restricted from doing, Joffé assembled an impressive cast including Demi Moore, Gary Oldman and Robert Duvall. However, despite his noble intentions, many critics felt Joffé’s reach exceeded his grasp. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about The Scarlet Letter.

Here's a hint at what we talk about:

We discuss how Joffé's ambitions to elevate the material and expand the story ended up making the film feel overstuffed and unfocused. The heavy-handed symbolism, like the constantly reappearing "red bird of passion," also didn't work for us. And we both found the new "happy ending" Joffé devised to be a disappointment compared to the novel's more downbeat conclusion. However, we do appreciate his attempts to incorporate more of the indigenous American perspective.

Here are a few other points in our discussion:

  • The overly sentimental score by John Barry... that’s still an amazing score
  • Whether the principle cast was well-suited for a period drama
  • The absurdity of Robert Duvall's unhinged performance that’s still undeniably entertaining
  • The unnecessary Pearl voiceover narration

Overall, while we can appreciate some of what Joffé was trying to accomplish, we feel his reach exceeded his grasp in many ways, resulting in a film that feels messy and unsatisfying. But 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 08 Feb 2024 03:00:00 -0800 TruStory FM TruStory FM 3876 “Why do you wait? Put it on for it is not a badge of my shame, but your own.”
Roland Joffé took on the challenge of adapting Nathaniel Hawthorne’s classic 1850 novel The Scarlet Letter for the big screen in 1995. With a passion for the source material and a vision to expand the story in ways he felt Hawthorne was restricted from doing, Joffé assembled an impressive cast including Demi Moore, Gary Oldman and Robert Duvall. However, despite his noble intentions, many critics felt Joffé’s reach exceeded his grasp. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about The Scarlet Letter.

Here's a hint at what we talk about:

We discuss how Joffé's ambitions to elevate the material and expand the story ended up making the film feel overstuffed and unfocused. The heavy-handed symbolism, like the constantly reappearing "red bird of passion," also didn't work for us. And we both found the new "happy ending" Joffé devised to be a disappointment compared to the novel's more downbeat conclusion. However, we do appreciate his attempts to incorporate more of the indigenous American perspective.

Here are a few other points in our discussion:

  • The overly sentimental score by John Barry... that’s still an amazing score
  • Whether the principle cast was well-suited for a period drama
  • The absurdity of Robert Duvall's unhinged performance that’s still undeniably entertaining
  • The unnecessary Pearl voiceover narration

Overall, while we can appreciate some of what Joffé was trying to accomplish, we feel his reach exceeded his grasp in many ways, resulting in a film that feels messy and unsatisfying. But 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1995, 1990s, Roland Joffé, 1995 Golden Raspberry Awards Worst Director Nominees No Andy Nelson Pete Wright CutThroat Island • The Next Reel 13 13 32 32 CutThroat Island • The Next Reel full 3d617e7b-bcf2-4743-adcb-9c7fb13f9455 https://share.transistor.fm/s/a293338c “Congratulations, Morgan. There’s another town you’ve destroyed.”
After the success of Die Hard 2 and Cliffhanger, director Renny Harlin wanted to establish his wife Geena Davis as an action star. He sought out a swashbuckling pirate adventure script for her to lead. Screenwriters Michael Frost Beckner and James Gorman had written an initial draft, but extensive rewrites resulted in multiple additional credited writers. With Geena Davis attached to the lead role of pirate captain Morgan Adams, finding the right co-lead proved challenging. Michael Douglas was originally set to play opposite Davis but dropped out due to issues over equal screen time. Numerous major stars were offered the role including Tom Cruise, Keanu Reeves, Russell Crowe, Liam Neeson and Daniel Day-Lewis before Harlin settled on Matthew Modine. With the stars finally set, cameras rolled on location in Malta and Thailand. But behind the scenes, the production was plagued with problems that led to massive cost overruns. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Harlin’s 1995 film CutThroat Island.

Here's a hint at what we talk about:

We discuss the issues with the constantly evolving script and poor dialogue, along with miscasting of the leads and lack of chemistry between Davis and Modine. We also get into the impressive practical effects and action set pieces, despite flaws elsewhere. And we talk about the legendary reputation of this box office bomb that sunk Carolco Pictures.

Here are a few other points in our discussion:

  • Renny Harlin's strengths and weaknesses as a director
  • The great production design and cinematography
  • How the film hasn't aged particularly well
  • Our armchair casting for who could have been better in the lead roles

In the end, we found CutThroat Island to be a mixed bag with plenty of problems holding it back yet still quite entertaining and delivering a romping pirate adventure. It makes for an interesting case study in a big budget production gone awry. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Congratulations, Morgan. There’s another town you’ve destroyed.”
After the success of Die Hard 2 and Cliffhanger, director Renny Harlin wanted to establish his wife Geena Davis as an action star. He sought out a swashbuckling pirate adventure script for her to lead. Screenwriters Michael Frost Beckner and James Gorman had written an initial draft, but extensive rewrites resulted in multiple additional credited writers. With Geena Davis attached to the lead role of pirate captain Morgan Adams, finding the right co-lead proved challenging. Michael Douglas was originally set to play opposite Davis but dropped out due to issues over equal screen time. Numerous major stars were offered the role including Tom Cruise, Keanu Reeves, Russell Crowe, Liam Neeson and Daniel Day-Lewis before Harlin settled on Matthew Modine. With the stars finally set, cameras rolled on location in Malta and Thailand. But behind the scenes, the production was plagued with problems that led to massive cost overruns. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Harlin’s 1995 film CutThroat Island.

Here's a hint at what we talk about:

We discuss the issues with the constantly evolving script and poor dialogue, along with miscasting of the leads and lack of chemistry between Davis and Modine. We also get into the impressive practical effects and action set pieces, despite flaws elsewhere. And we talk about the legendary reputation of this box office bomb that sunk Carolco Pictures.

Here are a few other points in our discussion:

  • Renny Harlin's strengths and weaknesses as a director
  • The great production design and cinematography
  • How the film hasn't aged particularly well
  • Our armchair casting for who could have been better in the lead roles

In the end, we found CutThroat Island to be a mixed bag with plenty of problems holding it back yet still quite entertaining and delivering a romping pirate adventure. It makes for an interesting case study in a big budget production gone awry. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 01 Feb 2024 03:00:00 -0800 TruStory FM TruStory FM 3574 “Congratulations, Morgan. There’s another town you’ve destroyed.”
After the success of Die Hard 2 and Cliffhanger, director Renny Harlin wanted to establish his wife Geena Davis as an action star. He sought out a swashbuckling pirate adventure script for her to lead. Screenwriters Michael Frost Beckner and James Gorman had written an initial draft, but extensive rewrites resulted in multiple additional credited writers. With Geena Davis attached to the lead role of pirate captain Morgan Adams, finding the right co-lead proved challenging. Michael Douglas was originally set to play opposite Davis but dropped out due to issues over equal screen time. Numerous major stars were offered the role including Tom Cruise, Keanu Reeves, Russell Crowe, Liam Neeson and Daniel Day-Lewis before Harlin settled on Matthew Modine. With the stars finally set, cameras rolled on location in Malta and Thailand. But behind the scenes, the production was plagued with problems that led to massive cost overruns. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Harlin’s 1995 film CutThroat Island.

Here's a hint at what we talk about:

We discuss the issues with the constantly evolving script and poor dialogue, along with miscasting of the leads and lack of chemistry between Davis and Modine. We also get into the impressive practical effects and action set pieces, despite flaws elsewhere. And we talk about the legendary reputation of this box office bomb that sunk Carolco Pictures.

Here are a few other points in our discussion:

  • Renny Harlin's strengths and weaknesses as a director
  • The great production design and cinematography
  • How the film hasn't aged particularly well
  • Our armchair casting for who could have been better in the lead roles

In the end, we found CutThroat Island to be a mixed bag with plenty of problems holding it back yet still quite entertaining and delivering a romping pirate adventure. It makes for an interesting case study in a big budget production gone awry. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

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]]> 1995, 1990s, Renny Harlin, 1995 Golden Raspberry Awards Worst Director Nominees No Andy Nelson Pete Wright Congo • The Next Reel 13 13 31 31 Congo • The Next Reel full cc352fc7-3a0b-4ff6-8f5b-c7560050b89a https://share.transistor.fm/s/0bade820 “Are you serving that ape a martini?”
In the early 1990s, following the massive success of Jurassic Park, studios were eager to adapt more of Michael Crichton’s popular novels to film. Congo had been published back in 1980 but no one had figured out how to bring the complicated story to the big screen. After the rights bounced around for years, Paramount finally secured them in 1994 and began fast-tracking production. Director Frank Marshall was fresh off hits like Alive and Arachnophobia when he signed on, along with an all-star cast including Laura Linney, Dylan Walsh, Ernie Hudson, and Tim Curry. But the difficult shoot on location in Africa plagued the production. Despite high hopes, the film flopped critically when it was released in 1995, earning Marshall a Razzie nomination for Worst Director. Join us – Pete Wright and Andy Nelson – as we kick off the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Marshall’s 1995 film Congo.

Here's a hint at what we talk about.

In this lively discussion, we dig into the pre-production and challenges behind adapting Michael Crichton’s 1980 novel to the big screen in 1995. We discuss the all-star cast and debate whether the directing, acting, or weak script led to poor character development and lack of chemistry. We also analyze the cultural portrayal and exploitation of Africa in cinema at the time.

Here are a few other points in our discussion:

  • Weak CGI and special effects that don’t hold up today
  • The silly conceit of the genetically engineered “bad gorillas”
  • Confusion over who the true protagonist is
  • Enjoyable moments from Ernie Hudson and Tim Curry

Though we have some fun unpacking this Razzie-nominated film, we ultimately agree Congo fails to come together as an entertaining adventure. The story loses Crichton’s scientific edge and thought-provoking commentary on technology in the adaptation. We still have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


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]]> “Are you serving that ape a martini?”
In the early 1990s, following the massive success of Jurassic Park, studios were eager to adapt more of Michael Crichton’s popular novels to film. Congo had been published back in 1980 but no one had figured out how to bring the complicated story to the big screen. After the rights bounced around for years, Paramount finally secured them in 1994 and began fast-tracking production. Director Frank Marshall was fresh off hits like Alive and Arachnophobia when he signed on, along with an all-star cast including Laura Linney, Dylan Walsh, Ernie Hudson, and Tim Curry. But the difficult shoot on location in Africa plagued the production. Despite high hopes, the film flopped critically when it was released in 1995, earning Marshall a Razzie nomination for Worst Director. Join us – Pete Wright and Andy Nelson – as we kick off the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Marshall’s 1995 film Congo.

Here's a hint at what we talk about.

In this lively discussion, we dig into the pre-production and challenges behind adapting Michael Crichton’s 1980 novel to the big screen in 1995. We discuss the all-star cast and debate whether the directing, acting, or weak script led to poor character development and lack of chemistry. We also analyze the cultural portrayal and exploitation of Africa in cinema at the time.

Here are a few other points in our discussion:

  • Weak CGI and special effects that don’t hold up today
  • The silly conceit of the genetically engineered “bad gorillas”
  • Confusion over who the true protagonist is
  • Enjoyable moments from Ernie Hudson and Tim Curry

Though we have some fun unpacking this Razzie-nominated film, we ultimately agree Congo fails to come together as an entertaining adventure. The story loses Crichton’s scientific edge and thought-provoking commentary on technology in the adaptation. We still have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 25 Jan 2024 03:00:00 -0800 TruStory FM TruStory FM 3558 “Are you serving that ape a martini?”
In the early 1990s, following the massive success of Jurassic Park, studios were eager to adapt more of Michael Crichton’s popular novels to film. Congo had been published back in 1980 but no one had figured out how to bring the complicated story to the big screen. After the rights bounced around for years, Paramount finally secured them in 1994 and began fast-tracking production. Director Frank Marshall was fresh off hits like Alive and Arachnophobia when he signed on, along with an all-star cast including Laura Linney, Dylan Walsh, Ernie Hudson, and Tim Curry. But the difficult shoot on location in Africa plagued the production. Despite high hopes, the film flopped critically when it was released in 1995, earning Marshall a Razzie nomination for Worst Director. Join us – Pete Wright and Andy Nelson – as we kick off the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Marshall’s 1995 film Congo.

Here's a hint at what we talk about.

In this lively discussion, we dig into the pre-production and challenges behind adapting Michael Crichton’s 1980 novel to the big screen in 1995. We discuss the all-star cast and debate whether the directing, acting, or weak script led to poor character development and lack of chemistry. We also analyze the cultural portrayal and exploitation of Africa in cinema at the time.

Here are a few other points in our discussion:

  • Weak CGI and special effects that don’t hold up today
  • The silly conceit of the genetically engineered “bad gorillas”
  • Confusion over who the true protagonist is
  • Enjoyable moments from Ernie Hudson and Tim Curry

Though we have some fun unpacking this Razzie-nominated film, we ultimately agree Congo fails to come together as an entertaining adventure. The story loses Crichton’s scientific edge and thought-provoking commentary on technology in the adaptation. We still have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1995, 1990s, Frank Marshall, 1995 Golden Raspberry Awards Worst Director Nominees No Andy Nelson Pete Wright Special Effects Supervisor Chris Reynolds on Cinema Paradiso • Movies We Like 5 5 6 6 Special Effects Supervisor Chris Reynolds on Cinema Paradiso • Movies We Like full e524ea84-6bd2-4238-950d-9e139691761f https://share.transistor.fm/s/38cb9ac3 “Life isn't like in the movies. Life... is much harder.”
Talking About Cinema Paradiso with our guest, Special Effects Supervisor Chris Reynolds

In this magical episode, we chat with veteran special effects artist and supervisor Chris Reynolds about his storied career bringing movies to life through innovative engineering and technology. Our focus is the classic Cinema Paradiso, a nostalgic ode to the glory days of cinema that inspired Chris from an early age.

Chris has built an impressive 40-year career in special effects, rising from technician to supervisor. He regales us with tales of his early days at the BBC, where he cut his teeth on classics like Blackadder. From blowing up haggis to sculpting giant lips, Chris learned to create imaginative practical effects on the fly across every genre. His passion for storytelling shines through as he discusses favorite projects, including some he worked on like Philip K. Dick’s Electric Dreams, and others he didn't, like Battle of Britain.

Turning to Cinema Paradiso, we unpack the magic of this film that celebrates the power of cinema to transport us. We all agree the performances are fantastic, especially Salvatore Cascio as the young Toto. And Ennio Morricone’s iconic score ties it all together. The ending montage of kisses cut by the priest is pure movie magic. Chris gives the inside scoop on the fire sequence, rating its mixed effectiveness from a special effects supervisor's perspective. He also shares which version he prefers between the Director’s Cut and the international release.

Overall, Cinema Paradiso captures a sense of childlike wonder and nostalgia for the romanticism of old Hollywood. Chris gives us an insider’s view into the art and craft of moviemaking. For any cinema lover, this is a must-listen episode.

Film Sundries


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]]> “Life isn't like in the movies. Life... is much harder.”
Talking About Cinema Paradiso with our guest, Special Effects Supervisor Chris Reynolds

In this magical episode, we chat with veteran special effects artist and supervisor Chris Reynolds about his storied career bringing movies to life through innovative engineering and technology. Our focus is the classic Cinema Paradiso, a nostalgic ode to the glory days of cinema that inspired Chris from an early age.

Chris has built an impressive 40-year career in special effects, rising from technician to supervisor. He regales us with tales of his early days at the BBC, where he cut his teeth on classics like Blackadder. From blowing up haggis to sculpting giant lips, Chris learned to create imaginative practical effects on the fly across every genre. His passion for storytelling shines through as he discusses favorite projects, including some he worked on like Philip K. Dick’s Electric Dreams, and others he didn't, like Battle of Britain.

Turning to Cinema Paradiso, we unpack the magic of this film that celebrates the power of cinema to transport us. We all agree the performances are fantastic, especially Salvatore Cascio as the young Toto. And Ennio Morricone’s iconic score ties it all together. The ending montage of kisses cut by the priest is pure movie magic. Chris gives the inside scoop on the fire sequence, rating its mixed effectiveness from a special effects supervisor's perspective. He also shares which version he prefers between the Director’s Cut and the international release.

Overall, Cinema Paradiso captures a sense of childlike wonder and nostalgia for the romanticism of old Hollywood. Chris gives us an insider’s view into the art and craft of moviemaking. For any cinema lover, this is a must-listen episode.

Film Sundries


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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Mon, 22 Jan 2024 03:00:00 -0800 TruStory FM TruStory FM 3950 “Life isn't like in the movies. Life... is much harder.”
Talking About Cinema Paradiso with our guest, Special Effects Supervisor Chris Reynolds

In this magical episode, we chat with veteran special effects artist and supervisor Chris Reynolds about his storied career bringing movies to life through innovative engineering and technology. Our focus is the classic Cinema Paradiso, a nostalgic ode to the glory days of cinema that inspired Chris from an early age.

Chris has built an impressive 40-year career in special effects, rising from technician to supervisor. He regales us with tales of his early days at the BBC, where he cut his teeth on classics like Blackadder. From blowing up haggis to sculpting giant lips, Chris learned to create imaginative practical effects on the fly across every genre. His passion for storytelling shines through as he discusses favorite projects, including some he worked on like Philip K. Dick’s Electric Dreams, and others he didn't, like Battle of Britain.

Turning to Cinema Paradiso, we unpack the magic of this film that celebrates the power of cinema to transport us. We all agree the performances are fantastic, especially Salvatore Cascio as the young Toto. And Ennio Morricone’s iconic score ties it all together. The ending montage of kisses cut by the priest is pure movie magic. Chris gives the inside scoop on the fire sequence, rating its mixed effectiveness from a special effects supervisor's perspective. He also shares which version he prefers between the Director’s Cut and the international release.

Overall, Cinema Paradiso captures a sense of childlike wonder and nostalgia for the romanticism of old Hollywood. Chris gives us an insider’s view into the art and craft of moviemaking. For any cinema lover, this is a must-listen episode.

Film Sundries


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]]> 1988, 1980s, chris reynolds, giuseppe tornatore No Andy Nelson Pete Wright RoboCop • The Next Reel 13 13 30 30 RoboCop • The Next Reel full b88cd144-e8e8-4bd8-ba00-c9e19380ac8f https://share.transistor.fm/s/af4cd49b “Dead or alive, you are coming with me.”
In 1987, screenwriters Edward Neumeier and Michael Miner developed an original story idea while working on the set of Blade Runner. They envisioned a dystopian future where privatized police forces maintained law and order. After pitching the concept to studios, Orion Pictures greenlit the production of RoboCop, directed by Dutch filmmaker Paul Verhoeven. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about RoboCop.

Here's a hint at what we talk about:

We dive into the amazing practical effects created by Rob Bottin and Phil Tippett, including RoboCop himself, ED-209, the toxic waste scenes, and more. We discuss Paul Verhoeven's unique directorial vision and how he used over-the-top violence to achieve a satirical tone. The film's sharp and funny social satire provides critical commentary on privatized policing and corporate greed that still resonates today.

Here are a few other points in our discussion:

  • Great performance from Peter Weller as Murphy/RoboCop, plus the rest of the cast
  • The love/hate relationship with the corporate characters
  • How the 2014 remake compared to the original

RoboCop is a classic sci-fi action film that struck a delicate balance between intense action and dark comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “Dead or alive, you are coming with me.”
In 1987, screenwriters Edward Neumeier and Michael Miner developed an original story idea while working on the set of Blade Runner. They envisioned a dystopian future where privatized police forces maintained law and order. After pitching the concept to studios, Orion Pictures greenlit the production of RoboCop, directed by Dutch filmmaker Paul Verhoeven. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about RoboCop.

Here's a hint at what we talk about:

We dive into the amazing practical effects created by Rob Bottin and Phil Tippett, including RoboCop himself, ED-209, the toxic waste scenes, and more. We discuss Paul Verhoeven's unique directorial vision and how he used over-the-top violence to achieve a satirical tone. The film's sharp and funny social satire provides critical commentary on privatized policing and corporate greed that still resonates today.

Here are a few other points in our discussion:

  • Great performance from Peter Weller as Murphy/RoboCop, plus the rest of the cast
  • The love/hate relationship with the corporate characters
  • How the 2014 remake compared to the original

RoboCop is a classic sci-fi action film that struck a delicate balance between intense action and dark comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 18 Jan 2024 03:00:00 -0800 TruStory FM TruStory FM 4929 “Dead or alive, you are coming with me.”
In 1987, screenwriters Edward Neumeier and Michael Miner developed an original story idea while working on the set of Blade Runner. They envisioned a dystopian future where privatized police forces maintained law and order. After pitching the concept to studios, Orion Pictures greenlit the production of RoboCop, directed by Dutch filmmaker Paul Verhoeven. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about RoboCop.

Here's a hint at what we talk about:

We dive into the amazing practical effects created by Rob Bottin and Phil Tippett, including RoboCop himself, ED-209, the toxic waste scenes, and more. We discuss Paul Verhoeven's unique directorial vision and how he used over-the-top violence to achieve a satirical tone. The film's sharp and funny social satire provides critical commentary on privatized policing and corporate greed that still resonates today.

Here are a few other points in our discussion:

  • Great performance from Peter Weller as Murphy/RoboCop, plus the rest of the cast
  • The love/hate relationship with the corporate characters
  • How the 2014 remake compared to the original

RoboCop is a classic sci-fi action film that struck a delicate balance between intense action and dark comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

Film Sundries


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]]> 1987, Paul Verhoeven, 1980s, 1988 Academy Awards Best Visual Effects Nominees No Andy Nelson Pete Wright The Princess Bride • The Next Reel 13 13 29 29 The Princess Bride • The Next Reel full 152e5089-15bc-4897-9c54-d31be4fe2511 https://share.transistor.fm/s/e7713bf8 "This is true love. You think this happens every day?"
After William Goldman's novel The Princess Bride was published in 1973, film studios immediately saw its potential and vied for the movie rights. 20th Century Fox won out, paying Goldman to adapt his novel into a screenplay. But after languishing in development hell for over a decade, Rob Reiner and Norman Lear finally brought Goldman's fantastical fairy tale to the big screen in 1987. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about one of our non-nominees The Princess Bride.

Here's a hint at what we talk about:

We discuss the film's classic quotable lines, unforgettable characters like Inigo Montoya and Fezzik, the comedic yet sinister Prince Humperdinck, and the palpable on-screen chemistry between Robin Wright and Cary Elwes. We also analyze Goldman's brilliant meta approach to the novel and script, the film's purposefully unrealistic visual effects, and how Rob Reiner adeptly brought this iconic fairy tale parody to life.

Here are a few other points in our discussion:

  • The film's unexpected Christmas movie connections
  • Mandy Patinkin's fantastic performance as Inigo Montoya
  • How the story skewers notions of love, royalty, and leadership
  • The amazing swordfight paired with Mark Knopfler's score
  • Why fans adamantly resist remakes or sequels

The Princess Bride is beloved for good reason – it's clever, funny, beautifully shot, and full of indelible 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> "This is true love. You think this happens every day?"
After William Goldman's novel The Princess Bride was published in 1973, film studios immediately saw its potential and vied for the movie rights. 20th Century Fox won out, paying Goldman to adapt his novel into a screenplay. But after languishing in development hell for over a decade, Rob Reiner and Norman Lear finally brought Goldman's fantastical fairy tale to the big screen in 1987. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about one of our non-nominees The Princess Bride.

Here's a hint at what we talk about:

We discuss the film's classic quotable lines, unforgettable characters like Inigo Montoya and Fezzik, the comedic yet sinister Prince Humperdinck, and the palpable on-screen chemistry between Robin Wright and Cary Elwes. We also analyze Goldman's brilliant meta approach to the novel and script, the film's purposefully unrealistic visual effects, and how Rob Reiner adeptly brought this iconic fairy tale parody to life.

Here are a few other points in our discussion:

  • The film's unexpected Christmas movie connections
  • Mandy Patinkin's fantastic performance as Inigo Montoya
  • How the story skewers notions of love, royalty, and leadership
  • The amazing swordfight paired with Mark Knopfler's score
  • Why fans adamantly resist remakes or sequels

The Princess Bride is beloved for good reason – it's clever, funny, beautifully shot, and full of indelible 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 11 Jan 2024 03:00:00 -0800 TruStory FM TruStory FM 4300 "This is true love. You think this happens every day?"
After William Goldman's novel The Princess Bride was published in 1973, film studios immediately saw its potential and vied for the movie rights. 20th Century Fox won out, paying Goldman to adapt his novel into a screenplay. But after languishing in development hell for over a decade, Rob Reiner and Norman Lear finally brought Goldman's fantastical fairy tale to the big screen in 1987. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about one of our non-nominees The Princess Bride.

Here's a hint at what we talk about:

We discuss the film's classic quotable lines, unforgettable characters like Inigo Montoya and Fezzik, the comedic yet sinister Prince Humperdinck, and the palpable on-screen chemistry between Robin Wright and Cary Elwes. We also analyze Goldman's brilliant meta approach to the novel and script, the film's purposefully unrealistic visual effects, and how Rob Reiner adeptly brought this iconic fairy tale parody to life.

Here are a few other points in our discussion:

  • The film's unexpected Christmas movie connections
  • Mandy Patinkin's fantastic performance as Inigo Montoya
  • How the story skewers notions of love, royalty, and leadership
  • The amazing swordfight paired with Mark Knopfler's score
  • Why fans adamantly resist remakes or sequels

The Princess Bride is beloved for good reason – it's clever, funny, beautifully shot, and full of indelible 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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1987, 1980s, Rob Reiner, 1988 Academy Awards Best Visual Effects Nominees No Andy Nelson Pete Wright Predator • The Next Reel 13 13 27 27 Predator • The Next Reel full 8427109f-4f26-4560-a84c-39e80289cdb4 https://share.transistor.fm/s/47748e5f “There’s something out there waiting for us, and it ain’t no man. We’re all going to die.”
After the huge success of Rocky IV in 1985, screenwriters Jim and John Thomas saw an opportunity for another Rocky film where he'd have to fight an alien, calling it "Rocky vs Predator." They developed the idea into a script titled "Hunter" about a group of alien hunters looking for the most dangerous prey. Unable to get interest, they slipped it under producer Michael Levy's door who loved it. Levy brought it to producer Joel Silver who also loved it. Silver brought in action star Arnold Schwarzenegger, who suggested changing it from one man against the creature to a team for more dynamics. Director John McTiernan was hired for his first studio film. With a budget under $20 million and filming in the jungles of Puerto Vallarta, Mexico, Predator began production.

Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Predator.

Here's a hint at what we talk about:

We discuss the excellent creature design and visual effects that still hold up today in making the cloaked Predator feel dangerous and threatening. The story structure shifts cleverly from a military rescue mission to sci-fi horror when the alien arrives. We admire the directing style of McTiernan in generating tension and fear. Character dynamics are touched on, along with some problematic elements.

Here are a few other points in our discussion:

  • Memorable one-liners and quips from Schwarzenegger
  • Contrast of the special forces team against the advanced alien
  • Discussion of problematic Indigenous American and female character tropes
  • Always hoping for more from Jesse “The Body” Ventura's character

Predator succeeds at being an enthralling, action-packed cinema 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!

Film Sundries

5vd7KcUHE9aFPUjXwStS


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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “There’s something out there waiting for us, and it ain’t no man. We’re all going to die.”
After the huge success of Rocky IV in 1985, screenwriters Jim and John Thomas saw an opportunity for another Rocky film where he'd have to fight an alien, calling it "Rocky vs Predator." They developed the idea into a script titled "Hunter" about a group of alien hunters looking for the most dangerous prey. Unable to get interest, they slipped it under producer Michael Levy's door who loved it. Levy brought it to producer Joel Silver who also loved it. Silver brought in action star Arnold Schwarzenegger, who suggested changing it from one man against the creature to a team for more dynamics. Director John McTiernan was hired for his first studio film. With a budget under $20 million and filming in the jungles of Puerto Vallarta, Mexico, Predator began production.

Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Predator.

Here's a hint at what we talk about:

We discuss the excellent creature design and visual effects that still hold up today in making the cloaked Predator feel dangerous and threatening. The story structure shifts cleverly from a military rescue mission to sci-fi horror when the alien arrives. We admire the directing style of McTiernan in generating tension and fear. Character dynamics are touched on, along with some problematic elements.

Here are a few other points in our discussion:

  • Memorable one-liners and quips from Schwarzenegger
  • Contrast of the special forces team against the advanced alien
  • Discussion of problematic Indigenous American and female character tropes
  • Always hoping for more from Jesse “The Body” Ventura's character

Predator succeeds at being an enthralling, action-packed cinema 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!

Film Sundries

5vd7KcUHE9aFPUjXwStS


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 04 Jan 2024 03:00:00 -0800 TruStory FM TruStory FM 4543 “There’s something out there waiting for us, and it ain’t no man. We’re all going to die.”
After the huge success of Rocky IV in 1985, screenwriters Jim and John Thomas saw an opportunity for another Rocky film where he'd have to fight an alien, calling it "Rocky vs Predator." They developed the idea into a script titled "Hunter" about a group of alien hunters looking for the most dangerous prey. Unable to get interest, they slipped it under producer Michael Levy's door who loved it. Levy brought it to producer Joel Silver who also loved it. Silver brought in action star Arnold Schwarzenegger, who suggested changing it from one man against the creature to a team for more dynamics. Director John McTiernan was hired for his first studio film. With a budget under $20 million and filming in the jungles of Puerto Vallarta, Mexico, Predator began production.

Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Predator.

Here's a hint at what we talk about:

We discuss the excellent creature design and visual effects that still hold up today in making the cloaked Predator feel dangerous and threatening. The story structure shifts cleverly from a military rescue mission to sci-fi horror when the alien arrives. We admire the directing style of McTiernan in generating tension and fear. Character dynamics are touched on, along with some problematic elements.

Here are a few other points in our discussion:

  • Memorable one-liners and quips from Schwarzenegger
  • Contrast of the special forces team against the advanced alien
  • Discussion of problematic Indigenous American and female character tropes
  • Always hoping for more from Jesse “The Body” Ventura's character

Predator succeeds at being an enthralling, action-packed cinema 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!

Film Sundries

5vd7KcUHE9aFPUjXwStS


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1987, 1980s, John McTiernan, 1988 Academy Awards Best Visual Effects Nominees No Andy Nelson Pete Wright The Lost Boys • The Next Reel • Member Bonus 13 13 28 28 The Lost Boys • The Next Reel • Member Bonus full 6ab6afc5-ee69-406a-8139-26fc3f44a1e6 https://share.transistor.fm/s/d85dc75a “Kill your brother, you’ll feel better.”
The 80s were a transformative time for vampire films, leading studios to rethink the genre and develop sexier, edgier stories for modern audiences. Under Joel Schumacher’s direction, The Lost Boys brought together attractive young stars, iconic music, and cutting-edge special effects to create an instant cult classic. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about The Lost Boys. 

Here's a hint at what we talk about:

We dive into the homoerotic subtext Schumacher wove throughout the film, from the casting to the costumes to set decor details. Though subtle, these elements enriched the story in ways we didn’t fully appreciate until now. We also discuss how the film’s Santa Cruz setting, portrayed fictionally as the murder capital Santa Carla, nicely matched its dark tale of teenage vampires. And we can’t neglect the movie’s stellar 80's soundtrack, which indelibly linked this movie with its musical era. (Plus, Sweaty Sax Guy!)

Here are a few other points in our discussion:

  • The brilliant directing choices, like shooting in POV to suggest flying (and a cheap way to do it!)
  • The fantastic practical effects, especially the garlic bathtub scene
  • The film's influence on future vampire stories, from Buffy to Twilight
  • Our favorite and least favorite characters (Who are we kidding? We love them all!)
  • Questionable plot points that now bother us... barely

The Lost Boys endures as a thoroughly entertaining vampire movie with depth beyond its horror trappings. 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

This is a member bonus episode, but as an end-of-year gift to all of our wonderful listeners, we’re giving it to everybody. It’s a taste of what membership brings you. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> “Kill your brother, you’ll feel better.”
The 80s were a transformative time for vampire films, leading studios to rethink the genre and develop sexier, edgier stories for modern audiences. Under Joel Schumacher’s direction, The Lost Boys brought together attractive young stars, iconic music, and cutting-edge special effects to create an instant cult classic. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about The Lost Boys. 

Here's a hint at what we talk about:

We dive into the homoerotic subtext Schumacher wove throughout the film, from the casting to the costumes to set decor details. Though subtle, these elements enriched the story in ways we didn’t fully appreciate until now. We also discuss how the film’s Santa Cruz setting, portrayed fictionally as the murder capital Santa Carla, nicely matched its dark tale of teenage vampires. And we can’t neglect the movie’s stellar 80's soundtrack, which indelibly linked this movie with its musical era. (Plus, Sweaty Sax Guy!)

Here are a few other points in our discussion:

  • The brilliant directing choices, like shooting in POV to suggest flying (and a cheap way to do it!)
  • The fantastic practical effects, especially the garlic bathtub scene
  • The film's influence on future vampire stories, from Buffy to Twilight
  • Our favorite and least favorite characters (Who are we kidding? We love them all!)
  • Questionable plot points that now bother us... barely

The Lost Boys endures as a thoroughly entertaining vampire movie with depth beyond its horror trappings. 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

This is a member bonus episode, but as an end-of-year gift to all of our wonderful listeners, we’re giving it to everybody. It’s a taste of what membership brings you. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> Sun, 31 Dec 2023 03:00:00 -0800 TruStory FM TruStory FM 4833 “Kill your brother, you’ll feel better.”
The 80s were a transformative time for vampire films, leading studios to rethink the genre and develop sexier, edgier stories for modern audiences. Under Joel Schumacher’s direction, The Lost Boys brought together attractive young stars, iconic music, and cutting-edge special effects to create an instant cult classic. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about The Lost Boys. 

Here's a hint at what we talk about:

We dive into the homoerotic subtext Schumacher wove throughout the film, from the casting to the costumes to set decor details. Though subtle, these elements enriched the story in ways we didn’t fully appreciate until now. We also discuss how the film’s Santa Cruz setting, portrayed fictionally as the murder capital Santa Carla, nicely matched its dark tale of teenage vampires. And we can’t neglect the movie’s stellar 80's soundtrack, which indelibly linked this movie with its musical era. (Plus, Sweaty Sax Guy!)

Here are a few other points in our discussion:

  • The brilliant directing choices, like shooting in POV to suggest flying (and a cheap way to do it!)
  • The fantastic practical effects, especially the garlic bathtub scene
  • The film's influence on future vampire stories, from Buffy to Twilight
  • Our favorite and least favorite characters (Who are we kidding? We love them all!)
  • Questionable plot points that now bother us... barely

The Lost Boys endures as a thoroughly entertaining vampire movie with depth beyond its horror trappings. 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

This is a member bonus episode, but as an end-of-year gift to all of our wonderful listeners, we’re giving it to everybody. It’s a taste of what membership brings you. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

]]> 1987, 1980s, Joel Schumacher, 1988 Academy Awards Best Visual Effects Nominees, member bonus No Andy Nelson Pete Wright Innerspace • The Next Reel 13 13 26 26 Innerspace • The Next Reel full be53c3bb-d763-4e86-9222-e75f7bf5a584 https://share.transistor.fm/s/4c6a358f “You just digested the bad guy.”

Innerspace came about after Jeffrey Boam took Chip Proser’s original script and injected comedy into the straightforward sci-fi concept. With Joe Dante directing and Steven Spielberg executive producing, the film had the freedom to push boundaries. Join us – Pete Wright and Andy Nelson – as we kick off our 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Dante’s 1987 film Innerspace.


Here's a hint at what we talk about:

We discuss the impressive visual effects that still hold up decades later, from the microscopic inner body sets to the giant props used for the miniaturized villains. Though we find some plot holes and dated elements, we agree that Martin Short’s performance, the chemistry between him and the other two leads (Dennis Quaid and Meg Ryan), and the film’s playful tone make Innerspace an enduringly fun watch.


Here are a few other points in our discussion:

  • How Meg Ryan’s reporter character becomes merely a plot device, even though set up as someone with agency
  • The lack of resolution around Dennis Quaid’s character’s alcoholism
  • Appreciation for Robert Picardo as The Cowboy and many other supporting roles filled with familiar Dante regulars
  • Jerry Goldsmith’s delightful score capturing the movie’s energy

Innerspace is a flawed but highly entertaining sci-fi comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “You just digested the bad guy.”

Innerspace came about after Jeffrey Boam took Chip Proser’s original script and injected comedy into the straightforward sci-fi concept. With Joe Dante directing and Steven Spielberg executive producing, the film had the freedom to push boundaries. Join us – Pete Wright and Andy Nelson – as we kick off our 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Dante’s 1987 film Innerspace.


Here's a hint at what we talk about:

We discuss the impressive visual effects that still hold up decades later, from the microscopic inner body sets to the giant props used for the miniaturized villains. Though we find some plot holes and dated elements, we agree that Martin Short’s performance, the chemistry between him and the other two leads (Dennis Quaid and Meg Ryan), and the film’s playful tone make Innerspace an enduringly fun watch.


Here are a few other points in our discussion:

  • How Meg Ryan’s reporter character becomes merely a plot device, even though set up as someone with agency
  • The lack of resolution around Dennis Quaid’s character’s alcoholism
  • Appreciation for Robert Picardo as The Cowboy and many other supporting roles filled with familiar Dante regulars
  • Jerry Goldsmith’s delightful score capturing the movie’s energy

Innerspace is a flawed but highly entertaining sci-fi comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 28 Dec 2023 03:00:00 -0800 TruStory FM TruStory FM 3261 “You just digested the bad guy.”

Innerspace came about after Jeffrey Boam took Chip Proser’s original script and injected comedy into the straightforward sci-fi concept. With Joe Dante directing and Steven Spielberg executive producing, the film had the freedom to push boundaries. Join us – Pete Wright and Andy Nelson – as we kick off our 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Dante’s 1987 film Innerspace.


Here's a hint at what we talk about:

We discuss the impressive visual effects that still hold up decades later, from the microscopic inner body sets to the giant props used for the miniaturized villains. Though we find some plot holes and dated elements, we agree that Martin Short’s performance, the chemistry between him and the other two leads (Dennis Quaid and Meg Ryan), and the film’s playful tone make Innerspace an enduringly fun watch.


Here are a few other points in our discussion:

  • How Meg Ryan’s reporter character becomes merely a plot device, even though set up as someone with agency
  • The lack of resolution around Dennis Quaid’s character’s alcoholism
  • Appreciation for Robert Picardo as The Cowboy and many other supporting roles filled with familiar Dante regulars
  • Jerry Goldsmith’s delightful score capturing the movie’s energy

Innerspace is a flawed but highly entertaining sci-fi comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1987, 1980s, Joe Dante, 1988 Academy Awards Best Visual Effects Nominees No Andy Nelson Pete Wright Rollerball • The Next Reel 13 13 25 25 Rollerball • The Next Reel full 237e9f2e-e1e3-4192-b05b-49ab7f677d86 https://share.transistor.fm/s/267a9cf1 “Game? This wasn’t meant to be a game. Never!”

James Caan stars as Jonathan E., a legendary athlete in the brutal sport of Rollerball in Norman Jewison’s 1975 dystopian sci-fi thriller. With a screenplay by William Harrison based on his short story, Jewison intended the film as a critique of exploitative sports and their dehumanizing effects. However, audiences were enthralled by the violent future sport depicted. Rollerball entered a crowded field of 1970s dystopian sci-fi, alongside classics like A Clockwork Orange. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Rollerball.

Here's a hint at what we talk about:

We discuss Rollerball as an early example of dystopian sports cinema, designed to make a point about authoritative control. Though we find flaws, like some pacing issues, we agree that Rollerball was prescient in its corporate allegory. We also touch on the fascinating real-world attempts to turn the fictional sport of Rollerball into a reality.

Here are a few other points in our discussion:

  • The minimalist performance of a subdued James Caan – does it work?
  • John Houseman as the chilling corporate overlord
  • Appreciation for the practical stunt work (and that they recognized it in the credits!)
  • How audiences often miss the point of satirical films
  • The abysmal 2002 remake

In the end, we find Rollerball an imperfect but thought-provoking 1970s sci-fi film. Despite its uneven pacing, 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Game? This wasn’t meant to be a game. Never!”

James Caan stars as Jonathan E., a legendary athlete in the brutal sport of Rollerball in Norman Jewison’s 1975 dystopian sci-fi thriller. With a screenplay by William Harrison based on his short story, Jewison intended the film as a critique of exploitative sports and their dehumanizing effects. However, audiences were enthralled by the violent future sport depicted. Rollerball entered a crowded field of 1970s dystopian sci-fi, alongside classics like A Clockwork Orange. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Rollerball.

Here's a hint at what we talk about:

We discuss Rollerball as an early example of dystopian sports cinema, designed to make a point about authoritative control. Though we find flaws, like some pacing issues, we agree that Rollerball was prescient in its corporate allegory. We also touch on the fascinating real-world attempts to turn the fictional sport of Rollerball into a reality.

Here are a few other points in our discussion:

  • The minimalist performance of a subdued James Caan – does it work?
  • John Houseman as the chilling corporate overlord
  • Appreciation for the practical stunt work (and that they recognized it in the credits!)
  • How audiences often miss the point of satirical films
  • The abysmal 2002 remake

In the end, we find Rollerball an imperfect but thought-provoking 1970s sci-fi film. Despite its uneven pacing, 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 21 Dec 2023 03:00:00 -0800 TruStory FM TruStory FM 3571 “Game? This wasn’t meant to be a game. Never!”

James Caan stars as Jonathan E., a legendary athlete in the brutal sport of Rollerball in Norman Jewison’s 1975 dystopian sci-fi thriller. With a screenplay by William Harrison based on his short story, Jewison intended the film as a critique of exploitative sports and their dehumanizing effects. However, audiences were enthralled by the violent future sport depicted. Rollerball entered a crowded field of 1970s dystopian sci-fi, alongside classics like A Clockwork Orange. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Rollerball.

Here's a hint at what we talk about:

We discuss Rollerball as an early example of dystopian sports cinema, designed to make a point about authoritative control. Though we find flaws, like some pacing issues, we agree that Rollerball was prescient in its corporate allegory. We also touch on the fascinating real-world attempts to turn the fictional sport of Rollerball into a reality.

Here are a few other points in our discussion:

  • The minimalist performance of a subdued James Caan – does it work?
  • John Houseman as the chilling corporate overlord
  • Appreciation for the practical stunt work (and that they recognized it in the credits!)
  • How audiences often miss the point of satirical films
  • The abysmal 2002 remake

In the end, we find Rollerball an imperfect but thought-provoking 1970s sci-fi film. Despite its uneven pacing, 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1975, 1970s, Norman Jewison, 1976 Hugo Awards Best Dramatic Presentation Nominees No Andy Nelson Pete Wright Cinematographer Erik Messerschmidt on Chinatown • Movies We Like 5 5 5 5 Cinematographer Erik Messerschmidt on Chinatown • Movies We Like full 8bc18bc9-8361-4d48-b024-0b4bf307560f https://share.transistor.fm/s/0d55b256 “You may think you know what you’re dealing with, but you don’t. Believe me.”

Talking About Chinatown with our guest, Cinematographer Erik Messerschmidt

Roman Polanski's 1974 neo-noir Chinatown is regarded as one of the greatest films of all time. In this episode, we're joined by Academy Award-winning cinematographer Erik Messerschmidt to discuss this masterpiece of cinema.


We start by talking to Erik about his passion for filmmaking and what led him to a career in cinematography. He shares how he was drawn to the camaraderie and creative collaboration of working on set. Over time he realized the cinematographer role allowed him to blend his interests in art, science, and technology.


When it comes to Chinatown, Erik praises the elegant camerawork and seamless visual storytelling. Polanski uses the camera deliberately, guiding the audience through clues and reveals without excessive dialogue. The mystery unfolds through precise editing and minimalist framing. We also discuss the phenomenal performances and how Polanski pulls back at key moments to ground the major plot turns.


Chatting with Erik gave us a new appreciation for the nuance and artistry of Chinatown. It's a masterclass in subtle visual storytelling that inspired generations of filmmakers. Roman Polanski's direction and Robert Towne's script form a potent combination. We highly recommend revisiting this neo-noir gem.


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You may think you know what you’re dealing with, but you don’t. Believe me.”

Talking About Chinatown with our guest, Cinematographer Erik Messerschmidt

Roman Polanski's 1974 neo-noir Chinatown is regarded as one of the greatest films of all time. In this episode, we're joined by Academy Award-winning cinematographer Erik Messerschmidt to discuss this masterpiece of cinema.


We start by talking to Erik about his passion for filmmaking and what led him to a career in cinematography. He shares how he was drawn to the camaraderie and creative collaboration of working on set. Over time he realized the cinematographer role allowed him to blend his interests in art, science, and technology.


When it comes to Chinatown, Erik praises the elegant camerawork and seamless visual storytelling. Polanski uses the camera deliberately, guiding the audience through clues and reveals without excessive dialogue. The mystery unfolds through precise editing and minimalist framing. We also discuss the phenomenal performances and how Polanski pulls back at key moments to ground the major plot turns.


Chatting with Erik gave us a new appreciation for the nuance and artistry of Chinatown. It's a masterclass in subtle visual storytelling that inspired generations of filmmakers. Roman Polanski's direction and Robert Towne's script form a potent combination. We highly recommend revisiting this neo-noir gem.


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 18 Dec 2023 03:00:00 -0800 TruStory FM TruStory FM 3767 “You may think you know what you’re dealing with, but you don’t. Believe me.”

Talking About Chinatown with our guest, Cinematographer Erik Messerschmidt

Roman Polanski's 1974 neo-noir Chinatown is regarded as one of the greatest films of all time. In this episode, we're joined by Academy Award-winning cinematographer Erik Messerschmidt to discuss this masterpiece of cinema.


We start by talking to Erik about his passion for filmmaking and what led him to a career in cinematography. He shares how he was drawn to the camaraderie and creative collaboration of working on set. Over time he realized the cinematographer role allowed him to blend his interests in art, science, and technology.


When it comes to Chinatown, Erik praises the elegant camerawork and seamless visual storytelling. Polanski uses the camera deliberately, guiding the audience through clues and reveals without excessive dialogue. The mystery unfolds through precise editing and minimalist framing. We also discuss the phenomenal performances and how Polanski pulls back at key moments to ground the major plot turns.


Chatting with Erik gave us a new appreciation for the nuance and artistry of Chinatown. It's a masterclass in subtle visual storytelling that inspired generations of filmmakers. Roman Polanski's direction and Robert Towne's script form a potent combination. We highly recommend revisiting this neo-noir gem.


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1974, 1970s, Erik Messerschmidt, Roman Polanski No Andy Nelson Pete Wright Monty Python and the Holy Grail • The Next Reel 13 13 24 24 Monty Python and the Holy Grail • The Next Reel full c26050c7-f4c7-4724-8992-53ed2a193823 https://share.transistor.fm/s/f3337fe0 “Oh, what sad times are these when passing ruffians can say ‘Ni!’ at will to old ladies. There is a pestilence upon this land, nothing is sacred. Even those who arrange and design shrubberies are under considerable economic stress in this period in history.”

After the immense success of Monty Python’s Flying Circus on television, the Python troupe set out to take their unique brand of absurd (møose) comedy to the big screen. Securing funding from rock stars and record companies, they scraped together a modest budget and set out to create a silly sendup of the legend of King Arthur. Shooting on location at a couple of castles, they used low-budget tricks like smoke machines and clever framing to build an entirely new medieval world. Armed with coconuts and a killer rabbit, Monty Python unleashed their wit upon the Round Table and llamas everywhere, spawning an instant cult classic. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Monty Python and the Holy Grail.


Here's a hint at what we talk about:

We gush over the brilliant comedic writing, discussing how each joke builds upon the last to create a fully formed world of nonsense. The clever framing allows the limited locations to represent far more of Arthur's moose than actually existed. We praise the meta elements like the voice of god and the police abruptly ending the quest. The French taunting scene stands out as a highlight. While Pete finds some scenes drag, the overall effect remains potent even after countless viewings.


Here are a few other points in our discussion:

  • Appreciating the extensive history satire
  • Debating our favorite Python troupe members
  • The legend of how rock stars financed the film
  • Eric Idle's later Broadway adaptation Spamalot
  • Quoting every line despite ourselves

Monty Python crafted an endlessly quotable masterpiece that lampoons British legends and remains uproariously funny decades later. We have a great time talking about it, so check it out then tune in. The Next Reel – when the moose ends, our llama begins!


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Oh, what sad times are these when passing ruffians can say ‘Ni!’ at will to old ladies. There is a pestilence upon this land, nothing is sacred. Even those who arrange and design shrubberies are under considerable economic stress in this period in history.”

After the immense success of Monty Python’s Flying Circus on television, the Python troupe set out to take their unique brand of absurd (møose) comedy to the big screen. Securing funding from rock stars and record companies, they scraped together a modest budget and set out to create a silly sendup of the legend of King Arthur. Shooting on location at a couple of castles, they used low-budget tricks like smoke machines and clever framing to build an entirely new medieval world. Armed with coconuts and a killer rabbit, Monty Python unleashed their wit upon the Round Table and llamas everywhere, spawning an instant cult classic. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Monty Python and the Holy Grail.


Here's a hint at what we talk about:

We gush over the brilliant comedic writing, discussing how each joke builds upon the last to create a fully formed world of nonsense. The clever framing allows the limited locations to represent far more of Arthur's moose than actually existed. We praise the meta elements like the voice of god and the police abruptly ending the quest. The French taunting scene stands out as a highlight. While Pete finds some scenes drag, the overall effect remains potent even after countless viewings.


Here are a few other points in our discussion:

  • Appreciating the extensive history satire
  • Debating our favorite Python troupe members
  • The legend of how rock stars financed the film
  • Eric Idle's later Broadway adaptation Spamalot
  • Quoting every line despite ourselves

Monty Python crafted an endlessly quotable masterpiece that lampoons British legends and remains uproariously funny decades later. We have a great time talking about it, so check it out then tune in. The Next Reel – when the moose ends, our llama begins!


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 14 Dec 2023 03:00:00 -0800 TruStory FM TruStory FM 4291 “Oh, what sad times are these when passing ruffians can say ‘Ni!’ at will to old ladies. There is a pestilence upon this land, nothing is sacred. Even those who arrange and design shrubberies are under considerable economic stress in this period in history.”

After the immense success of Monty Python’s Flying Circus on television, the Python troupe set out to take their unique brand of absurd (møose) comedy to the big screen. Securing funding from rock stars and record companies, they scraped together a modest budget and set out to create a silly sendup of the legend of King Arthur. Shooting on location at a couple of castles, they used low-budget tricks like smoke machines and clever framing to build an entirely new medieval world. Armed with coconuts and a killer rabbit, Monty Python unleashed their wit upon the Round Table and llamas everywhere, spawning an instant cult classic. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Monty Python and the Holy Grail.


Here's a hint at what we talk about:

We gush over the brilliant comedic writing, discussing how each joke builds upon the last to create a fully formed world of nonsense. The clever framing allows the limited locations to represent far more of Arthur's moose than actually existed. We praise the meta elements like the voice of god and the police abruptly ending the quest. The French taunting scene stands out as a highlight. While Pete finds some scenes drag, the overall effect remains potent even after countless viewings.


Here are a few other points in our discussion:

  • Appreciating the extensive history satire
  • Debating our favorite Python troupe members
  • The legend of how rock stars financed the film
  • Eric Idle's later Broadway adaptation Spamalot
  • Quoting every line despite ourselves

Monty Python crafted an endlessly quotable masterpiece that lampoons British legends and remains uproariously funny decades later. We have a great time talking about it, so check it out then tune in. The Next Reel – when the moose ends, our llama begins!


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Terry Gilliam, Terry Jones, 1975, 1970s, 1976 Hugo Awards Best Dramatic Presentation Nominees No Andy Nelson Pete Wright Dark Star • The Next Reel 13 13 22 22 Dark Star • The Next Reel full 5f88b08d-b7ef-464a-9061-4a02399fd355 https://share.transistor.fm/s/5265ff3f “Don’t give me any of that ‘intelligent life’ stuff. Find me something I can blow up!”

John Carpenter and Dan O'Bannon met as film students at USC in the early 1970s. Together they created a 45-minute student film called Dark Star that ended up gaining traction on the film festival circuit. With additional funding, they expanded it into a feature film that was released in 1974. This sci-fi comedy film became a cult classic, despite its tiny budget and limited release. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Dark Star.

Here's a hint at what we talk about:

In our discussion of Dark Star, we dive into the film's origins as a student project and how it evolved into a feature film. We analyze the absurdist tone and philosophy of the story, as well as the mix of comedy and horror elements. Though we find some flaws, we appreciate the ambition and creativity behind this early work by Carpenter and O'Bannon.


Here are a few other points in our discussion:

  • The impressive visual effects and production design given the microbudget
  • Memorable characters and comedic performances
  • Thought-provoking themes about technology and human nature
  • Influences on later sci-fi classics like Alien and Red Dwarf

In the end, we see Dark Star as a unique cult film that shows the promise of Carpenter and O'Bannon as emerging filmmakers. Despite its uneven moments, it offers an imaginative vision and bold filmmaking. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Don’t give me any of that ‘intelligent life’ stuff. Find me something I can blow up!”

John Carpenter and Dan O'Bannon met as film students at USC in the early 1970s. Together they created a 45-minute student film called Dark Star that ended up gaining traction on the film festival circuit. With additional funding, they expanded it into a feature film that was released in 1974. This sci-fi comedy film became a cult classic, despite its tiny budget and limited release. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Dark Star.

Here's a hint at what we talk about:

In our discussion of Dark Star, we dive into the film's origins as a student project and how it evolved into a feature film. We analyze the absurdist tone and philosophy of the story, as well as the mix of comedy and horror elements. Though we find some flaws, we appreciate the ambition and creativity behind this early work by Carpenter and O'Bannon.


Here are a few other points in our discussion:

  • The impressive visual effects and production design given the microbudget
  • Memorable characters and comedic performances
  • Thought-provoking themes about technology and human nature
  • Influences on later sci-fi classics like Alien and Red Dwarf

In the end, we see Dark Star as a unique cult film that shows the promise of Carpenter and O'Bannon as emerging filmmakers. Despite its uneven moments, it offers an imaginative vision and bold filmmaking. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 07 Dec 2023 03:00:00 -0800 TruStory FM TruStory FM 3388 “Don’t give me any of that ‘intelligent life’ stuff. Find me something I can blow up!”

John Carpenter and Dan O'Bannon met as film students at USC in the early 1970s. Together they created a 45-minute student film called Dark Star that ended up gaining traction on the film festival circuit. With additional funding, they expanded it into a feature film that was released in 1974. This sci-fi comedy film became a cult classic, despite its tiny budget and limited release. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Dark Star.

Here's a hint at what we talk about:

In our discussion of Dark Star, we dive into the film's origins as a student project and how it evolved into a feature film. We analyze the absurdist tone and philosophy of the story, as well as the mix of comedy and horror elements. Though we find some flaws, we appreciate the ambition and creativity behind this early work by Carpenter and O'Bannon.


Here are a few other points in our discussion:

  • The impressive visual effects and production design given the microbudget
  • Memorable characters and comedic performances
  • Thought-provoking themes about technology and human nature
  • Influences on later sci-fi classics like Alien and Red Dwarf

In the end, we see Dark Star as a unique cult film that shows the promise of Carpenter and O'Bannon as emerging filmmakers. Despite its uneven moments, it offers an imaginative vision and bold filmmaking. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1974, 1970s, John Carpenter, 1976 Hugo Awards Best Dramatic Presentation Nominees No Andy Nelson Pete Wright A Boy and His Dog • The Next Reel 13 13 21 21 A Boy and His Dog • The Next Reel full 4b9a2b4d-10ac-454c-8cec-bc7127494fd9 https://share.transistor.fm/s/c0a5e3cf “You’re so funny when you’re sexually frustrated.”

In 1975, producer Alvy Moore teamed up with director L.Q. Jones to bring Harlan Ellison’s 1969 novella A Boy and His Dog to the big screen. With a budget of just $400,000, Jones cast newcomer Don Johnson alongside canine actor Tiger in this post-apocalyptic sci-fi that would go on to earn acclaim and cult status. Join us – Pete Wright and Andy Nelson – as we kick off the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about A Boy and His Dog.

Here's a hint at what we talk about:

We dive into the fascinating dystopian world depicted in the film, analyzing how the survivalist society shapes the animalistic characters. We discuss the interesting gender politics and debate whether the controversial elements hold up today. And we talk about the great casting, including Don Johnson's standout performance and the fitting voice work for Blood.


Here are a few other points in our discussion:

  • The shocking ending and how it subverts expectations
  • The hilarious dynamic between Vic and Blood
  • The lo-fi retro aesthetic of the visuals
  • Harlan Ellison's legacy in sci-fi

In the end, we find A Boy and His Dog to be a wholly unique entry in the post-apocalyptic sci-fi genre that was ahead of its time. Despite flaws, it presents a creative vision of humanity's dark future that leaves a lasting impression. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “You’re so funny when you’re sexually frustrated.”

In 1975, producer Alvy Moore teamed up with director L.Q. Jones to bring Harlan Ellison’s 1969 novella A Boy and His Dog to the big screen. With a budget of just $400,000, Jones cast newcomer Don Johnson alongside canine actor Tiger in this post-apocalyptic sci-fi that would go on to earn acclaim and cult status. Join us – Pete Wright and Andy Nelson – as we kick off the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about A Boy and His Dog.

Here's a hint at what we talk about:

We dive into the fascinating dystopian world depicted in the film, analyzing how the survivalist society shapes the animalistic characters. We discuss the interesting gender politics and debate whether the controversial elements hold up today. And we talk about the great casting, including Don Johnson's standout performance and the fitting voice work for Blood.


Here are a few other points in our discussion:

  • The shocking ending and how it subverts expectations
  • The hilarious dynamic between Vic and Blood
  • The lo-fi retro aesthetic of the visuals
  • Harlan Ellison's legacy in sci-fi

In the end, we find A Boy and His Dog to be a wholly unique entry in the post-apocalyptic sci-fi genre that was ahead of its time. Despite flaws, it presents a creative vision of humanity's dark future that leaves a lasting impression. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 30 Nov 2023 03:00:00 -0800 TruStory FM TruStory FM 3512 “You’re so funny when you’re sexually frustrated.”

In 1975, producer Alvy Moore teamed up with director L.Q. Jones to bring Harlan Ellison’s 1969 novella A Boy and His Dog to the big screen. With a budget of just $400,000, Jones cast newcomer Don Johnson alongside canine actor Tiger in this post-apocalyptic sci-fi that would go on to earn acclaim and cult status. Join us – Pete Wright and Andy Nelson – as we kick off the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about A Boy and His Dog.

Here's a hint at what we talk about:

We dive into the fascinating dystopian world depicted in the film, analyzing how the survivalist society shapes the animalistic characters. We discuss the interesting gender politics and debate whether the controversial elements hold up today. And we talk about the great casting, including Don Johnson's standout performance and the fitting voice work for Blood.


Here are a few other points in our discussion:

  • The shocking ending and how it subverts expectations
  • The hilarious dynamic between Vic and Blood
  • The lo-fi retro aesthetic of the visuals
  • Harlan Ellison's legacy in sci-fi

In the end, we find A Boy and His Dog to be a wholly unique entry in the post-apocalyptic sci-fi genre that was ahead of its time. Despite flaws, it presents a creative vision of humanity's dark future that leaves a lasting impression. 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


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The Next Reel Family of Film Shows:

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]]> 1975, 1970s, 1976 Hugo Awards Best Dramatic Presentation Nominees, L.Q. Jones No Andy Nelson Pete Wright The Train • The Next Reel 13 13 20 20 The Train • The Next Reel full 5607228b-04a6-4dcd-a6f3-96ae1b85460b https://share.transistor.fm/s/6b719e48 “A painting means as much to you as a string of pearls to an ape.”

In the early 1960s, French author Rose Valland pitched the idea for The Train to producer Jules Bricken. Valland had worked at the Jeu de Paume Museum in Paris during World War II, overseeing the Nazi looting of French art treasures. Intrigued by her true story of resisting Nazi art theft, Bricken brought in director Arthur Penn to develop the film. Penn saw it as a vehicle for his friend Burt Lancaster and got him on board to star and co-produce. But creative differences led Penn to depart the project, with action director John Frankenheimer taking over. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Train.


Here's a hint at what we talk about:

We dive into the real history behind this fictionalized account of protecting French art from the Nazis in WWII. We discuss Frankenheimer’s groundbreaking filming techniques using real trains and locations. And we debate the deeper themes around valuing art over human life.


Here are a few other points in our discussion:

  • Highlighting the standout performance by Burt Lancaster
  • Appreciating Paul Scofield as the obsessive Nazi colonel
  • Noting the exceptional black and white cinematography
  • Poking fun at the uneven accents
  • Praising the thrilling climactic train yard action sequences

The Train is a thoroughly engrossing WWII action-drama that also makes you think. 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


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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “A painting means as much to you as a string of pearls to an ape.”

In the early 1960s, French author Rose Valland pitched the idea for The Train to producer Jules Bricken. Valland had worked at the Jeu de Paume Museum in Paris during World War II, overseeing the Nazi looting of French art treasures. Intrigued by her true story of resisting Nazi art theft, Bricken brought in director Arthur Penn to develop the film. Penn saw it as a vehicle for his friend Burt Lancaster and got him on board to star and co-produce. But creative differences led Penn to depart the project, with action director John Frankenheimer taking over. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Train.


Here's a hint at what we talk about:

We dive into the real history behind this fictionalized account of protecting French art from the Nazis in WWII. We discuss Frankenheimer’s groundbreaking filming techniques using real trains and locations. And we debate the deeper themes around valuing art over human life.


Here are a few other points in our discussion:

  • Highlighting the standout performance by Burt Lancaster
  • Appreciating Paul Scofield as the obsessive Nazi colonel
  • Noting the exceptional black and white cinematography
  • Poking fun at the uneven accents
  • Praising the thrilling climactic train yard action sequences

The Train is a thoroughly engrossing WWII action-drama that also makes you think. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 23 Nov 2023 03:00:00 -0800 TruStory FM TruStory FM 3634 “A painting means as much to you as a string of pearls to an ape.”

In the early 1960s, French author Rose Valland pitched the idea for The Train to producer Jules Bricken. Valland had worked at the Jeu de Paume Museum in Paris during World War II, overseeing the Nazi looting of French art treasures. Intrigued by her true story of resisting Nazi art theft, Bricken brought in director Arthur Penn to develop the film. Penn saw it as a vehicle for his friend Burt Lancaster and got him on board to star and co-produce. But creative differences led Penn to depart the project, with action director John Frankenheimer taking over. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Train.


Here's a hint at what we talk about:

We dive into the real history behind this fictionalized account of protecting French art from the Nazis in WWII. We discuss Frankenheimer’s groundbreaking filming techniques using real trains and locations. And we debate the deeper themes around valuing art over human life.


Here are a few other points in our discussion:

  • Highlighting the standout performance by Burt Lancaster
  • Appreciating Paul Scofield as the obsessive Nazi colonel
  • Noting the exceptional black and white cinematography
  • Poking fun at the uneven accents
  • Praising the thrilling climactic train yard action sequences

The Train is a thoroughly engrossing WWII action-drama that also makes you think. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1964, 1960s, John Frankenheimer, 1965 BAFTAs Best Film From Any Source Nominees No Andy Nelson Pete Wright The Pumpkin Eater • The Next Reel 13 13 19 19 The Pumpkin Eater • The Next Reel full bdf0f7b6-ed95-47d3-89ce-6605aded6cb6 https://share.transistor.fm/s/98a202de “My life is an empty place.”

Harold Pinter adapted Penelope Mortimer’s 1962 semi-autobiographical novel The Pumpkin Eater into a screenplay for this 1964 British drama film directed by Jack Clayton. With acclaimed performers Anne Bancroft and Peter Finch on board, Clayton and cinematographer Oswald Morris shot the black and white film partly on location in London and Shepperton Studios. Despite its downbeat subject matter, The Pumpkin Eater was considered a prestige picture with a relatively large budget upon its production. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Pumpkin Eater.

Here's a hint at what we talk about:

In this episode, we dive deep into the complex psychology of the characters and relationships in The Pumpkin Eater. We discuss how the film provides an intimate portrait of a woman struggling with depression and a crumbling marriage in 1960s England. The stellar performance by Anne Bancroft anchors the film, while the script by Harold Pinter brings emotional honesty through raw, confrontational dialogue. We also analyze how the movie explores challenging themes like women's rights, mental health, fidelity, and family.

Here are a few other points in our discussion:

  • Appreciation for Jack Clayton’s skilled direction
  • The intriguing nonlinear structure using flashbacks
  • James Mason’s supporting turn as the angry betrayed husband

The Pumpkin Eater is a psychologically complex drama that impressed us both. The gorgeous black and white cinematography transports you into this intimate story. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “My life is an empty place.”

Harold Pinter adapted Penelope Mortimer’s 1962 semi-autobiographical novel The Pumpkin Eater into a screenplay for this 1964 British drama film directed by Jack Clayton. With acclaimed performers Anne Bancroft and Peter Finch on board, Clayton and cinematographer Oswald Morris shot the black and white film partly on location in London and Shepperton Studios. Despite its downbeat subject matter, The Pumpkin Eater was considered a prestige picture with a relatively large budget upon its production. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Pumpkin Eater.

Here's a hint at what we talk about:

In this episode, we dive deep into the complex psychology of the characters and relationships in The Pumpkin Eater. We discuss how the film provides an intimate portrait of a woman struggling with depression and a crumbling marriage in 1960s England. The stellar performance by Anne Bancroft anchors the film, while the script by Harold Pinter brings emotional honesty through raw, confrontational dialogue. We also analyze how the movie explores challenging themes like women's rights, mental health, fidelity, and family.

Here are a few other points in our discussion:

  • Appreciation for Jack Clayton’s skilled direction
  • The intriguing nonlinear structure using flashbacks
  • James Mason’s supporting turn as the angry betrayed husband

The Pumpkin Eater is a psychologically complex drama that impressed us both. The gorgeous black and white cinematography transports you into this intimate story. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 16 Nov 2023 03:00:00 -0800 TruStory FM TruStory FM 3841 “My life is an empty place.”

Harold Pinter adapted Penelope Mortimer’s 1962 semi-autobiographical novel The Pumpkin Eater into a screenplay for this 1964 British drama film directed by Jack Clayton. With acclaimed performers Anne Bancroft and Peter Finch on board, Clayton and cinematographer Oswald Morris shot the black and white film partly on location in London and Shepperton Studios. Despite its downbeat subject matter, The Pumpkin Eater was considered a prestige picture with a relatively large budget upon its production. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Pumpkin Eater.

Here's a hint at what we talk about:

In this episode, we dive deep into the complex psychology of the characters and relationships in The Pumpkin Eater. We discuss how the film provides an intimate portrait of a woman struggling with depression and a crumbling marriage in 1960s England. The stellar performance by Anne Bancroft anchors the film, while the script by Harold Pinter brings emotional honesty through raw, confrontational dialogue. We also analyze how the movie explores challenging themes like women's rights, mental health, fidelity, and family.

Here are a few other points in our discussion:

  • Appreciation for Jack Clayton’s skilled direction
  • The intriguing nonlinear structure using flashbacks
  • James Mason’s supporting turn as the angry betrayed husband

The Pumpkin Eater is a psychologically complex drama that impressed us both. The gorgeous black and white cinematography transports you into this intimate story. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1964, 1960s, Jack Clayton, 1965 BAFTAs Best Film From Any Source Nominees No Andy Nelson Pete Wright Cinematographer Lyn Moncrief on Magnolia • Movies We Like 5 5 4 4 Cinematographer Lyn Moncrief on Magnolia • Movies We Like full 5b6307ea-5563-44a8-8fda-64d7c70c199b https://share.transistor.fm/s/431fbf73 “This is something that happens.”

Talking About Paul Thomas Anderson’s 1999 film Magnolia with our guest, cinematographer Lyn Moncrief

On this episode of Movies We Like, hosts Andy Nelson and Pete Wright invite cinematographer Lyn Moncrief to discuss his career and one of his favorite films, Paul Thomas Anderson’s sprawling 1999 drama Magnolia.

We talk with Lyn about how he first got interested in cinematography and making the move to Los Angeles to pursue his passion. He discusses some of his early work in independent films and horror movies, explaining that the genre can allow for creative freedom visually. Lyn also touches on his collaborations with director Emma Tammi, including the recent Five Nights at Freddy's adaptation.


When we dive into Magnolia, we analyze the film's unique visual style, editing, and how the different storylines weave together. We highlight standout emotional performances, especially from Tom Cruise and Julianne Moore. We also praise the film's musical interludes featuring songs written for the movie by Aimee Mann. Lyn explains how Magnolia inspired him as a young cinematographer and made him want to be part of ambitious filmmaking.


With its sprawling stories, raw performances, and stunning cinematography, Magnolia is truly a modern classic. This was a fascinating discussion about both Lyn's career and one of his favorite films. We clearly had an excellent time geeking out over this towering achievement. Be sure to check out Magnolia if you haven't seen it and listen to Lyn's insights from working in the industry.


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “This is something that happens.”

Talking About Paul Thomas Anderson’s 1999 film Magnolia with our guest, cinematographer Lyn Moncrief

On this episode of Movies We Like, hosts Andy Nelson and Pete Wright invite cinematographer Lyn Moncrief to discuss his career and one of his favorite films, Paul Thomas Anderson’s sprawling 1999 drama Magnolia.

We talk with Lyn about how he first got interested in cinematography and making the move to Los Angeles to pursue his passion. He discusses some of his early work in independent films and horror movies, explaining that the genre can allow for creative freedom visually. Lyn also touches on his collaborations with director Emma Tammi, including the recent Five Nights at Freddy's adaptation.


When we dive into Magnolia, we analyze the film's unique visual style, editing, and how the different storylines weave together. We highlight standout emotional performances, especially from Tom Cruise and Julianne Moore. We also praise the film's musical interludes featuring songs written for the movie by Aimee Mann. Lyn explains how Magnolia inspired him as a young cinematographer and made him want to be part of ambitious filmmaking.


With its sprawling stories, raw performances, and stunning cinematography, Magnolia is truly a modern classic. This was a fascinating discussion about both Lyn's career and one of his favorite films. We clearly had an excellent time geeking out over this towering achievement. Be sure to check out Magnolia if you haven't seen it and listen to Lyn's insights from working in the industry.


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Mon, 13 Nov 2023 03:00:00 -0800 TruStory FM TruStory FM 4194 “This is something that happens.”

Talking About Paul Thomas Anderson’s 1999 film Magnolia with our guest, cinematographer Lyn Moncrief

On this episode of Movies We Like, hosts Andy Nelson and Pete Wright invite cinematographer Lyn Moncrief to discuss his career and one of his favorite films, Paul Thomas Anderson’s sprawling 1999 drama Magnolia.

We talk with Lyn about how he first got interested in cinematography and making the move to Los Angeles to pursue his passion. He discusses some of his early work in independent films and horror movies, explaining that the genre can allow for creative freedom visually. Lyn also touches on his collaborations with director Emma Tammi, including the recent Five Nights at Freddy's adaptation.


When we dive into Magnolia, we analyze the film's unique visual style, editing, and how the different storylines weave together. We highlight standout emotional performances, especially from Tom Cruise and Julianne Moore. We also praise the film's musical interludes featuring songs written for the movie by Aimee Mann. Lyn explains how Magnolia inspired him as a young cinematographer and made him want to be part of ambitious filmmaking.


With its sprawling stories, raw performances, and stunning cinematography, Magnolia is truly a modern classic. This was a fascinating discussion about both Lyn's career and one of his favorite films. We clearly had an excellent time geeking out over this towering achievement. Be sure to check out Magnolia if you haven't seen it and listen to Lyn's insights from working in the industry.


Film Sundries


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The Next Reel Family of Film Shows:

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]]> 1999, 1990s, Paul Thomas Anderson No Andy Nelson Pete Wright Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb • Rebroadcast • The Next Reel 13 13 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb • Rebroadcast • The Next Reel bonus f0df0c11-4abc-4cac-a82e-b29b3bf95af3 https://share.transistor.fm/s/7775bfe5 "Gentlemen, you can’t fight in here! This is the war room!"

REBROADCAST

Stanley Kubrick didn’t do comedy often which is a shame because “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” is arguably one of the funniest films ever made. What’s interesting is that Kubrick intended on making a serious film about one of his greatest fears at the time: the threat of nuclear war. But after several attempts at finding the right way to tell the story seriously (including one involving aliens watching us from above, discussing our penchant for destruction), he hit on the idea of making it funny. And his dark comedy classic was born.


Join us – Andy Nelson and Pete Wright – as we wrap up our brief vacation challenge with Andy’s choice of his favorite end-of-the-world comedy, Kubrick’s 1964 film “Dr. Strangelove.” We talk about how we were introduced to this film and why it may not be a film that one connects to immediately but a film that one has to find the humor over time. We discuss the actors – Peter Sellers, George C. Scott, Slim Pickens, Sterling Hayden, Keenan Wynn, even James Earl Jones in his first screen role – and the level of comedy brilliance they all achieve individually and how it ties to the overall film. We single out Sellers, of course, as we discuss the three roles he played in the film and what makes them all so unique. We touch on the look of the film, shot by Gilbert Taylor with impeccable production design by Ken Adam, pointing out just what it took to make the war room one of the most iconic sets ever made. We mention the sequel that Kubrick wanted to make with the help of Terry Gilliam. And we argue about its placement on our Flickchart, as we inevitably do every week. 

It’s one of the best films out there and well worth a discussion. Haven’t seen it? Give it a try. Just be aware that you may not connect on the first viewing. This is one of those movies that may need a few shots. But it’ll be well worth it. We promise you.


Film Sundries


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The Next Reel Family of Film Shows:

Connect With Us:

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]]> "Gentlemen, you can’t fight in here! This is the war room!"

REBROADCAST

Stanley Kubrick didn’t do comedy often which is a shame because “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” is arguably one of the funniest films ever made. What’s interesting is that Kubrick intended on making a serious film about one of his greatest fears at the time: the threat of nuclear war. But after several attempts at finding the right way to tell the story seriously (including one involving aliens watching us from above, discussing our penchant for destruction), he hit on the idea of making it funny. And his dark comedy classic was born.


Join us – Andy Nelson and Pete Wright – as we wrap up our brief vacation challenge with Andy’s choice of his favorite end-of-the-world comedy, Kubrick’s 1964 film “Dr. Strangelove.” We talk about how we were introduced to this film and why it may not be a film that one connects to immediately but a film that one has to find the humor over time. We discuss the actors – Peter Sellers, George C. Scott, Slim Pickens, Sterling Hayden, Keenan Wynn, even James Earl Jones in his first screen role – and the level of comedy brilliance they all achieve individually and how it ties to the overall film. We single out Sellers, of course, as we discuss the three roles he played in the film and what makes them all so unique. We touch on the look of the film, shot by Gilbert Taylor with impeccable production design by Ken Adam, pointing out just what it took to make the war room one of the most iconic sets ever made. We mention the sequel that Kubrick wanted to make with the help of Terry Gilliam. And we argue about its placement on our Flickchart, as we inevitably do every week. 

It’s one of the best films out there and well worth a discussion. Haven’t seen it? Give it a try. Just be aware that you may not connect on the first viewing. This is one of those movies that may need a few shots. But it’ll be well worth it. We promise you.


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Sun, 12 Nov 2023 03:00:00 -0800 TruStory FM TruStory FM 4543 "Gentlemen, you can’t fight in here! This is the war room!"

REBROADCAST

Stanley Kubrick didn’t do comedy often which is a shame because “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” is arguably one of the funniest films ever made. What’s interesting is that Kubrick intended on making a serious film about one of his greatest fears at the time: the threat of nuclear war. But after several attempts at finding the right way to tell the story seriously (including one involving aliens watching us from above, discussing our penchant for destruction), he hit on the idea of making it funny. And his dark comedy classic was born.


Join us – Andy Nelson and Pete Wright – as we wrap up our brief vacation challenge with Andy’s choice of his favorite end-of-the-world comedy, Kubrick’s 1964 film “Dr. Strangelove.” We talk about how we were introduced to this film and why it may not be a film that one connects to immediately but a film that one has to find the humor over time. We discuss the actors – Peter Sellers, George C. Scott, Slim Pickens, Sterling Hayden, Keenan Wynn, even James Earl Jones in his first screen role – and the level of comedy brilliance they all achieve individually and how it ties to the overall film. We single out Sellers, of course, as we discuss the three roles he played in the film and what makes them all so unique. We touch on the look of the film, shot by Gilbert Taylor with impeccable production design by Ken Adam, pointing out just what it took to make the war room one of the most iconic sets ever made. We mention the sequel that Kubrick wanted to make with the help of Terry Gilliam. And we argue about its placement on our Flickchart, as we inevitably do every week. 

It’s one of the best films out there and well worth a discussion. Haven’t seen it? Give it a try. Just be aware that you may not connect on the first viewing. This is one of those movies that may need a few shots. But it’ll be well worth it. We promise you.


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1964, 1960s, Stanley Kubrick, 1965 BAFTA Awards Best Film From Any Source Nominees No Andy Nelson Pete Wright Becket • The Next Reel 13 13 18 18 Becket • The Next Reel full 9e4a6391-48c7-4363-87eb-fc166998b9ed https://share.transistor.fm/s/d8efba44 “But where is Becket’s honour?”

Before cameras could roll on Becket, the film's producers had to secure the screen rights to Jean Anouilh's original French play. Anouilh was initially hesitant to sell the rights, but the persistence of producer Hal B. Wallis convinced him to sign on. With the acclaimed playwright on board, the next task was finding a director who could bring the theatrical story to life on the big screen. The producers eventually landed on Peter Glenville, an experienced theater director who had recently made the jump to film. With Glenville set to direct, Wallis turned his attention to casting the two crucial lead roles. Several big names were considered, but it ultimately came down to Richard Burton and Peter O’Toole. The two actors had never worked together before, but their chemistry and talent made them the perfect choices to embody this complex medieval tale of friendship and betrayal. Join us – Pete Wright and Andy Nelson – as we kick off the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about Glenville’s 1964 film Becket.

Here's a hint at what we talk about:

We dive deep into the fascinating central relationship between King Henry II and Thomas Becket. Their intimate friendship takes surprising twists and turns, and we examine how Burton and O'Toole bring nuance, humor, and gravitas to their performances. We also discuss how Becket grapples with weighty themes like loyalty, honor, and the separation of church and state. Though we take issue with some historical inaccuracies, we find the film an engrossing character study bolstered by its two talented leads.

Here are a few other points in our discussion:

  • Appreciating Becket's unexpected comedic tone and banter
  • The riveting confrontations between Henry and Becket
  • Questioning the importance of the Saxon/Norman divide
  • Assessing Peter Glenville's brisk direction and Anne V. Coates’ editing
  • Burton and O'Toole's captivating performances

Becket gives a revealing look at how friendship, politics, and religion collide for two powerful men. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “But where is Becket’s honour?”

Before cameras could roll on Becket, the film's producers had to secure the screen rights to Jean Anouilh's original French play. Anouilh was initially hesitant to sell the rights, but the persistence of producer Hal B. Wallis convinced him to sign on. With the acclaimed playwright on board, the next task was finding a director who could bring the theatrical story to life on the big screen. The producers eventually landed on Peter Glenville, an experienced theater director who had recently made the jump to film. With Glenville set to direct, Wallis turned his attention to casting the two crucial lead roles. Several big names were considered, but it ultimately came down to Richard Burton and Peter O’Toole. The two actors had never worked together before, but their chemistry and talent made them the perfect choices to embody this complex medieval tale of friendship and betrayal. Join us – Pete Wright and Andy Nelson – as we kick off the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about Glenville’s 1964 film Becket.

Here's a hint at what we talk about:

We dive deep into the fascinating central relationship between King Henry II and Thomas Becket. Their intimate friendship takes surprising twists and turns, and we examine how Burton and O'Toole bring nuance, humor, and gravitas to their performances. We also discuss how Becket grapples with weighty themes like loyalty, honor, and the separation of church and state. Though we take issue with some historical inaccuracies, we find the film an engrossing character study bolstered by its two talented leads.

Here are a few other points in our discussion:

  • Appreciating Becket's unexpected comedic tone and banter
  • The riveting confrontations between Henry and Becket
  • Questioning the importance of the Saxon/Norman divide
  • Assessing Peter Glenville's brisk direction and Anne V. Coates’ editing
  • Burton and O'Toole's captivating performances

Becket gives a revealing look at how friendship, politics, and religion collide for two powerful men. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 09 Nov 2023 03:00:00 -0800 TruStory FM TruStory FM 3740 “But where is Becket’s honour?”

Before cameras could roll on Becket, the film's producers had to secure the screen rights to Jean Anouilh's original French play. Anouilh was initially hesitant to sell the rights, but the persistence of producer Hal B. Wallis convinced him to sign on. With the acclaimed playwright on board, the next task was finding a director who could bring the theatrical story to life on the big screen. The producers eventually landed on Peter Glenville, an experienced theater director who had recently made the jump to film. With Glenville set to direct, Wallis turned his attention to casting the two crucial lead roles. Several big names were considered, but it ultimately came down to Richard Burton and Peter O’Toole. The two actors had never worked together before, but their chemistry and talent made them the perfect choices to embody this complex medieval tale of friendship and betrayal. Join us – Pete Wright and Andy Nelson – as we kick off the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about Glenville’s 1964 film Becket.

Here's a hint at what we talk about:

We dive deep into the fascinating central relationship between King Henry II and Thomas Becket. Their intimate friendship takes surprising twists and turns, and we examine how Burton and O'Toole bring nuance, humor, and gravitas to their performances. We also discuss how Becket grapples with weighty themes like loyalty, honor, and the separation of church and state. Though we take issue with some historical inaccuracies, we find the film an engrossing character study bolstered by its two talented leads.

Here are a few other points in our discussion:

  • Appreciating Becket's unexpected comedic tone and banter
  • The riveting confrontations between Henry and Becket
  • Questioning the importance of the Saxon/Norman divide
  • Assessing Peter Glenville's brisk direction and Anne V. Coates’ editing
  • Burton and O'Toole's captivating performances

Becket gives a revealing look at how friendship, politics, and religion collide for two powerful men. 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


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]]> 1964, 1960s, Peter Glenville, 1965 BAFTAs Best Film From Any Source Nominees No Andy Nelson Pete Wright A Streetcar Named Desire • The Next Reel 13 13 16 16 A Streetcar Named Desire • The Next Reel full 2113cdb3-8aa7-4b3e-a360-0280f5ae41bd https://share.transistor.fm/s/74a35649 “Stella! Hey, Stella!”

Tennessee Williams' Pulitzer Prize-winning play A Streetcar Named Desire took Broadway by storm in 1947. Four years later, director Elia Kazan decided to adapt the play for the big screen, bringing together many members of the original Broadway cast like Marlon Brando, Kim Hunter, and Karl Malden. After a tumultuous pre-production filled with casting conflicts and clashes over censorship, Kazan was finally able to begin filming on location in New Orleans in 1950. The end result was a critical and commercial smash, earning 12 Oscar nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Kazan’s A Streetcar Named Desire.

Here's a hint at what we talk about:

In this episode, we dive deep into Marlon Brando's electrifying performance as Stanley Kowalski and how it paved the way for method acting in film. We also discuss how Elia Kazan's stage experience enabled him to open up the world of the play through evocative cinematography and set design. Additionally, we analyze Vivien Leigh's complex portrayal of Blanche DuBois and debate whether the film adaptation fully captures the darkness of Tennessee Williams' original story.


Here are a few other points in our discussion:

  • Our initial reactions to revisiting this classic film
  • The jazzy, atmospheric score by Alex North
  • Memorable scenes like Brando screaming "Stella!" and the final scene
  • Differences between the film and Williams' original play
  • The talented supporting cast like Kim Hunter and Karl Malden

We have a great time unpacking this landmark dramatic film, so tune in to hear our thoughts. The Next Reel – when the movie ends, our conversation begins!


Film Sundries


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]]> “Stella! Hey, Stella!”

Tennessee Williams' Pulitzer Prize-winning play A Streetcar Named Desire took Broadway by storm in 1947. Four years later, director Elia Kazan decided to adapt the play for the big screen, bringing together many members of the original Broadway cast like Marlon Brando, Kim Hunter, and Karl Malden. After a tumultuous pre-production filled with casting conflicts and clashes over censorship, Kazan was finally able to begin filming on location in New Orleans in 1950. The end result was a critical and commercial smash, earning 12 Oscar nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Kazan’s A Streetcar Named Desire.

Here's a hint at what we talk about:

In this episode, we dive deep into Marlon Brando's electrifying performance as Stanley Kowalski and how it paved the way for method acting in film. We also discuss how Elia Kazan's stage experience enabled him to open up the world of the play through evocative cinematography and set design. Additionally, we analyze Vivien Leigh's complex portrayal of Blanche DuBois and debate whether the film adaptation fully captures the darkness of Tennessee Williams' original story.


Here are a few other points in our discussion:

  • Our initial reactions to revisiting this classic film
  • The jazzy, atmospheric score by Alex North
  • Memorable scenes like Brando screaming "Stella!" and the final scene
  • Differences between the film and Williams' original play
  • The talented supporting cast like Kim Hunter and Karl Malden

We have a great time unpacking this landmark dramatic film, so tune in to hear our thoughts. The Next Reel – when the movie ends, our conversation begins!


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 02 Nov 2023 03:00:00 -0700 TruStory FM TruStory FM 3890 “Stella! Hey, Stella!”

Tennessee Williams' Pulitzer Prize-winning play A Streetcar Named Desire took Broadway by storm in 1947. Four years later, director Elia Kazan decided to adapt the play for the big screen, bringing together many members of the original Broadway cast like Marlon Brando, Kim Hunter, and Karl Malden. After a tumultuous pre-production filled with casting conflicts and clashes over censorship, Kazan was finally able to begin filming on location in New Orleans in 1950. The end result was a critical and commercial smash, earning 12 Oscar nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Kazan’s A Streetcar Named Desire.

Here's a hint at what we talk about:

In this episode, we dive deep into Marlon Brando's electrifying performance as Stanley Kowalski and how it paved the way for method acting in film. We also discuss how Elia Kazan's stage experience enabled him to open up the world of the play through evocative cinematography and set design. Additionally, we analyze Vivien Leigh's complex portrayal of Blanche DuBois and debate whether the film adaptation fully captures the darkness of Tennessee Williams' original story.


Here are a few other points in our discussion:

  • Our initial reactions to revisiting this classic film
  • The jazzy, atmospheric score by Alex North
  • Memorable scenes like Brando screaming "Stella!" and the final scene
  • Differences between the film and Williams' original play
  • The talented supporting cast like Kim Hunter and Karl Malden

We have a great time unpacking this landmark dramatic film, so tune in to hear our thoughts. The Next Reel – when the movie ends, our conversation begins!


Film Sundries


Support The Next Reel Family of Film Shows:

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]]> 1951, Elia Kazan, 1950s, 1952 Academy Awards Best Cinematography Black-and-White Nominees No Andy Nelson Pete Wright Strangers on a Train • The Next Reel 13 13 15 15 Strangers on a Train • The Next Reel full 242bab7e-f9f2-41f0-8002-7fe06ea52129 https://share.transistor.fm/s/90019a6d “Criss cross.”

In 1951, Alfred Hitchcock was at a low point in his career after the disappointing critical reception of his previous two films, Under Capricorn and Stage Fright. Desperate for a hit, he wanted to adapt the 1950 Patricia Highsmith novel Strangers on a Train about a chance encounter that leads to a murder pact between two very different men. He bought the rights and enlisted screenwriter Raymond Chandler to adapt the book for the screen. Though Chandler delivered a script, Hitchcock ultimately rejected it in favor of a rewrite by Czenzi Ormonde and an uncredited Barbara Keon. With his leads locked in – Farley Granger as tennis pro Guy Haines and Robert Walker as the villainous Bruno Antony – Hitchcock began production on what would become another tension-filled thriller. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Strangers on a Train.


Here's a hint at what we talk about:

In this episode, we dive deep into the fantastic performances by Robert Walker as the creepy and charismatic Bruno and Farley Granger as the morally conflicted Guy. We also discuss the homoerotic undertones in the film and how Hitchcock used them to toy with ideas about sexuality and identity. Though we find a few plot holes, overall we both agree this is one of our favorite Hitchcock films thanks to its psychological tension, unique visual style, and fun fairground climax.


One of the standout elements of Strangers on a Train is the striking black-and-white cinematography by Robert Burks. In his first collaboration with Hitchcock, Burks brought an experimental flair that heightens the psychological tension. The use of shadows, unique camera angles, stylized lighting, and innovative techniques like the curved lens shot of Miriam's murder create an atmosphere of dread and danger. Burks' innovative work garnered him an Oscar nomination and built the foundation for a longtime partnership with Hitchcock.


Strangers on a Train is a taut, psychologically complex thriller brought to life by Hitchcock’s masterful direction. 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!


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

Film Sundries]]> “Criss cross.”

In 1951, Alfred Hitchcock was at a low point in his career after the disappointing critical reception of his previous two films, Under Capricorn and Stage Fright. Desperate for a hit, he wanted to adapt the 1950 Patricia Highsmith novel Strangers on a Train about a chance encounter that leads to a murder pact between two very different men. He bought the rights and enlisted screenwriter Raymond Chandler to adapt the book for the screen. Though Chandler delivered a script, Hitchcock ultimately rejected it in favor of a rewrite by Czenzi Ormonde and an uncredited Barbara Keon. With his leads locked in – Farley Granger as tennis pro Guy Haines and Robert Walker as the villainous Bruno Antony – Hitchcock began production on what would become another tension-filled thriller. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Strangers on a Train.


Here's a hint at what we talk about:

In this episode, we dive deep into the fantastic performances by Robert Walker as the creepy and charismatic Bruno and Farley Granger as the morally conflicted Guy. We also discuss the homoerotic undertones in the film and how Hitchcock used them to toy with ideas about sexuality and identity. Though we find a few plot holes, overall we both agree this is one of our favorite Hitchcock films thanks to its psychological tension, unique visual style, and fun fairground climax.


One of the standout elements of Strangers on a Train is the striking black-and-white cinematography by Robert Burks. In his first collaboration with Hitchcock, Burks brought an experimental flair that heightens the psychological tension. The use of shadows, unique camera angles, stylized lighting, and innovative techniques like the curved lens shot of Miriam's murder create an atmosphere of dread and danger. Burks' innovative work garnered him an Oscar nomination and built the foundation for a longtime partnership with Hitchcock.


Strangers on a Train is a taut, psychologically complex thriller brought to life by Hitchcock’s masterful direction. 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!


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

Film Sundries]]> Thu, 26 Oct 2023 03:00:00 -0700 TruStory FM TruStory FM 3625 “Criss cross.”

In 1951, Alfred Hitchcock was at a low point in his career after the disappointing critical reception of his previous two films, Under Capricorn and Stage Fright. Desperate for a hit, he wanted to adapt the 1950 Patricia Highsmith novel Strangers on a Train about a chance encounter that leads to a murder pact between two very different men. He bought the rights and enlisted screenwriter Raymond Chandler to adapt the book for the screen. Though Chandler delivered a script, Hitchcock ultimately rejected it in favor of a rewrite by Czenzi Ormonde and an uncredited Barbara Keon. With his leads locked in – Farley Granger as tennis pro Guy Haines and Robert Walker as the villainous Bruno Antony – Hitchcock began production on what would become another tension-filled thriller. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Strangers on a Train.


Here's a hint at what we talk about:

In this episode, we dive deep into the fantastic performances by Robert Walker as the creepy and charismatic Bruno and Farley Granger as the morally conflicted Guy. We also discuss the homoerotic undertones in the film and how Hitchcock used them to toy with ideas about sexuality and identity. Though we find a few plot holes, overall we both agree this is one of our favorite Hitchcock films thanks to its psychological tension, unique visual style, and fun fairground climax.


One of the standout elements of Strangers on a Train is the striking black-and-white cinematography by Robert Burks. In his first collaboration with Hitchcock, Burks brought an experimental flair that heightens the psychological tension. The use of shadows, unique camera angles, stylized lighting, and innovative techniques like the curved lens shot of Miriam's murder create an atmosphere of dread and danger. Burks' innovative work garnered him an Oscar nomination and built the foundation for a longtime partnership with Hitchcock.


Strangers on a Train is a taut, psychologically complex thriller brought to life by Hitchcock’s masterful direction. 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!


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

Film Sundries]]> 1951, 1950s, Alfred Hitchcock, 1952 Academy Awards Best Cinematography Black-and-White Nominees No Andy Nelson Pete Wright Persona • A Conversation with Writer/Director Sophie Barthes • Movies We Like 5 5 3 3 Persona • A Conversation with Writer/Director Sophie Barthes • Movies We Like full 6d40ed60-7642-4f16-a73a-3d57935bc98d https://share.transistor.fm/s/48cf3410 “I think I could turn into you if I really tried.”

Talking About Persona with our guest, writer/director Sophie Barthes

On this episode of Movies We Like, we speak with writer/director Sophie Barthes about one of her favorite films, Ingmar Bergman’s 1966 psychological drama Persona. We also discussed Barthes' own directing career and thoughts on filmmaking.

We have an in-depth discussion about Bergman's avant-garde masterpiece Persona, analyzing its dreamlike atmosphere, innovative editing and cinematography, complex characters and themes of identity and psychology. We talk about how the film's shocking opening montage and sparse narrative puts the viewer in an unsettled state of mind. Overall, we find Persona to be an endlessly discussable classic that still feels fresh and boundary-pushing today.


We also speak with Barthes about her three feature films - Cold Souls, Madame Bovary, and The Pod Generation. Barthes explains how she often explores themes of consumerism, psychology and identity through different genres and time periods. She shared insights into her creative process, from conceptualizing stories based on her dreams to her highly-stylized production design. Barthes also discussed the challenges of portraying human truths and darkness as a director today versus Bergman's time.


Barthes gives thoughtful perspective as both a director and film lover. Her pick certainly leads to a rich discussion about cinematic art today as Persona proves to be a multilayered classic ripe for analysis.


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


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “I think I could turn into you if I really tried.”

Talking About Persona with our guest, writer/director Sophie Barthes

On this episode of Movies We Like, we speak with writer/director Sophie Barthes about one of her favorite films, Ingmar Bergman’s 1966 psychological drama Persona. We also discussed Barthes' own directing career and thoughts on filmmaking.

We have an in-depth discussion about Bergman's avant-garde masterpiece Persona, analyzing its dreamlike atmosphere, innovative editing and cinematography, complex characters and themes of identity and psychology. We talk about how the film's shocking opening montage and sparse narrative puts the viewer in an unsettled state of mind. Overall, we find Persona to be an endlessly discussable classic that still feels fresh and boundary-pushing today.


We also speak with Barthes about her three feature films - Cold Souls, Madame Bovary, and The Pod Generation. Barthes explains how she often explores themes of consumerism, psychology and identity through different genres and time periods. She shared insights into her creative process, from conceptualizing stories based on her dreams to her highly-stylized production design. Barthes also discussed the challenges of portraying human truths and darkness as a director today versus Bergman's time.


Barthes gives thoughtful perspective as both a director and film lover. Her pick certainly leads to a rich discussion about cinematic art today as Persona proves to be a multilayered classic ripe for analysis.


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


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Mon, 23 Oct 2023 03:00:00 -0700 TruStory FM TruStory FM 4716 “I think I could turn into you if I really tried.”

Talking About Persona with our guest, writer/director Sophie Barthes

On this episode of Movies We Like, we speak with writer/director Sophie Barthes about one of her favorite films, Ingmar Bergman’s 1966 psychological drama Persona. We also discussed Barthes' own directing career and thoughts on filmmaking.

We have an in-depth discussion about Bergman's avant-garde masterpiece Persona, analyzing its dreamlike atmosphere, innovative editing and cinematography, complex characters and themes of identity and psychology. We talk about how the film's shocking opening montage and sparse narrative puts the viewer in an unsettled state of mind. Overall, we find Persona to be an endlessly discussable classic that still feels fresh and boundary-pushing today.


We also speak with Barthes about her three feature films - Cold Souls, Madame Bovary, and The Pod Generation. Barthes explains how she often explores themes of consumerism, psychology and identity through different genres and time periods. She shared insights into her creative process, from conceptualizing stories based on her dreams to her highly-stylized production design. Barthes also discussed the challenges of portraying human truths and darkness as a director today versus Bergman's time.


Barthes gives thoughtful perspective as both a director and film lover. Her pick certainly leads to a rich discussion about cinematic art today as Persona proves to be a multilayered classic ripe for analysis.


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


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1966, 1960s, Ingmar Bergman, Sophie Barthes No Andy Nelson Pete Wright A Place in the Sun • The Next Reel 13 13 14 14 A Place in the Sun • The Next Reel full d0fe8afc-1db6-4cd3-b101-048e7d1ff0ab https://share.transistor.fm/s/b0881ab6 “If you’re an Eastman, you’re not in the same boat with anyone.”

Based on the 1925 novel An American Tragedy by Theodore Dreiser, A Place in the Sun tells the story of working-class George Eastman (Montgomery Clift), who moves in with his wealthy uncle's family and begins a romantic relationship with an affluent young woman named Angela Vickers (Elizabeth Taylor). However, he becomes entangled in a love triangle when his co-worker Alice Tripp (Shelley Winters) reveals she is pregnant with his child. This film adaptation was a critical and commercial success, earning six Academy Awards including Best Director for George Stevens. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about A Place in the Sun.

Here's a hint at what we talk about:

We dive deep into the performances, especially praising Montgomery Clift for his nuanced and multilayered portrayal of the morally conflicted George Eastman. We also discuss how this story explores themes related to social class, the American dream, and ambition. Though we find the film compelling and expertly crafted overall, we do question some of the legal specifics of the ending.

Here are a few other points in our discussion:

  • The cinematography and lighting choices that enhance the film's mood and drama
  • Elizabeth Taylor's breakout dramatic performance at age 17
  • Similarities to the real-life murder case that inspired the source novel
  • Whether this story could lend itself well to modern remakes

A Place in the Sun is a riveting and thought-provoking film with fantastic lead performances. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “If you’re an Eastman, you’re not in the same boat with anyone.”

Based on the 1925 novel An American Tragedy by Theodore Dreiser, A Place in the Sun tells the story of working-class George Eastman (Montgomery Clift), who moves in with his wealthy uncle's family and begins a romantic relationship with an affluent young woman named Angela Vickers (Elizabeth Taylor). However, he becomes entangled in a love triangle when his co-worker Alice Tripp (Shelley Winters) reveals she is pregnant with his child. This film adaptation was a critical and commercial success, earning six Academy Awards including Best Director for George Stevens. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about A Place in the Sun.

Here's a hint at what we talk about:

We dive deep into the performances, especially praising Montgomery Clift for his nuanced and multilayered portrayal of the morally conflicted George Eastman. We also discuss how this story explores themes related to social class, the American dream, and ambition. Though we find the film compelling and expertly crafted overall, we do question some of the legal specifics of the ending.

Here are a few other points in our discussion:

  • The cinematography and lighting choices that enhance the film's mood and drama
  • Elizabeth Taylor's breakout dramatic performance at age 17
  • Similarities to the real-life murder case that inspired the source novel
  • Whether this story could lend itself well to modern remakes

A Place in the Sun is a riveting and thought-provoking film with fantastic lead performances. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 19 Oct 2023 03:00:00 -0700 TruStory FM TruStory FM 4021 “If you’re an Eastman, you’re not in the same boat with anyone.”

Based on the 1925 novel An American Tragedy by Theodore Dreiser, A Place in the Sun tells the story of working-class George Eastman (Montgomery Clift), who moves in with his wealthy uncle's family and begins a romantic relationship with an affluent young woman named Angela Vickers (Elizabeth Taylor). However, he becomes entangled in a love triangle when his co-worker Alice Tripp (Shelley Winters) reveals she is pregnant with his child. This film adaptation was a critical and commercial success, earning six Academy Awards including Best Director for George Stevens. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about A Place in the Sun.

Here's a hint at what we talk about:

We dive deep into the performances, especially praising Montgomery Clift for his nuanced and multilayered portrayal of the morally conflicted George Eastman. We also discuss how this story explores themes related to social class, the American dream, and ambition. Though we find the film compelling and expertly crafted overall, we do question some of the legal specifics of the ending.

Here are a few other points in our discussion:

  • The cinematography and lighting choices that enhance the film's mood and drama
  • Elizabeth Taylor's breakout dramatic performance at age 17
  • Similarities to the real-life murder case that inspired the source novel
  • Whether this story could lend itself well to modern remakes

A Place in the Sun is a riveting and thought-provoking film with fantastic lead performances. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1951, 1950s, George Stevens, 1952 Academy Awards Best Cinematography Black-and-White Nominees No Andy Nelson Pete Wright The Frogmen • The Next Reel 13 13 13 13 The Frogmen • The Next Reel full 8aec8677-1abe-4f54-8773-434ff9e8a7d1 https://share.transistor.fm/s/ef04d2f4 “Of all the strange breeds that mighta come along, it was their bad luck to get me.”

In the years during and after World War II, the exploits of US Navy frogmen captured the American imagination. Seeking to showcase them on the silver screen, Hollywood producers worked closely with the Navy starting in 1950 to develop the film The Frogmen. The Navy provided extensive support, training actors using real frogmen drills and equipping them with state-of-the-art gear. Filming underwater presented huge challenges with the bulky cameras of the time. Join us – Pete Wright and Andy Nelson – as we continue our 1952 Academy Award Best Cinematography Black-and-White Nominees series with a conversation about Lloyd Bacon’s 1951 film The Frogmen.

Released in 1951, The Frogmen gave audiences an unprecedented look into the adventures of these elite naval commandos – the Underwater Demolitions Team, or UDT. A major part of our conversation was about the underwater filming used extensively throughout the movie. We were impressed by how they shot underwater action, since this was brand new and innovative in 1951. While the pacing seems slow now, those scenes must have been thrilling for audiences when it first came out. We speculated that the underwater cinematography is probably why it got the Oscar nomination.

We also talked a lot about the dynamic between Richard Widmark as the new commander and Dana Andrews as the chief who questions his leadership. Their contentious relationship drives much of the conflict and drama as they gradually gain mutual respect.

Some key scenes stand out that represent the film’s strengths to us. Disarming the live torpedo ratchets up the tension and shows Widmark’s courage. The rope transfer between ships demonstrates the Navy’s technical input. Planting the prank sign highlights real rivalries between units. And even though the final underwater fight pushes the action beyond historical truth, it’s clear that it’s designed for drama and emphasizes what the UDT was actually doing when the film was released.

Overall, we found The Frogmen to be enjoyable but not that memorable. The underwater footage remains the main appeal today, though perhaps military fans would be more inclined to revisit it. The film could use a restoration. But Widmark’s performance and the naval insight still make it worth watching. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Of all the strange breeds that mighta come along, it was their bad luck to get me.”

In the years during and after World War II, the exploits of US Navy frogmen captured the American imagination. Seeking to showcase them on the silver screen, Hollywood producers worked closely with the Navy starting in 1950 to develop the film The Frogmen. The Navy provided extensive support, training actors using real frogmen drills and equipping them with state-of-the-art gear. Filming underwater presented huge challenges with the bulky cameras of the time. Join us – Pete Wright and Andy Nelson – as we continue our 1952 Academy Award Best Cinematography Black-and-White Nominees series with a conversation about Lloyd Bacon’s 1951 film The Frogmen.

Released in 1951, The Frogmen gave audiences an unprecedented look into the adventures of these elite naval commandos – the Underwater Demolitions Team, or UDT. A major part of our conversation was about the underwater filming used extensively throughout the movie. We were impressed by how they shot underwater action, since this was brand new and innovative in 1951. While the pacing seems slow now, those scenes must have been thrilling for audiences when it first came out. We speculated that the underwater cinematography is probably why it got the Oscar nomination.

We also talked a lot about the dynamic between Richard Widmark as the new commander and Dana Andrews as the chief who questions his leadership. Their contentious relationship drives much of the conflict and drama as they gradually gain mutual respect.

Some key scenes stand out that represent the film’s strengths to us. Disarming the live torpedo ratchets up the tension and shows Widmark’s courage. The rope transfer between ships demonstrates the Navy’s technical input. Planting the prank sign highlights real rivalries between units. And even though the final underwater fight pushes the action beyond historical truth, it’s clear that it’s designed for drama and emphasizes what the UDT was actually doing when the film was released.

Overall, we found The Frogmen to be enjoyable but not that memorable. The underwater footage remains the main appeal today, though perhaps military fans would be more inclined to revisit it. The film could use a restoration. But Widmark’s performance and the naval insight still make it worth watching. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 12 Oct 2023 03:00:00 -0700 TruStory FM TruStory FM 3394 “Of all the strange breeds that mighta come along, it was their bad luck to get me.”

In the years during and after World War II, the exploits of US Navy frogmen captured the American imagination. Seeking to showcase them on the silver screen, Hollywood producers worked closely with the Navy starting in 1950 to develop the film The Frogmen. The Navy provided extensive support, training actors using real frogmen drills and equipping them with state-of-the-art gear. Filming underwater presented huge challenges with the bulky cameras of the time. Join us – Pete Wright and Andy Nelson – as we continue our 1952 Academy Award Best Cinematography Black-and-White Nominees series with a conversation about Lloyd Bacon’s 1951 film The Frogmen.

Released in 1951, The Frogmen gave audiences an unprecedented look into the adventures of these elite naval commandos – the Underwater Demolitions Team, or UDT. A major part of our conversation was about the underwater filming used extensively throughout the movie. We were impressed by how they shot underwater action, since this was brand new and innovative in 1951. While the pacing seems slow now, those scenes must have been thrilling for audiences when it first came out. We speculated that the underwater cinematography is probably why it got the Oscar nomination.

We also talked a lot about the dynamic between Richard Widmark as the new commander and Dana Andrews as the chief who questions his leadership. Their contentious relationship drives much of the conflict and drama as they gradually gain mutual respect.

Some key scenes stand out that represent the film’s strengths to us. Disarming the live torpedo ratchets up the tension and shows Widmark’s courage. The rope transfer between ships demonstrates the Navy’s technical input. Planting the prank sign highlights real rivalries between units. And even though the final underwater fight pushes the action beyond historical truth, it’s clear that it’s designed for drama and emphasizes what the UDT was actually doing when the film was released.

Overall, we found The Frogmen to be enjoyable but not that memorable. The underwater footage remains the main appeal today, though perhaps military fans would be more inclined to revisit it. The film could use a restoration. But Widmark’s performance and the naval insight still make it worth watching. 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

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]]> 1951, 1950s, Lloyd Bacon, 1952 Academy Awards Best Cinematography Black-and-White No Andy Nelson Pete Wright Death of a Salesman • The Next Reel 13 13 11 11 Death of a Salesman • The Next Reel full 1e050136-bf41-4ca5-a27c-de0cc54f1575 https://share.transistor.fm/s/baad82e4 “Why are you so hateful to one another?”

Kicking Off Our Next Series With a Conversation About László Benedek’s 1951 Film Death of a Salesman

It had only been a few years since Arthur Miller’s play made its successful debut, and the story was exactly the sort producer Stanley Kramer sought out. He brought László Benedek on to direct and Stanley Roberts on to adapt it for the screen. Unfortunately, the film was a box office flop, whether due to the studio’s concerns about its anti-American themes or audiences seeking lighter entertainment after World War II. Still, Benedek and Kramer assembled a strong adaptation of Miller’s story, even if Miller himself wasn’t a fan. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at the 1952 Academy Award nominees for Best Cinematography • Black-and-White. We’ll be discussing Benedek’s 1951 film Death of a Salesman.


Here’s a hint at what we talk about.

We closely analyze the strained father-son relationships that drive the narrative. Salesman Willy Loman (Frederic March) and his older son Biff (Kevin McCarthy) have a fractured bond ever since Biff discovered Willy's affair years before. This broken trust continues to shape their tense interactions, as Biff struggles to meet Willy's high expectations.


We also examine the symbolic role of Willy's wealthy brother Ben, who appears in visions. Ben represents Willy's glorified notions of the American Dream and success. While Willy finds inspiration in Ben's purported business ventures abroad, he never pursues such risks himself. This critique of capitalism's empty promises factors heavily in the story.


Much of our discussion also focuses on Franz Planer's evocative cinematography. We analyze Planer's striking lighting, camerawork and framing as part of our ongoing series on the 1952 Best Cinematography nominees. Despite a poor quality print, we note innovative techniques like scenes reflected in shadows. The transitions between reality and memory are especially inventive, showcasing advantages of adapting the stage play cinematically.


Additional topics include:

  • Mildred Dunnock's strong performance as the supportive yet insightful Linda Loman
  • Benedek's clever transitions between the past and present
  • Why the play still resonates through countless reinterpretations

Whether you know Miller's famous play or are discovering it for the first time, don't miss our engaging discussion of this impactful American tragedy. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Why are you so hateful to one another?”

Kicking Off Our Next Series With a Conversation About László Benedek’s 1951 Film Death of a Salesman

It had only been a few years since Arthur Miller’s play made its successful debut, and the story was exactly the sort producer Stanley Kramer sought out. He brought László Benedek on to direct and Stanley Roberts on to adapt it for the screen. Unfortunately, the film was a box office flop, whether due to the studio’s concerns about its anti-American themes or audiences seeking lighter entertainment after World War II. Still, Benedek and Kramer assembled a strong adaptation of Miller’s story, even if Miller himself wasn’t a fan. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at the 1952 Academy Award nominees for Best Cinematography • Black-and-White. We’ll be discussing Benedek’s 1951 film Death of a Salesman.


Here’s a hint at what we talk about.

We closely analyze the strained father-son relationships that drive the narrative. Salesman Willy Loman (Frederic March) and his older son Biff (Kevin McCarthy) have a fractured bond ever since Biff discovered Willy's affair years before. This broken trust continues to shape their tense interactions, as Biff struggles to meet Willy's high expectations.


We also examine the symbolic role of Willy's wealthy brother Ben, who appears in visions. Ben represents Willy's glorified notions of the American Dream and success. While Willy finds inspiration in Ben's purported business ventures abroad, he never pursues such risks himself. This critique of capitalism's empty promises factors heavily in the story.


Much of our discussion also focuses on Franz Planer's evocative cinematography. We analyze Planer's striking lighting, camerawork and framing as part of our ongoing series on the 1952 Best Cinematography nominees. Despite a poor quality print, we note innovative techniques like scenes reflected in shadows. The transitions between reality and memory are especially inventive, showcasing advantages of adapting the stage play cinematically.


Additional topics include:

  • Mildred Dunnock's strong performance as the supportive yet insightful Linda Loman
  • Benedek's clever transitions between the past and present
  • Why the play still resonates through countless reinterpretations

Whether you know Miller's famous play or are discovering it for the first time, don't miss our engaging discussion of this impactful American tragedy. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 05 Oct 2023 03:00:00 -0700 TruStory FM TruStory FM 3558 “Why are you so hateful to one another?”

Kicking Off Our Next Series With a Conversation About László Benedek’s 1951 Film Death of a Salesman

It had only been a few years since Arthur Miller’s play made its successful debut, and the story was exactly the sort producer Stanley Kramer sought out. He brought László Benedek on to direct and Stanley Roberts on to adapt it for the screen. Unfortunately, the film was a box office flop, whether due to the studio’s concerns about its anti-American themes or audiences seeking lighter entertainment after World War II. Still, Benedek and Kramer assembled a strong adaptation of Miller’s story, even if Miller himself wasn’t a fan. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at the 1952 Academy Award nominees for Best Cinematography • Black-and-White. We’ll be discussing Benedek’s 1951 film Death of a Salesman.


Here’s a hint at what we talk about.

We closely analyze the strained father-son relationships that drive the narrative. Salesman Willy Loman (Frederic March) and his older son Biff (Kevin McCarthy) have a fractured bond ever since Biff discovered Willy's affair years before. This broken trust continues to shape their tense interactions, as Biff struggles to meet Willy's high expectations.


We also examine the symbolic role of Willy's wealthy brother Ben, who appears in visions. Ben represents Willy's glorified notions of the American Dream and success. While Willy finds inspiration in Ben's purported business ventures abroad, he never pursues such risks himself. This critique of capitalism's empty promises factors heavily in the story.


Much of our discussion also focuses on Franz Planer's evocative cinematography. We analyze Planer's striking lighting, camerawork and framing as part of our ongoing series on the 1952 Best Cinematography nominees. Despite a poor quality print, we note innovative techniques like scenes reflected in shadows. The transitions between reality and memory are especially inventive, showcasing advantages of adapting the stage play cinematically.


Additional topics include:

  • Mildred Dunnock's strong performance as the supportive yet insightful Linda Loman
  • Benedek's clever transitions between the past and present
  • Why the play still resonates through countless reinterpretations

Whether you know Miller's famous play or are discovering it for the first time, don't miss our engaging discussion of this impactful American tragedy. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1951, 1950s, László Benedek, 1952 Academy Awards Best Cinematography Black-and-White No Andy Nelson Pete Wright Rome, Open City • The Next Reel 13 13 10 10 Rome, Open City • The Next Reel full 6ee5cb02-8938-471d-be7c-d24dfdc60112 https://share.transistor.fm/s/832e78fa “We're fighting for something that has to be, that can't help coming. The road may be long and hard, but we'll get there and we'll see a better world. And our children especially will see it.”

Rome Wasn't Built in a Day, But This Movie Sure Was

Rome, Open City is adapted from a book of true stories about living through the Nazi occupation. Co-writer and director Roberto Rossellini took these tales of survival and wove them into a gripping drama about the Italian resistance. Filmed using non-professional actors and real Roman locations, the movie has a gritty, documentary feel. Join us – Pete Wright and Andy Nelson – as we conclude our series on the nominees of the 1947 Academy Awards for ‘Best Writing, Screenplay’ with Rossellini's iconic 1945 film Rome, Open City. 


Reel Talk on Real Life

We unpack this landmark of Italian neorealism that was filmed on the war-torn streets of Rome just months after the Nazi occupation ended. The filmmakers wanted to capture the rawness of life during wartime. Iconic scenes like Pina's death as she runs after the Nazi truck became cinematic landmarks. The movie birthed a whole movement in Italian neorealism.


Women Navigating Impossible Choices
Pina, played unforgettably by Anna Magnani, is the fiancée of resistance fighter Francesco. Her violent death scene is one of the film's most wrenching moments. Dancer Marina gets caught up spying for the Nazis in exchange for drugs and fur coats. We see how she becomes compromised and is discarded when no longer useful. German officer Ingrid manipulates Marina through addiction. She represents the female face of Nazi villainy and moral corruption.


War's Impact on the Next Generation
The tragedy of the film is how war devastates the lives of children like Pina's son and the street boys who witness Pietro's death. Yet the image of these boys resolutely marching back into the city provides a hopeful note that the youth may lead Italy to a better future.


Enduring Classic Is Born
Rome, Open City packs an emotional punch that holds up decades later. It's essential viewing for anyone interested in Italian cinema or World War II stories. This landmark film demonstrates how constraints can breed art and truth. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “We're fighting for something that has to be, that can't help coming. The road may be long and hard, but we'll get there and we'll see a better world. And our children especially will see it.”

Rome Wasn't Built in a Day, But This Movie Sure Was

Rome, Open City is adapted from a book of true stories about living through the Nazi occupation. Co-writer and director Roberto Rossellini took these tales of survival and wove them into a gripping drama about the Italian resistance. Filmed using non-professional actors and real Roman locations, the movie has a gritty, documentary feel. Join us – Pete Wright and Andy Nelson – as we conclude our series on the nominees of the 1947 Academy Awards for ‘Best Writing, Screenplay’ with Rossellini's iconic 1945 film Rome, Open City. 


Reel Talk on Real Life

We unpack this landmark of Italian neorealism that was filmed on the war-torn streets of Rome just months after the Nazi occupation ended. The filmmakers wanted to capture the rawness of life during wartime. Iconic scenes like Pina's death as she runs after the Nazi truck became cinematic landmarks. The movie birthed a whole movement in Italian neorealism.


Women Navigating Impossible Choices
Pina, played unforgettably by Anna Magnani, is the fiancée of resistance fighter Francesco. Her violent death scene is one of the film's most wrenching moments. Dancer Marina gets caught up spying for the Nazis in exchange for drugs and fur coats. We see how she becomes compromised and is discarded when no longer useful. German officer Ingrid manipulates Marina through addiction. She represents the female face of Nazi villainy and moral corruption.


War's Impact on the Next Generation
The tragedy of the film is how war devastates the lives of children like Pina's son and the street boys who witness Pietro's death. Yet the image of these boys resolutely marching back into the city provides a hopeful note that the youth may lead Italy to a better future.


Enduring Classic Is Born
Rome, Open City packs an emotional punch that holds up decades later. It's essential viewing for anyone interested in Italian cinema or World War II stories. This landmark film demonstrates how constraints can breed art and truth. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 28 Sep 2023 03:00:00 -0700 TruStory FM TruStory FM 3962 “We're fighting for something that has to be, that can't help coming. The road may be long and hard, but we'll get there and we'll see a better world. And our children especially will see it.”

Rome Wasn't Built in a Day, But This Movie Sure Was

Rome, Open City is adapted from a book of true stories about living through the Nazi occupation. Co-writer and director Roberto Rossellini took these tales of survival and wove them into a gripping drama about the Italian resistance. Filmed using non-professional actors and real Roman locations, the movie has a gritty, documentary feel. Join us – Pete Wright and Andy Nelson – as we conclude our series on the nominees of the 1947 Academy Awards for ‘Best Writing, Screenplay’ with Rossellini's iconic 1945 film Rome, Open City. 


Reel Talk on Real Life

We unpack this landmark of Italian neorealism that was filmed on the war-torn streets of Rome just months after the Nazi occupation ended. The filmmakers wanted to capture the rawness of life during wartime. Iconic scenes like Pina's death as she runs after the Nazi truck became cinematic landmarks. The movie birthed a whole movement in Italian neorealism.


Women Navigating Impossible Choices
Pina, played unforgettably by Anna Magnani, is the fiancée of resistance fighter Francesco. Her violent death scene is one of the film's most wrenching moments. Dancer Marina gets caught up spying for the Nazis in exchange for drugs and fur coats. We see how she becomes compromised and is discarded when no longer useful. German officer Ingrid manipulates Marina through addiction. She represents the female face of Nazi villainy and moral corruption.


War's Impact on the Next Generation
The tragedy of the film is how war devastates the lives of children like Pina's son and the street boys who witness Pietro's death. Yet the image of these boys resolutely marching back into the city provides a hopeful note that the youth may lead Italy to a better future.


Enduring Classic Is Born
Rome, Open City packs an emotional punch that holds up decades later. It's essential viewing for anyone interested in Italian cinema or World War II stories. This landmark film demonstrates how constraints can breed art and truth. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1945, Roberto Rossellini, 1947 Academy Awards Best Writing Screenplay, 1940s No Andy Nelson Pete Wright The Mission • A Conversation with Costume Designer Deborah L. Scott • Movies We Like 5 5 2 2 The Mission • A Conversation with Costume Designer Deborah L. Scott • Movies We Like full 27155839-623d-4dae-870a-2a0b8ddc67a7 https://share.transistor.fm/s/325b70d1 “If might is right, then love has no place in the world.”

Talking About The Mission with our guest, Academy Award-winning costume designer Deborah L. Scott

Andy and legendary costume designer Deborah L. Scott dive deep into Roland Joffé’s 1986 masterpiece The Mission, an intense and emotional story of faith, colonialism, and redemption. Set in 18th century South America, this Best Picture Oscar nominee boasts an incredible cast and a stunning visual style.

Jeremy Irons delivers an incredible performance as Father Gabriel, a Jesuit priest trying to build a mission in the jungle and protect the indigenous Guarani people. Robert De Niro is unforgettable as Rodrigo Mendoza, a mercenary and slaver who murdered his own brother and seeks forgiveness and redemption by becoming a Jesuit priest. The complex story deftly explores the intersection of religion, politics, and colonialism during this volatile historical period. 

From the lush South American jungles to the thundering Iguaçu Falls, the movie is a visual feast, thanks in large part to Chris Menges' Oscar-winning cinematography. Ennio Morricone’s haunting, Golden Globe-winning score adds an emotional weight that permeates each scene. Though Deborah did not work on this film, she provides an insider's appreciation for Enrico Sabbatini’s period costumes which also help transport viewers to 18th century South America.

Deborah’s Legendary Career in Costume Design

Deborah also discusses highlights from her amazing career in costume design, including unforgettable films like Titanic, Back to the Future, Avatar, Heat, and yes, even Armed and Dangerous. She shares fascinating stories about how iconic costumes were created and working with visionary directors like James Cameron, Robert Zemeckis, and Michael Mann.

The Mission is a powerful and unforgettable film that stays with you long after the credits roll. Deborah and Andy's insightful conversation highlights why the movie remains so impactful decades later. Plus, hearing Deborah's stories provides a fascinating look behind-the-scenes at her legendary costume design career. 

Join the conversation with movie lovers from around the world in our Discord community!

Film Sundries

Learn more about supporting Movies We Like through your own membership with The Next Reel family of podcasts.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “If might is right, then love has no place in the world.”

Talking About The Mission with our guest, Academy Award-winning costume designer Deborah L. Scott

Andy and legendary costume designer Deborah L. Scott dive deep into Roland Joffé’s 1986 masterpiece The Mission, an intense and emotional story of faith, colonialism, and redemption. Set in 18th century South America, this Best Picture Oscar nominee boasts an incredible cast and a stunning visual style.

Jeremy Irons delivers an incredible performance as Father Gabriel, a Jesuit priest trying to build a mission in the jungle and protect the indigenous Guarani people. Robert De Niro is unforgettable as Rodrigo Mendoza, a mercenary and slaver who murdered his own brother and seeks forgiveness and redemption by becoming a Jesuit priest. The complex story deftly explores the intersection of religion, politics, and colonialism during this volatile historical period. 

From the lush South American jungles to the thundering Iguaçu Falls, the movie is a visual feast, thanks in large part to Chris Menges' Oscar-winning cinematography. Ennio Morricone’s haunting, Golden Globe-winning score adds an emotional weight that permeates each scene. Though Deborah did not work on this film, she provides an insider's appreciation for Enrico Sabbatini’s period costumes which also help transport viewers to 18th century South America.

Deborah’s Legendary Career in Costume Design

Deborah also discusses highlights from her amazing career in costume design, including unforgettable films like Titanic, Back to the Future, Avatar, Heat, and yes, even Armed and Dangerous. She shares fascinating stories about how iconic costumes were created and working with visionary directors like James Cameron, Robert Zemeckis, and Michael Mann.

The Mission is a powerful and unforgettable film that stays with you long after the credits roll. Deborah and Andy's insightful conversation highlights why the movie remains so impactful decades later. Plus, hearing Deborah's stories provides a fascinating look behind-the-scenes at her legendary costume design career. 

Join the conversation with movie lovers from around the world in our Discord community!

Film Sundries

Learn more about supporting Movies We Like through your own membership with The Next Reel family of podcasts.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 25 Sep 2023 03:00:00 -0700 TruStory FM TruStory FM 4402 “If might is right, then love has no place in the world.”

Talking About The Mission with our guest, Academy Award-winning costume designer Deborah L. Scott

Andy and legendary costume designer Deborah L. Scott dive deep into Roland Joffé’s 1986 masterpiece The Mission, an intense and emotional story of faith, colonialism, and redemption. Set in 18th century South America, this Best Picture Oscar nominee boasts an incredible cast and a stunning visual style.

Jeremy Irons delivers an incredible performance as Father Gabriel, a Jesuit priest trying to build a mission in the jungle and protect the indigenous Guarani people. Robert De Niro is unforgettable as Rodrigo Mendoza, a mercenary and slaver who murdered his own brother and seeks forgiveness and redemption by becoming a Jesuit priest. The complex story deftly explores the intersection of religion, politics, and colonialism during this volatile historical period. 

From the lush South American jungles to the thundering Iguaçu Falls, the movie is a visual feast, thanks in large part to Chris Menges' Oscar-winning cinematography. Ennio Morricone’s haunting, Golden Globe-winning score adds an emotional weight that permeates each scene. Though Deborah did not work on this film, she provides an insider's appreciation for Enrico Sabbatini’s period costumes which also help transport viewers to 18th century South America.

Deborah’s Legendary Career in Costume Design

Deborah also discusses highlights from her amazing career in costume design, including unforgettable films like Titanic, Back to the Future, Avatar, Heat, and yes, even Armed and Dangerous. She shares fascinating stories about how iconic costumes were created and working with visionary directors like James Cameron, Robert Zemeckis, and Michael Mann.

The Mission is a powerful and unforgettable film that stays with you long after the credits roll. Deborah and Andy's insightful conversation highlights why the movie remains so impactful decades later. Plus, hearing Deborah's stories provides a fascinating look behind-the-scenes at her legendary costume design career. 

Join the conversation with movie lovers from around the world in our Discord community!

Film Sundries

Learn more about supporting Movies We Like through your own membership with The Next Reel family of podcasts.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1986, 1980s, Deborah L. Scott, Roland Joffé No Andy Nelson Pete Wright The Killers • The Next Reel 13 13 9 9 The Killers • The Next Reel full f3db029e-ffcb-4a7b-94c6-fc6b2b20de18 https://share.transistor.fm/s/f8ef1257 “I tell ya what’s gonna happen. We’re gonna kill a Swede.”

The Killers: Dissecting a Landmark Noir

Robert Siodmak’s 1946 crime drama The Killers earned four Oscar nominations at the 19th Academy Awards, including Best Director for Siodmak and Best Adapted Screenplay. The influential film noir also marked the screen debut of Hollywood legend Burt Lancaster. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1947 Academy Award Best Writing, Screenplay nominees with an in-depth discussion about Siodmak’s 1946 film The Killers.


Behind the Stylish Noir Lens

Based on Ernest Hemingway’s 1927 short story, The Killers greatly expands the sparse source material into a complex, nonlinear narrative involving murder, robbery and betrayal. Director Siodmak utilizes creative camera angles and lighting techniques to craft a visually stunning noir landscape. Cinematographer Woody Bredell’s high-contrast, shadowy aesthetic defines the classic film noir look and feel. Lancaster shines in his first on-screen role as Ole “The Swede” Anderson, a washed-up boxer mixed up in a criminal underworld scheme. His powerful performance launched the charismatic new star to fame. Ava Gardner embodies the femme fatale archetype as the alluring but dangerous siren Kitty Collins.


Standout Elements of This Influential Crime Drama

  • The opening 12 minutes closely follow Hemingway’s original story before transitioning into a complex, nonlinear narrative structure, utilizing flashbacks from multiple perspectives to unravel the central mystery.
  • We discuss the extended single-take heist scene, staged with incredible choreography and camerawork, as a prime example of Siodmak’s skilled direction.
  • Miklós Rózsa’s propulsive, jazz-inspired score sets the ominous, moody tone throughout the shadowy proceedings.
  • We debate whether splitting the protagonist role (the Swede) from the main character (the insurance investigator) dilutes the hard-boiled noir narrative.

It’s a great film with much to dissect, 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I tell ya what’s gonna happen. We’re gonna kill a Swede.”

The Killers: Dissecting a Landmark Noir

Robert Siodmak’s 1946 crime drama The Killers earned four Oscar nominations at the 19th Academy Awards, including Best Director for Siodmak and Best Adapted Screenplay. The influential film noir also marked the screen debut of Hollywood legend Burt Lancaster. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1947 Academy Award Best Writing, Screenplay nominees with an in-depth discussion about Siodmak’s 1946 film The Killers.


Behind the Stylish Noir Lens

Based on Ernest Hemingway’s 1927 short story, The Killers greatly expands the sparse source material into a complex, nonlinear narrative involving murder, robbery and betrayal. Director Siodmak utilizes creative camera angles and lighting techniques to craft a visually stunning noir landscape. Cinematographer Woody Bredell’s high-contrast, shadowy aesthetic defines the classic film noir look and feel. Lancaster shines in his first on-screen role as Ole “The Swede” Anderson, a washed-up boxer mixed up in a criminal underworld scheme. His powerful performance launched the charismatic new star to fame. Ava Gardner embodies the femme fatale archetype as the alluring but dangerous siren Kitty Collins.


Standout Elements of This Influential Crime Drama

  • The opening 12 minutes closely follow Hemingway’s original story before transitioning into a complex, nonlinear narrative structure, utilizing flashbacks from multiple perspectives to unravel the central mystery.
  • We discuss the extended single-take heist scene, staged with incredible choreography and camerawork, as a prime example of Siodmak’s skilled direction.
  • Miklós Rózsa’s propulsive, jazz-inspired score sets the ominous, moody tone throughout the shadowy proceedings.
  • We debate whether splitting the protagonist role (the Swede) from the main character (the insurance investigator) dilutes the hard-boiled noir narrative.

It’s a great film with much to dissect, 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 21 Sep 2023 03:00:00 -0700 TruStory FM TruStory FM 3656 “I tell ya what’s gonna happen. We’re gonna kill a Swede.”

The Killers: Dissecting a Landmark Noir

Robert Siodmak’s 1946 crime drama The Killers earned four Oscar nominations at the 19th Academy Awards, including Best Director for Siodmak and Best Adapted Screenplay. The influential film noir also marked the screen debut of Hollywood legend Burt Lancaster. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1947 Academy Award Best Writing, Screenplay nominees with an in-depth discussion about Siodmak’s 1946 film The Killers.


Behind the Stylish Noir Lens

Based on Ernest Hemingway’s 1927 short story, The Killers greatly expands the sparse source material into a complex, nonlinear narrative involving murder, robbery and betrayal. Director Siodmak utilizes creative camera angles and lighting techniques to craft a visually stunning noir landscape. Cinematographer Woody Bredell’s high-contrast, shadowy aesthetic defines the classic film noir look and feel. Lancaster shines in his first on-screen role as Ole “The Swede” Anderson, a washed-up boxer mixed up in a criminal underworld scheme. His powerful performance launched the charismatic new star to fame. Ava Gardner embodies the femme fatale archetype as the alluring but dangerous siren Kitty Collins.


Standout Elements of This Influential Crime Drama

  • The opening 12 minutes closely follow Hemingway’s original story before transitioning into a complex, nonlinear narrative structure, utilizing flashbacks from multiple perspectives to unravel the central mystery.
  • We discuss the extended single-take heist scene, staged with incredible choreography and camerawork, as a prime example of Siodmak’s skilled direction.
  • Miklós Rózsa’s propulsive, jazz-inspired score sets the ominous, moody tone throughout the shadowy proceedings.
  • We debate whether splitting the protagonist role (the Swede) from the main character (the insurance investigator) dilutes the hard-boiled noir narrative.

It’s a great film with much to dissect, 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

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]]> 1946, 1940s, Robert Siodmak, 1947 Academy Award Best Writing Screenplay Nominees No Andy Nelson Pete Wright Brief Encounter • The Next Reel 13 13 8 8 Brief Encounter • The Next Reel full 610bba33-bc4e-479e-b217-5762c6d2f538 https://share.transistor.fm/s/ae64c019 “This is my whole world, and it’s enough – or rather it was until a few weeks ago.”

David Lean had already adapted Noël Coward three times for the silver screen by the time he set out to adapt Brief Encounter. Clearly, he connected with Coward’s material, and also proven himself adept at it. His last adaptation of Coward’s work is the one-act play “Still Life,” and with that he made a touching and heartbreaking movie – at least for some. Join us – Pete Wright and Andy Nelson – as we continue our 1947 Academy Award Best Writing Screenplay nominees series with Lean’s 1945 film Brief Encounter.


Here’s a hint at what we talk about.
We set things up with a bit of a chat about Coward and his plays, comparing him a bit to Neil Simon. This film’s an expanded version of the one-act so we discuss the changes and how it reshaped the story a bit. There’s a definite split in our conversation, as Pete struggles with the lack of consumating the relationship making things such a big deal for Laura and Alec. Andy connects with it more, while certainly acknowledging the characters’ struggles feel of the time and place. 


From there, we talk character and our two leads – Celia Johnson and Trevor Howard, and spend a bit of time discussing the fabulous look throughout this film and what Lean brought to the table.


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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “This is my whole world, and it’s enough – or rather it was until a few weeks ago.”

David Lean had already adapted Noël Coward three times for the silver screen by the time he set out to adapt Brief Encounter. Clearly, he connected with Coward’s material, and also proven himself adept at it. His last adaptation of Coward’s work is the one-act play “Still Life,” and with that he made a touching and heartbreaking movie – at least for some. Join us – Pete Wright and Andy Nelson – as we continue our 1947 Academy Award Best Writing Screenplay nominees series with Lean’s 1945 film Brief Encounter.


Here’s a hint at what we talk about.
We set things up with a bit of a chat about Coward and his plays, comparing him a bit to Neil Simon. This film’s an expanded version of the one-act so we discuss the changes and how it reshaped the story a bit. There’s a definite split in our conversation, as Pete struggles with the lack of consumating the relationship making things such a big deal for Laura and Alec. Andy connects with it more, while certainly acknowledging the characters’ struggles feel of the time and place. 


From there, we talk character and our two leads – Celia Johnson and Trevor Howard, and spend a bit of time discussing the fabulous look throughout this film and what Lean brought to the table.


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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 14 Sep 2023 03:00:00 -0700 TruStory FM TruStory FM 3386 “This is my whole world, and it’s enough – or rather it was until a few weeks ago.”

David Lean had already adapted Noël Coward three times for the silver screen by the time he set out to adapt Brief Encounter. Clearly, he connected with Coward’s material, and also proven himself adept at it. His last adaptation of Coward’s work is the one-act play “Still Life,” and with that he made a touching and heartbreaking movie – at least for some. Join us – Pete Wright and Andy Nelson – as we continue our 1947 Academy Award Best Writing Screenplay nominees series with Lean’s 1945 film Brief Encounter.


Here’s a hint at what we talk about.
We set things up with a bit of a chat about Coward and his plays, comparing him a bit to Neil Simon. This film’s an expanded version of the one-act so we discuss the changes and how it reshaped the story a bit. There’s a definite split in our conversation, as Pete struggles with the lack of consumating the relationship making things such a big deal for Laura and Alec. Andy connects with it more, while certainly acknowledging the characters’ struggles feel of the time and place. 


From there, we talk character and our two leads – Celia Johnson and Trevor Howard, and spend a bit of time discussing the fabulous look throughout this film and what Lean brought to the table.


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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1945, David Lean, 1940s, 1947 Academy Award Best Writing Screenplay Nominees No Andy Nelson Pete Wright The Best Years of Our Lives • The Next Reel 13 13 6 6 The Best Years of Our Lives • The Next Reel full 7bbb7e43-1908-493e-9691-cc63d18070ef https://share.transistor.fm/s/df379e86 “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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 07 Sep 2023 03:00:00 -0700 TruStory FM TruStory FM 4679 “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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1946, 1940s, Academy Awards Best Writing Screenplay, William Wyler No Andy Nelson Pete Wright Anna and the King of Siam • The Next Reel 13 13 5 5 Anna and the King of Siam • The Next Reel full 4102f54f-1465-49bf-879d-add42a8a8ae2 https://share.transistor.fm/s/c4a2e9d2 “That king certainly hasn’t very good manners.”

The Less-Singing, More Burnings Version

Audiences have been fascinated with the life of Anna Leonowens and her time spent in Thailand (then Siam) teaching English to King Mongkut’s wives and children. What’s the draw though? Perhaps the story of a woman on her own in a foreign country? Or a common person who is swept up into a world of royalty and has the ear of a king. Hard to say, but it’s a fascinating story, even if it does feel one-sided. Join us – Pete Wright and Andy Nelson – as we kick off our 1947 Academy Award Best Writing, Screenplay nominee series with a conversation about John Cromwell’s 1946 film Anna and the King of Siam.


Here’s a hint at what we talk about.

The first hurdle with this film is the rough brownface that all the actors playing the people of Siam wear. Yes, it’s from the era – we acknowledge that. That doesn’t make it any easier to take. There are also all the other trappings that go along with this element – pidgin English, playing the characters as simpler people, etc. It’s frustrating. 


Once you can get past that, there are still the story elements dealing with colonialism and the entire idea of a white woman (savior?) coming in to teach English to the children and wives of King Mongkut along with the British way so they can all act more civilized. It’s a struggle, but at the same time, teachers teach. She’s just doing her job, right? 


Past all the struggles, there is the core of the story involving the complex relationship between Anna and King Mongkut. Irene Dunne and Rex Harrison are great in their roles, and we enjoy the back and forth that we get with them as they initially try to figure each other out and test each other, pushing boundaries, then eventually becoming trusted friends. 


We discuss the other players, the story and how this iteration differs from other versions, how Cromwell directed it, the look of it, and more. There’s a lot to discuss with this one. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “That king certainly hasn’t very good manners.”

The Less-Singing, More Burnings Version

Audiences have been fascinated with the life of Anna Leonowens and her time spent in Thailand (then Siam) teaching English to King Mongkut’s wives and children. What’s the draw though? Perhaps the story of a woman on her own in a foreign country? Or a common person who is swept up into a world of royalty and has the ear of a king. Hard to say, but it’s a fascinating story, even if it does feel one-sided. Join us – Pete Wright and Andy Nelson – as we kick off our 1947 Academy Award Best Writing, Screenplay nominee series with a conversation about John Cromwell’s 1946 film Anna and the King of Siam.


Here’s a hint at what we talk about.

The first hurdle with this film is the rough brownface that all the actors playing the people of Siam wear. Yes, it’s from the era – we acknowledge that. That doesn’t make it any easier to take. There are also all the other trappings that go along with this element – pidgin English, playing the characters as simpler people, etc. It’s frustrating. 


Once you can get past that, there are still the story elements dealing with colonialism and the entire idea of a white woman (savior?) coming in to teach English to the children and wives of King Mongkut along with the British way so they can all act more civilized. It’s a struggle, but at the same time, teachers teach. She’s just doing her job, right? 


Past all the struggles, there is the core of the story involving the complex relationship between Anna and King Mongkut. Irene Dunne and Rex Harrison are great in their roles, and we enjoy the back and forth that we get with them as they initially try to figure each other out and test each other, pushing boundaries, then eventually becoming trusted friends. 


We discuss the other players, the story and how this iteration differs from other versions, how Cromwell directed it, the look of it, and more. There’s a lot to discuss with this one. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 31 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 3379 “That king certainly hasn’t very good manners.”

The Less-Singing, More Burnings Version

Audiences have been fascinated with the life of Anna Leonowens and her time spent in Thailand (then Siam) teaching English to King Mongkut’s wives and children. What’s the draw though? Perhaps the story of a woman on her own in a foreign country? Or a common person who is swept up into a world of royalty and has the ear of a king. Hard to say, but it’s a fascinating story, even if it does feel one-sided. Join us – Pete Wright and Andy Nelson – as we kick off our 1947 Academy Award Best Writing, Screenplay nominee series with a conversation about John Cromwell’s 1946 film Anna and the King of Siam.


Here’s a hint at what we talk about.

The first hurdle with this film is the rough brownface that all the actors playing the people of Siam wear. Yes, it’s from the era – we acknowledge that. That doesn’t make it any easier to take. There are also all the other trappings that go along with this element – pidgin English, playing the characters as simpler people, etc. It’s frustrating. 


Once you can get past that, there are still the story elements dealing with colonialism and the entire idea of a white woman (savior?) coming in to teach English to the children and wives of King Mongkut along with the British way so they can all act more civilized. It’s a struggle, but at the same time, teachers teach. She’s just doing her job, right? 


Past all the struggles, there is the core of the story involving the complex relationship between Anna and King Mongkut. Irene Dunne and Rex Harrison are great in their roles, and we enjoy the back and forth that we get with them as they initially try to figure each other out and test each other, pushing boundaries, then eventually becoming trusted friends. 


We discuss the other players, the story and how this iteration differs from other versions, how Cromwell directed it, the look of it, and more. There’s a lot to discuss with this one. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1946, 1940s, John Cromwell, 1947 Academy Award Best Writing Screenplay Nominees No Andy Nelson Pete Wright The Reflecting Skin • A Conversation with Storyboard and Concept Artist Anson Jew • Movies We Like 5 5 1 1 The Reflecting Skin • A Conversation with Storyboard and Concept Artist Anson Jew • Movies We Like full 50385830-3647-4ff3-be8e-11c445a786cd https://share.transistor.fm/s/22afd3e6 “Any vampires around these parts, Pa?”

Talking About The Reflecting Skin with our guest, storyboard and concept artist Anson Jew

There’s a lot going on in this story of childhood. It’s a story about vampirism and nuclear devastation. It’s about a town’s secrets and the perspective of children. Homosexuality in a time when it was far from being accepted. Dealing with loss. Growing old. Finding love. Writer/director Philip Ridley not only crafted a gorgeous film that’s alive from start to finish, but he crafted a story about childhood that captures all the strangeness and complexity we should expect and want in a story about a kid making his way in the world.


Storyboard and concept artist Anson Jew joins us to talk about this film, which has stuck with him since he first saw it. It’s a fantastic film and one certainly worth discussing. We have a great time talking with Anson about it, so check it out then tune in. 


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


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Any vampires around these parts, Pa?”

Talking About The Reflecting Skin with our guest, storyboard and concept artist Anson Jew

There’s a lot going on in this story of childhood. It’s a story about vampirism and nuclear devastation. It’s about a town’s secrets and the perspective of children. Homosexuality in a time when it was far from being accepted. Dealing with loss. Growing old. Finding love. Writer/director Philip Ridley not only crafted a gorgeous film that’s alive from start to finish, but he crafted a story about childhood that captures all the strangeness and complexity we should expect and want in a story about a kid making his way in the world.


Storyboard and concept artist Anson Jew joins us to talk about this film, which has stuck with him since he first saw it. It’s a fantastic film and one certainly worth discussing. We have a great time talking with Anson about it, so check it out then tune in. 


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


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 28 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 3610 “Any vampires around these parts, Pa?”

Talking About The Reflecting Skin with our guest, storyboard and concept artist Anson Jew

There’s a lot going on in this story of childhood. It’s a story about vampirism and nuclear devastation. It’s about a town’s secrets and the perspective of children. Homosexuality in a time when it was far from being accepted. Dealing with loss. Growing old. Finding love. Writer/director Philip Ridley not only crafted a gorgeous film that’s alive from start to finish, but he crafted a story about childhood that captures all the strangeness and complexity we should expect and want in a story about a kid making his way in the world.


Storyboard and concept artist Anson Jew joins us to talk about this film, which has stuck with him since he first saw it. It’s a fantastic film and one certainly worth discussing. We have a great time talking with Anson about it, so check it out then tune in. 


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


Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1990, 1990s, Anson Jew, Philip Ridley Yes Andy Nelson Pete Wright Callsheet • Behind the Sites with Casey Liss 13 13 Callsheet • Behind the Sites with Casey Liss full 54157000-c9c1-4379-bd78-dd1cd47b17d8 https://share.transistor.fm/s/ce6de0d9 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Fri, 25 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 2272 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Casey Liss No Andy Nelson Pete Wright Wuthering Heights • The Next Reel 13 13 4 4 Wuthering Heights • The Next Reel full 6ba442d2-c5a4-4bfb-b0f3-8877b6cc7e2f https://share.transistor.fm/s/59620e7f ”No matter what I ever do or say, Heathcliff, this is me – now – standing on this hill with you. This is me, forever.”

My, My, My... Those Heights, They Are A-Wuthering...

Adapting Emily Brontë’s novel for the big screen isn’t an easy task, but it’s one that many people have taken on as “Wuthering Heights” has been adapted for the big or small screen over 30 times. And that doesn’t even take into account the operas, plays, musicals, radio adaptations, and more. As popular as the novel is, it’s a challenging one, and that’s certainly on display with William Wyler’s 1939 adaptation. It used less than half the chapters and hence modified many elements for the ending. Still, it works. In fact, we might even feel it works better than the novel. Join us – Pete Wright and Andy Nelson – as we wrap up our 1940 Academy Award Best Picture Nominee series with a conversation about Wyler’s 1939 film Wuthering Heights.


Here’s a hint at what we talk about.

There’s a lot left out, but the book is a challenging read and we feel that this adaptation captures the essence of the tragic romance, leaving out a lot of the more complex elements that work well on the page but not so much on the big screen. It’s still not our favorite, but with director Wyler helming it, we find plenty to connect to.


The performers are all delivering big but portrayals that work well with this big romance. Laurence Olivier and Merle Oberon may not have gotten along on set but they work well as Heathcliff and Cathy. We also love David Niven and Geraldine Fitzgerald. In the scope of adaptation, the film leaves in some of the framing device that’s quite important for the novel. Here, we’re not so sure it’s needed. In fact, it largely feels like an unnecessary appendage. 


The cinematography by Gregg Toland paired with Wyler’s effective direction bring life to the film. The black-and-white cinematography is full of darks and lights. It certainly deserved its Oscar win. And Alfred Newman’s beautiful score brings the tragic romance elements to the story right to the forefront. These elements all buoy the film for us, which otherwise may not be our cup of tea as much as some of the other Best Picture nominees. Speaking of, we do walk through the 10 nominees and debate which we’d pick to win. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

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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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

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]]> Thu, 24 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 4491 ”No matter what I ever do or say, Heathcliff, this is me – now – standing on this hill with you. This is me, forever.”

My, My, My... Those Heights, They Are A-Wuthering...

Adapting Emily Brontë’s novel for the big screen isn’t an easy task, but it’s one that many people have taken on as “Wuthering Heights” has been adapted for the big or small screen over 30 times. And that doesn’t even take into account the operas, plays, musicals, radio adaptations, and more. As popular as the novel is, it’s a challenging one, and that’s certainly on display with William Wyler’s 1939 adaptation. It used less than half the chapters and hence modified many elements for the ending. Still, it works. In fact, we might even feel it works better than the novel. Join us – Pete Wright and Andy Nelson – as we wrap up our 1940 Academy Award Best Picture Nominee series with a conversation about Wyler’s 1939 film Wuthering Heights.


Here’s a hint at what we talk about.

There’s a lot left out, but the book is a challenging read and we feel that this adaptation captures the essence of the tragic romance, leaving out a lot of the more complex elements that work well on the page but not so much on the big screen. It’s still not our favorite, but with director Wyler helming it, we find plenty to connect to.


The performers are all delivering big but portrayals that work well with this big romance. Laurence Olivier and Merle Oberon may not have gotten along on set but they work well as Heathcliff and Cathy. We also love David Niven and Geraldine Fitzgerald. In the scope of adaptation, the film leaves in some of the framing device that’s quite important for the novel. Here, we’re not so sure it’s needed. In fact, it largely feels like an unnecessary appendage. 


The cinematography by Gregg Toland paired with Wyler’s effective direction bring life to the film. The black-and-white cinematography is full of darks and lights. It certainly deserved its Oscar win. And Alfred Newman’s beautiful score brings the tragic romance elements to the story right to the forefront. These elements all buoy the film for us, which otherwise may not be our cup of tea as much as some of the other Best Picture nominees. Speaking of, we do walk through the 10 nominees and debate which we’d pick to win. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

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]]> 1939, 1930s, William Wyler, 1940 Academy Award Best Picture Nominees No Andy Nelson Pete Wright The Wizard of Oz • Rebroadcast • The Next Reel 13 13 The Wizard of Oz • Rebroadcast • The Next Reel bonus 9a4ff98d-48d5-4b26-87ec-95bf5789e918 https://share.transistor.fm/s/29a4628c "Toto, I’ve a feeling we’re not in Kansas anymore!"

REBROADCAST

Still a Classic

Victor Fleming didn’t just direct two movies in 1939, he directed two of what many consider to be the greatest films made – Gone With the Wind and The Wizard of Oz. Where the former, though, has more problems to contend with in today’s society, what with its depiction of slavery and race in the South during the Civil War, the latter is nothing but pure cinematic joy. Seen by more people than any other movie, The Wizard of Oz has become infused in who we are. Quotes from the movie can pop up in everyday conversation without people even realizing they’re quoting it. The songs – particularly “Over the Rainbow” – have been burned into our brains at an early age. It truly is a shining example of what cinema can be. Join us – Pete Wright and Andy Nelson – as we continue our ‘films of 1939’ series with one of the great cinema achievements, Flemings’ The Wizard of Oz. 


Here’s a Look Into Our Conversation

We talk about what makes this film so great and why it’s lasted so long, looking at everything from the story to the music to Judy Garland as Dorothy Gale. We discuss Fleming as the main director putting the film together, the 14 writers tasked with bringing this script to life, and L. Frank Baum, the author of the original Oz stories. We chat about the actors – Garland, Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan, Margaret Hamilton, Jerry Maren, the Singer Midgets and more (not to mention Terry the dog as Toto) – and look at what they all bring to the table here. 


We chat about Buddy Gillespie’s special effects, Adrian’s costumes, Harold Rosson’s cinematography, Herbert Stothart’s music adaptation, Harold Arlen’s & Yip Harberg’s songs and Mervyn LeRoy’s & Arthur Freed’s producing, tying together all the elements they each were responsible for. And we comment on the popularity of the film, chat about it being a gay icon, and look at how it started at a loss but ended up making bank over the decades. 


It’s one of the greats and certainly one we have a lot of passion about discussing. Check it out!


Film Sundries




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]]> "Toto, I’ve a feeling we’re not in Kansas anymore!"

REBROADCAST

Still a Classic

Victor Fleming didn’t just direct two movies in 1939, he directed two of what many consider to be the greatest films made – Gone With the Wind and The Wizard of Oz. Where the former, though, has more problems to contend with in today’s society, what with its depiction of slavery and race in the South during the Civil War, the latter is nothing but pure cinematic joy. Seen by more people than any other movie, The Wizard of Oz has become infused in who we are. Quotes from the movie can pop up in everyday conversation without people even realizing they’re quoting it. The songs – particularly “Over the Rainbow” – have been burned into our brains at an early age. It truly is a shining example of what cinema can be. Join us – Pete Wright and Andy Nelson – as we continue our ‘films of 1939’ series with one of the great cinema achievements, Flemings’ The Wizard of Oz. 


Here’s a Look Into Our Conversation

We talk about what makes this film so great and why it’s lasted so long, looking at everything from the story to the music to Judy Garland as Dorothy Gale. We discuss Fleming as the main director putting the film together, the 14 writers tasked with bringing this script to life, and L. Frank Baum, the author of the original Oz stories. We chat about the actors – Garland, Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan, Margaret Hamilton, Jerry Maren, the Singer Midgets and more (not to mention Terry the dog as Toto) – and look at what they all bring to the table here. 


We chat about Buddy Gillespie’s special effects, Adrian’s costumes, Harold Rosson’s cinematography, Herbert Stothart’s music adaptation, Harold Arlen’s & Yip Harberg’s songs and Mervyn LeRoy’s & Arthur Freed’s producing, tying together all the elements they each were responsible for. And we comment on the popularity of the film, chat about it being a gay icon, and look at how it started at a loss but ended up making bank over the decades. 


It’s one of the greats and certainly one we have a lot of passion about discussing. Check it out!


Film Sundries




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The Next Reel Family of Film Shows:

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]]> Mon, 21 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 6210 "Toto, I’ve a feeling we’re not in Kansas anymore!"

REBROADCAST

Still a Classic

Victor Fleming didn’t just direct two movies in 1939, he directed two of what many consider to be the greatest films made – Gone With the Wind and The Wizard of Oz. Where the former, though, has more problems to contend with in today’s society, what with its depiction of slavery and race in the South during the Civil War, the latter is nothing but pure cinematic joy. Seen by more people than any other movie, The Wizard of Oz has become infused in who we are. Quotes from the movie can pop up in everyday conversation without people even realizing they’re quoting it. The songs – particularly “Over the Rainbow” – have been burned into our brains at an early age. It truly is a shining example of what cinema can be. Join us – Pete Wright and Andy Nelson – as we continue our ‘films of 1939’ series with one of the great cinema achievements, Flemings’ The Wizard of Oz. 


Here’s a Look Into Our Conversation

We talk about what makes this film so great and why it’s lasted so long, looking at everything from the story to the music to Judy Garland as Dorothy Gale. We discuss Fleming as the main director putting the film together, the 14 writers tasked with bringing this script to life, and L. Frank Baum, the author of the original Oz stories. We chat about the actors – Garland, Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan, Margaret Hamilton, Jerry Maren, the Singer Midgets and more (not to mention Terry the dog as Toto) – and look at what they all bring to the table here. 


We chat about Buddy Gillespie’s special effects, Adrian’s costumes, Harold Rosson’s cinematography, Herbert Stothart’s music adaptation, Harold Arlen’s & Yip Harberg’s songs and Mervyn LeRoy’s & Arthur Freed’s producing, tying together all the elements they each were responsible for. And we comment on the popularity of the film, chat about it being a gay icon, and look at how it started at a loss but ended up making bank over the decades. 


It’s one of the greats and certainly one we have a lot of passion about discussing. Check it out!


Film Sundries




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Shop & Stream:

]]> 1939, Victor Fleming, 1930s, 1940 Academy Award Best Picture Nominees No Andy Nelson Pete Wright Stagecoach • Rebroadcast • The Next Reel 13 13 Stagecoach • Rebroadcast • The Next Reel bonus 6af2ba1a-191e-4cd0-a68a-3bfcb029ba66 https://share.transistor.fm/s/e6fb830d "We’re the victims of a foul disease called social prejudice, my child."

REBROADCAST

Ford Delivers A Classic Western

When John Ford decided to helm Stagecoach in 1939, he hadn’t done a western since his days in the silent film era. Yet it was this film, along with his relationship with John Wayne, that would lead to him making arguably some of the greatest westerns in cinema. Yet with this film, it was really more of a chance to make a western that could be a bit more serious, not just another b-level shoot-em-up, while still making a movie that was pretty light and entertaining. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Ford’s Stagecoach. 


Here’s a Hint at Our Conversation

We talk about John Ford as a director and what he was trying to do with this film, pointing out some Ford-isms along with debating his strength as a filmmaker. We chat about Dudley Nichols’ script adapted from Ernest Haycox’s short story, enjoying what he did with the nine principal characters in the film, even if there were some pacing issues throughout. We discuss the cinematography of Bert Glennon and the way he and Ford shot the action sequences. We chat about stuntman and stunt coordinator Yakima Canutt, marveling at the amazing stunts he performs in the film while also feeling pretty horrified at the methods he devised to get the horses to fall on camera. And we touch on the cast, touching on what each of them bring to their roles. 


It’s a fun film, even if not one of our favorites, but still gives us a great movie to talk about. So check it out then tune in!


Film Sundries


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]]> "We’re the victims of a foul disease called social prejudice, my child."

REBROADCAST

Ford Delivers A Classic Western

When John Ford decided to helm Stagecoach in 1939, he hadn’t done a western since his days in the silent film era. Yet it was this film, along with his relationship with John Wayne, that would lead to him making arguably some of the greatest westerns in cinema. Yet with this film, it was really more of a chance to make a western that could be a bit more serious, not just another b-level shoot-em-up, while still making a movie that was pretty light and entertaining. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Ford’s Stagecoach. 


Here’s a Hint at Our Conversation

We talk about John Ford as a director and what he was trying to do with this film, pointing out some Ford-isms along with debating his strength as a filmmaker. We chat about Dudley Nichols’ script adapted from Ernest Haycox’s short story, enjoying what he did with the nine principal characters in the film, even if there were some pacing issues throughout. We discuss the cinematography of Bert Glennon and the way he and Ford shot the action sequences. We chat about stuntman and stunt coordinator Yakima Canutt, marveling at the amazing stunts he performs in the film while also feeling pretty horrified at the methods he devised to get the horses to fall on camera. And we touch on the cast, touching on what each of them bring to their roles. 


It’s a fun film, even if not one of our favorites, but still gives us a great movie to talk about. So check it out then tune in!


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Sat, 19 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 4563 "We’re the victims of a foul disease called social prejudice, my child."

REBROADCAST

Ford Delivers A Classic Western

When John Ford decided to helm Stagecoach in 1939, he hadn’t done a western since his days in the silent film era. Yet it was this film, along with his relationship with John Wayne, that would lead to him making arguably some of the greatest westerns in cinema. Yet with this film, it was really more of a chance to make a western that could be a bit more serious, not just another b-level shoot-em-up, while still making a movie that was pretty light and entertaining. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Ford’s Stagecoach. 


Here’s a Hint at Our Conversation

We talk about John Ford as a director and what he was trying to do with this film, pointing out some Ford-isms along with debating his strength as a filmmaker. We chat about Dudley Nichols’ script adapted from Ernest Haycox’s short story, enjoying what he did with the nine principal characters in the film, even if there were some pacing issues throughout. We discuss the cinematography of Bert Glennon and the way he and Ford shot the action sequences. We chat about stuntman and stunt coordinator Yakima Canutt, marveling at the amazing stunts he performs in the film while also feeling pretty horrified at the methods he devised to get the horses to fall on camera. And we touch on the cast, touching on what each of them bring to their roles. 


It’s a fun film, even if not one of our favorites, but still gives us a great movie to talk about. So check it out then tune in!


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1939, 1930s, John Ford, 1940 Academy Award Best Picture Nominees No Andy Nelson Pete Wright Of Mice and Men • The Next Reel 13 13 3 3 Of Mice and Men • The Next Reel full 0b2718d2-10fd-4f14-9a99-fdaf892419e8 https://share.transistor.fm/s/4f6b17d7 “I remember about the rabbits, George.”

Capturing Steinbeck and Americana on the Big Screen

Having been writing novels for 10 years, it made sense that eventually, Hollywood would turn to John Steinbeck’s novels as a source for the silver screen. The first film to make the transition was Of Mice and Men, a novella he originally wrote as a ‘playable novel’ and then as a play itself. To that end, it was already the perfect size for adapting. And to that end, the film works just as well as the story. Join us – Pete Wright and Andy Nelson – as we continue our series on 1940 Academy Award Best Picture nominees with a conversation about Lewis Milestone’s 1939 film Of Mice and Men.


Here’s a hint at what we talk about.

For a relatively simple story, a lot happens and the story works through a variety of topics. How does the story handle a character with an intellectual disability and what does it say about those who take care of others, whether it’s this character or an aging dog? What about race relations? (To that end, it may be less pointed than the book but the film still feels like it handles race better than Gone With The Wind does.) The script changes how Mae – the only female character in the book and the only one with any real presence in the film – fits into the story. Here, we get a sense of the tragedy of this character, which does a lot to paint the gender differences in this place at this time. There’s also the moralistic, religious, and humanistic angles we discuss. 


The casting is fantastic. Burgess Meredith and Lon Chaney, Jr. play our two leads and deliver complex, compassionate performances that are the beating heart of this film. Betty Field plays Mae and rounds the character out with resonance and depth that never were on Steinbeck’s pages, even if possibly inferred. The rest of the cast fits impeccably into their roles. Lewis Milestone directs and handles the story effectively and efficiently. And having Aaron Copeland score the film only enhances its feel of Americana.


This film stands strong as a version of this film that’s worth remembering. It’s definitely one of the best films of the year and certainly worthy of its Best Picture nomination. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “I remember about the rabbits, George.”

Capturing Steinbeck and Americana on the Big Screen

Having been writing novels for 10 years, it made sense that eventually, Hollywood would turn to John Steinbeck’s novels as a source for the silver screen. The first film to make the transition was Of Mice and Men, a novella he originally wrote as a ‘playable novel’ and then as a play itself. To that end, it was already the perfect size for adapting. And to that end, the film works just as well as the story. Join us – Pete Wright and Andy Nelson – as we continue our series on 1940 Academy Award Best Picture nominees with a conversation about Lewis Milestone’s 1939 film Of Mice and Men.


Here’s a hint at what we talk about.

For a relatively simple story, a lot happens and the story works through a variety of topics. How does the story handle a character with an intellectual disability and what does it say about those who take care of others, whether it’s this character or an aging dog? What about race relations? (To that end, it may be less pointed than the book but the film still feels like it handles race better than Gone With The Wind does.) The script changes how Mae – the only female character in the book and the only one with any real presence in the film – fits into the story. Here, we get a sense of the tragedy of this character, which does a lot to paint the gender differences in this place at this time. There’s also the moralistic, religious, and humanistic angles we discuss. 


The casting is fantastic. Burgess Meredith and Lon Chaney, Jr. play our two leads and deliver complex, compassionate performances that are the beating heart of this film. Betty Field plays Mae and rounds the character out with resonance and depth that never were on Steinbeck’s pages, even if possibly inferred. The rest of the cast fits impeccably into their roles. Lewis Milestone directs and handles the story effectively and efficiently. And having Aaron Copeland score the film only enhances its feel of Americana.


This film stands strong as a version of this film that’s worth remembering. It’s definitely one of the best films of the year and certainly worthy of its Best Picture nomination. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 17 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 3947 “I remember about the rabbits, George.”

Capturing Steinbeck and Americana on the Big Screen

Having been writing novels for 10 years, it made sense that eventually, Hollywood would turn to John Steinbeck’s novels as a source for the silver screen. The first film to make the transition was Of Mice and Men, a novella he originally wrote as a ‘playable novel’ and then as a play itself. To that end, it was already the perfect size for adapting. And to that end, the film works just as well as the story. Join us – Pete Wright and Andy Nelson – as we continue our series on 1940 Academy Award Best Picture nominees with a conversation about Lewis Milestone’s 1939 film Of Mice and Men.


Here’s a hint at what we talk about.

For a relatively simple story, a lot happens and the story works through a variety of topics. How does the story handle a character with an intellectual disability and what does it say about those who take care of others, whether it’s this character or an aging dog? What about race relations? (To that end, it may be less pointed than the book but the film still feels like it handles race better than Gone With The Wind does.) The script changes how Mae – the only female character in the book and the only one with any real presence in the film – fits into the story. Here, we get a sense of the tragedy of this character, which does a lot to paint the gender differences in this place at this time. There’s also the moralistic, religious, and humanistic angles we discuss. 


The casting is fantastic. Burgess Meredith and Lon Chaney, Jr. play our two leads and deliver complex, compassionate performances that are the beating heart of this film. Betty Field plays Mae and rounds the character out with resonance and depth that never were on Steinbeck’s pages, even if possibly inferred. The rest of the cast fits impeccably into their roles. Lewis Milestone directs and handles the story effectively and efficiently. And having Aaron Copeland score the film only enhances its feel of Americana.


This film stands strong as a version of this film that’s worth remembering. It’s definitely one of the best films of the year and certainly worthy of its Best Picture nomination. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1939, 1940 Academy Award Best Picture Nominees, Lewis Milestone, 1930s No Andy Nelson Pete Wright Ninotchka • Rebroadcast • The Next Reel 13 13 Ninotchka • Rebroadcast • The Next Reel bonus cb729d98-bd9f-4b22-b613-6a45b69f9cd7 https://share.transistor.fm/s/00acc67f “I should hate to see our country endangered by my underwear."

REBROADCAST

Greta Garbo Smiles! And It’s a Delight!

Taking a completely different turn from last week’s Civil War epic, Ninotchka is a very light comedy by Ernst Lubitch dealing with Russians in their post-Revolution society. Join us — Pete Wright and Andy Nelson — as we continue our film about the great films of 1939 with Lubitch’s Ninotchka. 


Here’s a Hint at What We Discuss

We talk about the wonderfully funny script by Charles Brackett, Billy Wilder and Walter Reisch based on the original story by Melchior Lengyel, and look at why the comedy works so well in a film like this. We chat about Greta Garbo as the titular character and how wonderful she is, and we look at the rest of the brilliant cast – Melvyn Douglas, Ina Claire, Bela Lugosi, Sig Ruman, Felis Bressart, Alexander Granach and others – as we discuss what they bring to the table. We also touch on Garbo and her retirement from the business. And we chat about Lubitsch and his “Lubitsch Touch” and what that means in context of this film. 


It’s a fun film that’s very easy to watch. Check it out then tune in!


Film Sundries


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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “I should hate to see our country endangered by my underwear."

REBROADCAST

Greta Garbo Smiles! And It’s a Delight!

Taking a completely different turn from last week’s Civil War epic, Ninotchka is a very light comedy by Ernst Lubitch dealing with Russians in their post-Revolution society. Join us — Pete Wright and Andy Nelson — as we continue our film about the great films of 1939 with Lubitch’s Ninotchka. 


Here’s a Hint at What We Discuss

We talk about the wonderfully funny script by Charles Brackett, Billy Wilder and Walter Reisch based on the original story by Melchior Lengyel, and look at why the comedy works so well in a film like this. We chat about Greta Garbo as the titular character and how wonderful she is, and we look at the rest of the brilliant cast – Melvyn Douglas, Ina Claire, Bela Lugosi, Sig Ruman, Felis Bressart, Alexander Granach and others – as we discuss what they bring to the table. We also touch on Garbo and her retirement from the business. And we chat about Lubitsch and his “Lubitsch Touch” and what that means in context of this film. 


It’s a fun film that’s very easy to watch. Check it out then tune in!


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 14 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 3003 “I should hate to see our country endangered by my underwear."

REBROADCAST

Greta Garbo Smiles! And It’s a Delight!

Taking a completely different turn from last week’s Civil War epic, Ninotchka is a very light comedy by Ernst Lubitch dealing with Russians in their post-Revolution society. Join us — Pete Wright and Andy Nelson — as we continue our film about the great films of 1939 with Lubitch’s Ninotchka. 


Here’s a Hint at What We Discuss

We talk about the wonderfully funny script by Charles Brackett, Billy Wilder and Walter Reisch based on the original story by Melchior Lengyel, and look at why the comedy works so well in a film like this. We chat about Greta Garbo as the titular character and how wonderful she is, and we look at the rest of the brilliant cast – Melvyn Douglas, Ina Claire, Bela Lugosi, Sig Ruman, Felis Bressart, Alexander Granach and others – as we discuss what they bring to the table. We also touch on Garbo and her retirement from the business. And we chat about Lubitsch and his “Lubitsch Touch” and what that means in context of this film. 


It’s a fun film that’s very easy to watch. Check it out then tune in!


Film Sundries


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The Next Reel Family of Film Shows:

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]]> 1939, Ernst Lubitsch, 1930s, 1940 Academy Award Best Picture Nominees No Andy Nelson Pete Wright Mr. Smith Goes to Washington • Rebroadcast • The Next Reel 13 13 Mr. Smith Goes to Washington • Rebroadcast • The Next Reel bonus 536660a5-e494-4ea9-87bc-f8e748e01484 https://share.transistor.fm/s/3d8679b4 “You’re not a Senator, you’re an honorary stooge."

REBROADCAST

Capra’s Film Stands As Strong As Ever

It’s rare to find a film from 75 years ago that feels relevant still in today’s world, but Frank Capra’s 1939 Mr. Smith Goes to Washington is one of those films. Corruption in the Senate? Check. Corporate interests secretly working their own machinations behind the scenes to get their political puppets to do their bidding? Check. Cynical office staff who are only interested in making a buck? Check. Sad to say that the only thing that doesn’t feel modern is that a politician like James Stewart’s titular character could actually exist. Or at least survive in today’s political world. Join us — Pete Wright and Andy Nelson — as we continue with our great films from 1939 series with Capra’s fantastic film Mr. Smith Goes to Washington. 


Here’s What We Chat About

We talk about how much we love this film and why, highlighting everything aforementioned. We chat about Stewart and Jean Arthur as the perfect leads for this film, aided by the wonderful supporting cast including Edward Arnold, Harry Carey, Claude Rains, Thomas Mitchell and more. We discuss how the Washington, D.C. press and the real Senators received the film compared with the general public. And we discuss the people behind the cameras with Capra and what they bring to the table – Joseph Walker, Lionel Banks, Dimitri Tiomkin, Sidney Buchman, Lewis R. Foster and more. 


It’s a top notch film that still speaks to its audiences, all while avoiding being cheesy while full of honesty. We love it. Make sure you watch this one and then tune in! 


Film Sundries


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]]> “You’re not a Senator, you’re an honorary stooge."

REBROADCAST

Capra’s Film Stands As Strong As Ever

It’s rare to find a film from 75 years ago that feels relevant still in today’s world, but Frank Capra’s 1939 Mr. Smith Goes to Washington is one of those films. Corruption in the Senate? Check. Corporate interests secretly working their own machinations behind the scenes to get their political puppets to do their bidding? Check. Cynical office staff who are only interested in making a buck? Check. Sad to say that the only thing that doesn’t feel modern is that a politician like James Stewart’s titular character could actually exist. Or at least survive in today’s political world. Join us — Pete Wright and Andy Nelson — as we continue with our great films from 1939 series with Capra’s fantastic film Mr. Smith Goes to Washington. 


Here’s What We Chat About

We talk about how much we love this film and why, highlighting everything aforementioned. We chat about Stewart and Jean Arthur as the perfect leads for this film, aided by the wonderful supporting cast including Edward Arnold, Harry Carey, Claude Rains, Thomas Mitchell and more. We discuss how the Washington, D.C. press and the real Senators received the film compared with the general public. And we discuss the people behind the cameras with Capra and what they bring to the table – Joseph Walker, Lionel Banks, Dimitri Tiomkin, Sidney Buchman, Lewis R. Foster and more. 


It’s a top notch film that still speaks to its audiences, all while avoiding being cheesy while full of honesty. We love it. Make sure you watch this one and then tune in! 


Film Sundries


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]]> Sat, 12 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 3742 “You’re not a Senator, you’re an honorary stooge."

REBROADCAST

Capra’s Film Stands As Strong As Ever

It’s rare to find a film from 75 years ago that feels relevant still in today’s world, but Frank Capra’s 1939 Mr. Smith Goes to Washington is one of those films. Corruption in the Senate? Check. Corporate interests secretly working their own machinations behind the scenes to get their political puppets to do their bidding? Check. Cynical office staff who are only interested in making a buck? Check. Sad to say that the only thing that doesn’t feel modern is that a politician like James Stewart’s titular character could actually exist. Or at least survive in today’s political world. Join us — Pete Wright and Andy Nelson — as we continue with our great films from 1939 series with Capra’s fantastic film Mr. Smith Goes to Washington. 


Here’s What We Chat About

We talk about how much we love this film and why, highlighting everything aforementioned. We chat about Stewart and Jean Arthur as the perfect leads for this film, aided by the wonderful supporting cast including Edward Arnold, Harry Carey, Claude Rains, Thomas Mitchell and more. We discuss how the Washington, D.C. press and the real Senators received the film compared with the general public. And we discuss the people behind the cameras with Capra and what they bring to the table – Joseph Walker, Lionel Banks, Dimitri Tiomkin, Sidney Buchman, Lewis R. Foster and more. 


It’s a top notch film that still speaks to its audiences, all while avoiding being cheesy while full of honesty. We love it. Make sure you watch this one and then tune in! 


Film Sundries


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The Next Reel Family of Film Shows:

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]]> 1939, Frank Capra, 1930s, 1940 Academy Award Best Picture Nominees No Andy Nelson Pete Wright Love Affair • The Next Reel 13 13 2 2 Love Affair • The Next Reel full 92d3d5a5-b10c-4510-839b-5336de03b46f https://share.transistor.fm/s/448d6bcb “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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 10 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 3273 “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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1939, Leo McCarey, 1930s, 1940 Academy Award Best Picture Nominees No Andy Nelson Pete Wright Goodbye, Mr. Chips • Rebroadcast • The Next Reel 13 13 Goodbye, Mr. Chips • Rebroadcast • The Next Reel bonus 1eba619e-570c-45a4-9a46-9d156dc7d9e4 https://share.transistor.fm/s/922d6b5d "Give a boy a sense of humor and a sense of proportion and he’ll stand up to anything."

REBROADCAST

Learning Lessons That Last a Lifetime With Mr. Chips

Robert Donat defied the odds and beat both Clark Gable and Jimmy Stewart for the Best Actor Oscar in the 1940 Academy Awards with his portrayal of Mr. Chips in Sam Wood’s Goodbye, Mr. Chips. It’s a movie that celebrates school heroes everyone had (or should’ve) and connects in its ability to reflect back on the nostalgia of one’s life. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Wood’s film. 


Here’s What We Chat About

We talk about how we felt about the film and, despite any issues we had, still found it affecting. We chat about Robert Donat and Greer Garson, both of whom really give touching and honest performances. We touch on Wood as the director and what he brings to the table. We discuss the story and why stories about teachers can work so well, and why they work on us in particular. And we look at the magnificent work Jack Dawn did with the hair and makeup to bring Mr. Chips to life over the course of his 60+ years, from new hire to headmaster. 


It’s a touching film that works to connect us with this character and reminds us what we love about the best ‘great teacher’ movies. Check it out!


Film Sundries


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]]> "Give a boy a sense of humor and a sense of proportion and he’ll stand up to anything."

REBROADCAST

Learning Lessons That Last a Lifetime With Mr. Chips

Robert Donat defied the odds and beat both Clark Gable and Jimmy Stewart for the Best Actor Oscar in the 1940 Academy Awards with his portrayal of Mr. Chips in Sam Wood’s Goodbye, Mr. Chips. It’s a movie that celebrates school heroes everyone had (or should’ve) and connects in its ability to reflect back on the nostalgia of one’s life. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Wood’s film. 


Here’s What We Chat About

We talk about how we felt about the film and, despite any issues we had, still found it affecting. We chat about Robert Donat and Greer Garson, both of whom really give touching and honest performances. We touch on Wood as the director and what he brings to the table. We discuss the story and why stories about teachers can work so well, and why they work on us in particular. And we look at the magnificent work Jack Dawn did with the hair and makeup to bring Mr. Chips to life over the course of his 60+ years, from new hire to headmaster. 


It’s a touching film that works to connect us with this character and reminds us what we love about the best ‘great teacher’ movies. Check it out!


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 07 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 3929 "Give a boy a sense of humor and a sense of proportion and he’ll stand up to anything."

REBROADCAST

Learning Lessons That Last a Lifetime With Mr. Chips

Robert Donat defied the odds and beat both Clark Gable and Jimmy Stewart for the Best Actor Oscar in the 1940 Academy Awards with his portrayal of Mr. Chips in Sam Wood’s Goodbye, Mr. Chips. It’s a movie that celebrates school heroes everyone had (or should’ve) and connects in its ability to reflect back on the nostalgia of one’s life. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Wood’s film. 


Here’s What We Chat About

We talk about how we felt about the film and, despite any issues we had, still found it affecting. We chat about Robert Donat and Greer Garson, both of whom really give touching and honest performances. We touch on Wood as the director and what he brings to the table. We discuss the story and why stories about teachers can work so well, and why they work on us in particular. And we look at the magnificent work Jack Dawn did with the hair and makeup to bring Mr. Chips to life over the course of his 60+ years, from new hire to headmaster. 


It’s a touching film that works to connect us with this character and reminds us what we love about the best ‘great teacher’ movies. Check it out!


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1939, Sam Wood, 1930s, 1940 Academy Award Best Picture Nominees No Andy Nelson Pete Wright Gone With the Wind • Rebroadcast • The Next Reel 13 13 Gone With the Wind • Rebroadcast • The Next Reel bonus 37d73603-0a31-4712-8f44-6dda0bc3c749 https://share.transistor.fm/s/46b60f68 “Frankly, my dear, I don’t give a damn."

REBROADCAST

Finding Rhett and Scarlet Less Relevant

Considering the racially-charged climate of the US right now, it’s oddly perfect timing that we’re starting our 1939 series with Gone With The Wind, a film as technically brilliant to look at as it is hard to watch because of it’s portrayal of slavery and the ‘lost cause’ Southern view of the Civil War. It certainly gives us a lot to talk about in this episode! Join us — Pete Wright and Andy Nelson — as we dive into Victor Fleming’s Gone With The Wind. 


Here’s What We Chat About

We talk at length about the position of the film in cinematic history and how that contrasts with what it’s portraying and how we feel about that, noting that perhaps this film is one that should be considered in the same camp as Song of the South. And we look at what problems we have with the story and why it makes us feel uncomfortable, even if the story itself can be enjoyed when taken out of historical context. 


Focusing more on the film itself, we look at the actors – Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, Thomas Mitchell, Hattie McDaniel and more – how they got their parts and how well they work for us. We look at lots of bit players and talk about where they’ve since popped up. We talk about the context of 1939 and how the studio system worked. We talk about the three directors who contributed to this film – George Cukor, Victor Fleming and Sam Wood – as well as the producing kingpin who really is the one responsible for getting this film made the way he wanted: David O. Selznick. We chat about other key crew who helped bring this film to life, including Max Steiner, Yakima Canutt, William Cameron Menzies and Walter Plunkett. 


And we marvel at how much money this film has taken in over its lifetime and deliberate over whether it should still be able to make money or if it should be locked away now due to its painful portrayal of the period. It’s a long film but a film well worth discussing because of these factors. Tune in!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Frankly, my dear, I don’t give a damn."

REBROADCAST

Finding Rhett and Scarlet Less Relevant

Considering the racially-charged climate of the US right now, it’s oddly perfect timing that we’re starting our 1939 series with Gone With The Wind, a film as technically brilliant to look at as it is hard to watch because of it’s portrayal of slavery and the ‘lost cause’ Southern view of the Civil War. It certainly gives us a lot to talk about in this episode! Join us — Pete Wright and Andy Nelson — as we dive into Victor Fleming’s Gone With The Wind. 


Here’s What We Chat About

We talk at length about the position of the film in cinematic history and how that contrasts with what it’s portraying and how we feel about that, noting that perhaps this film is one that should be considered in the same camp as Song of the South. And we look at what problems we have with the story and why it makes us feel uncomfortable, even if the story itself can be enjoyed when taken out of historical context. 


Focusing more on the film itself, we look at the actors – Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, Thomas Mitchell, Hattie McDaniel and more – how they got their parts and how well they work for us. We look at lots of bit players and talk about where they’ve since popped up. We talk about the context of 1939 and how the studio system worked. We talk about the three directors who contributed to this film – George Cukor, Victor Fleming and Sam Wood – as well as the producing kingpin who really is the one responsible for getting this film made the way he wanted: David O. Selznick. We chat about other key crew who helped bring this film to life, including Max Steiner, Yakima Canutt, William Cameron Menzies and Walter Plunkett. 


And we marvel at how much money this film has taken in over its lifetime and deliberate over whether it should still be able to make money or if it should be locked away now due to its painful portrayal of the period. It’s a long film but a film well worth discussing because of these factors. Tune in!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Sat, 05 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 4975 “Frankly, my dear, I don’t give a damn."

REBROADCAST

Finding Rhett and Scarlet Less Relevant

Considering the racially-charged climate of the US right now, it’s oddly perfect timing that we’re starting our 1939 series with Gone With The Wind, a film as technically brilliant to look at as it is hard to watch because of it’s portrayal of slavery and the ‘lost cause’ Southern view of the Civil War. It certainly gives us a lot to talk about in this episode! Join us — Pete Wright and Andy Nelson — as we dive into Victor Fleming’s Gone With The Wind. 


Here’s What We Chat About

We talk at length about the position of the film in cinematic history and how that contrasts with what it’s portraying and how we feel about that, noting that perhaps this film is one that should be considered in the same camp as Song of the South. And we look at what problems we have with the story and why it makes us feel uncomfortable, even if the story itself can be enjoyed when taken out of historical context. 


Focusing more on the film itself, we look at the actors – Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, Thomas Mitchell, Hattie McDaniel and more – how they got their parts and how well they work for us. We look at lots of bit players and talk about where they’ve since popped up. We talk about the context of 1939 and how the studio system worked. We talk about the three directors who contributed to this film – George Cukor, Victor Fleming and Sam Wood – as well as the producing kingpin who really is the one responsible for getting this film made the way he wanted: David O. Selznick. We chat about other key crew who helped bring this film to life, including Max Steiner, Yakima Canutt, William Cameron Menzies and Walter Plunkett. 


And we marvel at how much money this film has taken in over its lifetime and deliberate over whether it should still be able to make money or if it should be locked away now due to its painful portrayal of the period. It’s a long film but a film well worth discussing because of these factors. Tune in!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1939, 1930s, 1940 Academy Award Best Picture Nominees, Victor Fleming No Andy Nelson Pete Wright Dark Victory • The Next Reel 13 13 1 1 Dark Victory • The Next Reel full b2962fe1-4c8e-4241-858d-3e4019cbe371 https://share.transistor.fm/s/5356591c “When you get inside my head, see if you can find any sense in it.”

Bette Davis Dealing with and Dying From Glioma

There’s a strength in storytelling that can exist in disease films because we’re following a person as they’re going through a very difficult period in their life that could very well end in death. That’s one of the elements that drew Bette Davis to the play “Dark Victory,” of which she had a hard time convincing Jack Warner that audiences would love it. He was wrong and she proved correctly, however, that a tragic story with your protagonist dying from the disease could draw in the audience. It clearly worked in this case as it lead to several Academy Award nominations including Best Picture. Join us – Pete Wright and Andy Nelson – as we kick off our 13th season of the podcast with a full year looking at various awards categories through the decades, starting right here in our series on the 1940 Academy Awards • Best Picture as we discuss Edmund Goulding’s 1939 film Dark Victory.


Here’s a hint at what we talk about.

At the heart of this film, it’s really Bette Davis and she fully delivers. She’s very much playing the headstrong socialite we’d see often in her films, though the difference here is right out of the gate, she’s diagnosed with glioma, a form of brain tumor. Through her performance, we see her go through many of the stages of grief as she first fights against the fact that she’s sick and finally comes to terms and accepts it. It’s quite a ride, and it works because of Davis.


She couldn’t get there without the script, however, and its structure allows this film to be about her battling the disease, not as a side element in the story. From the start, she’s suffering from her glioma. It plays in unexpected ways, and lets us take the journey with her. Of course the journey wouldn’t be complete without the rest of the players, and they deliver. Geraldine Fitzgerald, George Brent, Ronald Reagan. Only Humphrey Bogart seems out of place here.


It’s a strong entry into the big studio year of 1939 that saw a lot of successful films of all genres stand out, and this one deservedly was nominated for Best Picture. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “When you get inside my head, see if you can find any sense in it.”

Bette Davis Dealing with and Dying From Glioma

There’s a strength in storytelling that can exist in disease films because we’re following a person as they’re going through a very difficult period in their life that could very well end in death. That’s one of the elements that drew Bette Davis to the play “Dark Victory,” of which she had a hard time convincing Jack Warner that audiences would love it. He was wrong and she proved correctly, however, that a tragic story with your protagonist dying from the disease could draw in the audience. It clearly worked in this case as it lead to several Academy Award nominations including Best Picture. Join us – Pete Wright and Andy Nelson – as we kick off our 13th season of the podcast with a full year looking at various awards categories through the decades, starting right here in our series on the 1940 Academy Awards • Best Picture as we discuss Edmund Goulding’s 1939 film Dark Victory.


Here’s a hint at what we talk about.

At the heart of this film, it’s really Bette Davis and she fully delivers. She’s very much playing the headstrong socialite we’d see often in her films, though the difference here is right out of the gate, she’s diagnosed with glioma, a form of brain tumor. Through her performance, we see her go through many of the stages of grief as she first fights against the fact that she’s sick and finally comes to terms and accepts it. It’s quite a ride, and it works because of Davis.


She couldn’t get there without the script, however, and its structure allows this film to be about her battling the disease, not as a side element in the story. From the start, she’s suffering from her glioma. It plays in unexpected ways, and lets us take the journey with her. Of course the journey wouldn’t be complete without the rest of the players, and they deliver. Geraldine Fitzgerald, George Brent, Ronald Reagan. Only Humphrey Bogart seems out of place here.


It’s a strong entry into the big studio year of 1939 that saw a lot of successful films of all genres stand out, and this one deservedly was nominated for Best Picture. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 03 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 3559 “When you get inside my head, see if you can find any sense in it.”

Bette Davis Dealing with and Dying From Glioma

There’s a strength in storytelling that can exist in disease films because we’re following a person as they’re going through a very difficult period in their life that could very well end in death. That’s one of the elements that drew Bette Davis to the play “Dark Victory,” of which she had a hard time convincing Jack Warner that audiences would love it. He was wrong and she proved correctly, however, that a tragic story with your protagonist dying from the disease could draw in the audience. It clearly worked in this case as it lead to several Academy Award nominations including Best Picture. Join us – Pete Wright and Andy Nelson – as we kick off our 13th season of the podcast with a full year looking at various awards categories through the decades, starting right here in our series on the 1940 Academy Awards • Best Picture as we discuss Edmund Goulding’s 1939 film Dark Victory.


Here’s a hint at what we talk about.

At the heart of this film, it’s really Bette Davis and she fully delivers. She’s very much playing the headstrong socialite we’d see often in her films, though the difference here is right out of the gate, she’s diagnosed with glioma, a form of brain tumor. Through her performance, we see her go through many of the stages of grief as she first fights against the fact that she’s sick and finally comes to terms and accepts it. It’s quite a ride, and it works because of Davis.


She couldn’t get there without the script, however, and its structure allows this film to be about her battling the disease, not as a side element in the story. From the start, she’s suffering from her glioma. It plays in unexpected ways, and lets us take the journey with her. Of course the journey wouldn’t be complete without the rest of the players, and they deliver. Geraldine Fitzgerald, George Brent, Ronald Reagan. Only Humphrey Bogart seems out of place here.


It’s a strong entry into the big studio year of 1939 that saw a lot of successful films of all genres stand out, and this one deservedly was nominated for Best Picture. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1939, 1930s, Edmund Goulding, 1940 Academy Award Best Picture Nominees No Andy Nelson Pete Wright The Thin Red Line • A Conversation with Cinematographer Ross Riege • Movies We Like 4 4 5 5 The Thin Red Line • A Conversation with Cinematographer Ross Riege • Movies We Like full f667601e-757b-490a-aa92-c89d26c8726b https://share.transistor.fm/s/6373bcce “We're living in a world that's blowing itself to hell as fast as everybody can arrange it.”

Talking About Terrence Malick’s 1998 film The Thin Red Line with our guest, cinematographer Ross Riege

While Terrence Malick’s war film came out five months after Steven Spielberg’s Saving Private Ryan, it couldn’t be more different. They’re both exceptional films, but Malick’s takes a more pensive, thoughtful, esoteric approach with his. At its basest level, the story follows a military unit on the Melanesian island of Guadalcanal as they work to take it from Japanese troops. While that story’s there, in Malick’s hands, the film is more about the balance between man and nature and how the war machine destroys men’s souls. 


Not only is the way Malick crafts the story haunting, it’s also done in a way that fits perfectly with his themes and views. Cinematographer Ross Riege is a big fan, having first seen this and a number of other Malick films when prepping Redland, an early film he worked on, as well as his big break as cinematographer for The Kings of Summer. It’s fitting then that that film’s look was described as feeling Malickian. 


We talk more with Riege about his career, starting with smaller films and moving up to films like Weird: The Al Yankovic Story and the TV series The Afterparty. We also get some impressions from him on the switch from film to digital, working with his crews, and more. It’s a fantastic conversation about a great movie with a great cinematographer. 


Film Sundries


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]]> “We're living in a world that's blowing itself to hell as fast as everybody can arrange it.”

Talking About Terrence Malick’s 1998 film The Thin Red Line with our guest, cinematographer Ross Riege

While Terrence Malick’s war film came out five months after Steven Spielberg’s Saving Private Ryan, it couldn’t be more different. They’re both exceptional films, but Malick’s takes a more pensive, thoughtful, esoteric approach with his. At its basest level, the story follows a military unit on the Melanesian island of Guadalcanal as they work to take it from Japanese troops. While that story’s there, in Malick’s hands, the film is more about the balance between man and nature and how the war machine destroys men’s souls. 


Not only is the way Malick crafts the story haunting, it’s also done in a way that fits perfectly with his themes and views. Cinematographer Ross Riege is a big fan, having first seen this and a number of other Malick films when prepping Redland, an early film he worked on, as well as his big break as cinematographer for The Kings of Summer. It’s fitting then that that film’s look was described as feeling Malickian. 


We talk more with Riege about his career, starting with smaller films and moving up to films like Weird: The Al Yankovic Story and the TV series The Afterparty. We also get some impressions from him on the switch from film to digital, working with his crews, and more. It’s a fantastic conversation about a great movie with a great cinematographer. 


Film Sundries


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The Next Reel Family of Film Shows:

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]]> Mon, 31 Jul 2023 03:00:00 -0700 TruStory FM TruStory FM 4021 “We're living in a world that's blowing itself to hell as fast as everybody can arrange it.”

Talking About Terrence Malick’s 1998 film The Thin Red Line with our guest, cinematographer Ross Riege

While Terrence Malick’s war film came out five months after Steven Spielberg’s Saving Private Ryan, it couldn’t be more different. They’re both exceptional films, but Malick’s takes a more pensive, thoughtful, esoteric approach with his. At its basest level, the story follows a military unit on the Melanesian island of Guadalcanal as they work to take it from Japanese troops. While that story’s there, in Malick’s hands, the film is more about the balance between man and nature and how the war machine destroys men’s souls. 


Not only is the way Malick crafts the story haunting, it’s also done in a way that fits perfectly with his themes and views. Cinematographer Ross Riege is a big fan, having first seen this and a number of other Malick films when prepping Redland, an early film he worked on, as well as his big break as cinematographer for The Kings of Summer. It’s fitting then that that film’s look was described as feeling Malickian. 


We talk more with Riege about his career, starting with smaller films and moving up to films like Weird: The Al Yankovic Story and the TV series The Afterparty. We also get some impressions from him on the switch from film to digital, working with his crews, and more. It’s a fantastic conversation about a great movie with a great cinematographer. 


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 1998, 1990s, Terrence Malick, Ross Riege No Andy Nelson Pete Wright Mission: Impossible – Dead Reckoning Part One • The Next Reel • Member Bonus 12 12 74 74 Mission: Impossible – Dead Reckoning Part One • The Next Reel • Member Bonus full 9c5d0dcc-5ae5-4776-b495-c168bdede0c7 https://share.transistor.fm/s/d9bcc067 “The world is changing. Truth is vanishing.”

Ethan Hunt and Co. Are Back

For our July member bonus episode, we wrap up our conversation about Ethan Hunt and his impossible missions. For Christopher McQuarrie’s latest entry into the franchise, Ethan and his team are up against none other than a form of sentient AI they call The Entity. Join us – Pete Wright and Andy Nelson – as we close our chats in our Mission: Impossible series – at least until next year’s conclusion to this story – with McQuarrie’s 2023 film Mission: Impossible – Dead Reckoning Part One.


Here’s a hint at what we talk about.

It’s a great entry to the franchise, and we certainly spoil it. The characters are great, the action sequences are a thrill, the story works well. If anything, there are elements that feel clunky within some of the exposition, the camera work, the editing and the structure. Is this because McQuarrie shot two lengthy films back to back and might’ve been overwhelmed? Is it because he’s trying to create a unique look and feel for each of his films in this franchise? Is he trying to create tension with creative shots that just aren’t working? It’s hard to say, but we certainly noticed it.


The story largely focuses on a form of AI that grows some form of sentience that partners up with one of Hunt’s old adversaries then works to control the world. With the zeitgeist around AI right now, it’s quite fitting. We discuss the nature of this story today – and the fact that they were originally intending it to be released two full years ago – and why it works in context of this world. It feels like a perfect next step for the franchise. 


We talk about elements brought in from previous films that we noticed as well, and walk through the action beats. There’s a lot to discuss. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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

Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


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.

]]> “The world is changing. Truth is vanishing.”

Ethan Hunt and Co. Are Back

For our July member bonus episode, we wrap up our conversation about Ethan Hunt and his impossible missions. For Christopher McQuarrie’s latest entry into the franchise, Ethan and his team are up against none other than a form of sentient AI they call The Entity. Join us – Pete Wright and Andy Nelson – as we close our chats in our Mission: Impossible series – at least until next year’s conclusion to this story – with McQuarrie’s 2023 film Mission: Impossible – Dead Reckoning Part One.


Here’s a hint at what we talk about.

It’s a great entry to the franchise, and we certainly spoil it. The characters are great, the action sequences are a thrill, the story works well. If anything, there are elements that feel clunky within some of the exposition, the camera work, the editing and the structure. Is this because McQuarrie shot two lengthy films back to back and might’ve been overwhelmed? Is it because he’s trying to create a unique look and feel for each of his films in this franchise? Is he trying to create tension with creative shots that just aren’t working? It’s hard to say, but we certainly noticed it.


The story largely focuses on a form of AI that grows some form of sentience that partners up with one of Hunt’s old adversaries then works to control the world. With the zeitgeist around AI right now, it’s quite fitting. We discuss the nature of this story today – and the fact that they were originally intending it to be released two full years ago – and why it works in context of this world. It feels like a perfect next step for the franchise. 


We talk about elements brought in from previous films that we noticed as well, and walk through the action beats. There’s a lot to discuss. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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

Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


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.

]]> Thu, 13 Jul 2023 03:00:00 -0700 TruStory FM TruStory FM 5147 “The world is changing. Truth is vanishing.”

Ethan Hunt and Co. Are Back

For our July member bonus episode, we wrap up our conversation about Ethan Hunt and his impossible missions. For Christopher McQuarrie’s latest entry into the franchise, Ethan and his team are up against none other than a form of sentient AI they call The Entity. Join us – Pete Wright and Andy Nelson – as we close our chats in our Mission: Impossible series – at least until next year’s conclusion to this story – with McQuarrie’s 2023 film Mission: Impossible – Dead Reckoning Part One.


Here’s a hint at what we talk about.

It’s a great entry to the franchise, and we certainly spoil it. The characters are great, the action sequences are a thrill, the story works well. If anything, there are elements that feel clunky within some of the exposition, the camera work, the editing and the structure. Is this because McQuarrie shot two lengthy films back to back and might’ve been overwhelmed? Is it because he’s trying to create a unique look and feel for each of his films in this franchise? Is he trying to create tension with creative shots that just aren’t working? It’s hard to say, but we certainly noticed it.


The story largely focuses on a form of AI that grows some form of sentience that partners up with one of Hunt’s old adversaries then works to control the world. With the zeitgeist around AI right now, it’s quite fitting. We discuss the nature of this story today – and the fact that they were originally intending it to be released two full years ago – and why it works in context of this world. It feels like a perfect next step for the franchise. 


We talk about elements brought in from previous films that we noticed as well, and walk through the action beats. There’s a lot to discuss. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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

Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


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.

]]> 2023, 2020s, Christopher McQuarrie, Mission Impossible No Andy Nelson Pete Wright Mission: Impossible – Fallout • The Next Reel 12 12 72 72 Mission: Impossible – Fallout • The Next Reel full 8ef04313-a8d1-47a5-8a1b-19734ac338be https://share.transistor.fm/s/df49aa1e “The IMF is like Halloween, a bunch of grown men in rubber masks playing trick-or-treat.”

Hunt Is Back, and He’s Better Than Ever... Really

It’s crazy that we’re at the sixth film in the franchise and it’s the best of the bunch. How does that happen? Likely, it’s because Cruise has been driving this franchise not just as star but also producer from the start, but it’s hard to dismiss the fact that writer/director Christopher McQuarrie returned. His sense of this story, these characters, and this world seems to fit hand to glove as much as Cruise does. Join us – Pete Wright and Andy Nelson – as we continue our Mission: Impossible series with McQuarrie’s 2018 film Mission: Impossible – Fallout.


Here’s a hint at what we talk about.

It’s like they take all the greatest moments from the previous five films and find ways to integrate reworked versions of them into this film. It’s fantastic. We walk through the various action beats in this film, starting with the over two-and-a-half minute single shot of Hunt and Walker doing a HALO jump into Paris. And it only gets better from there.


Hunt is dealing with Solomon Lane again, but we’re also adding John Lark into the mix. It’s a bit of a mystery as to who he is, but... not really. It’s hard to buy Lark, aka August Walker, as anything but villainous. Is it the way Henry Cavill plays him? Or is he just written that way? Regardless, he makes for a great villain and works exceptionally well in this franchise. 


There’s also the return to Julia as a key part in Hunt’s life. It plays well, and clearly is an important point to Hunt learning to navigate his life when it comes to saving the world vs. saving those he loves. That plays not only into Julia’s story but also Ilsa, as clearly something is developing here with her in her return.


All in all, it’s a great film that shows insane stunt work by Cruise, a broken ankle, great characters, a thrilling and engaging story, and a mystery as to where it could go from here. We love it. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “The IMF is like Halloween, a bunch of grown men in rubber masks playing trick-or-treat.”

Hunt Is Back, and He’s Better Than Ever... Really

It’s crazy that we’re at the sixth film in the franchise and it’s the best of the bunch. How does that happen? Likely, it’s because Cruise has been driving this franchise not just as star but also producer from the start, but it’s hard to dismiss the fact that writer/director Christopher McQuarrie returned. His sense of this story, these characters, and this world seems to fit hand to glove as much as Cruise does. Join us – Pete Wright and Andy Nelson – as we continue our Mission: Impossible series with McQuarrie’s 2018 film Mission: Impossible – Fallout.


Here’s a hint at what we talk about.

It’s like they take all the greatest moments from the previous five films and find ways to integrate reworked versions of them into this film. It’s fantastic. We walk through the various action beats in this film, starting with the over two-and-a-half minute single shot of Hunt and Walker doing a HALO jump into Paris. And it only gets better from there.


Hunt is dealing with Solomon Lane again, but we’re also adding John Lark into the mix. It’s a bit of a mystery as to who he is, but... not really. It’s hard to buy Lark, aka August Walker, as anything but villainous. Is it the way Henry Cavill plays him? Or is he just written that way? Regardless, he makes for a great villain and works exceptionally well in this franchise. 


There’s also the return to Julia as a key part in Hunt’s life. It plays well, and clearly is an important point to Hunt learning to navigate his life when it comes to saving the world vs. saving those he loves. That plays not only into Julia’s story but also Ilsa, as clearly something is developing here with her in her return.


All in all, it’s a great film that shows insane stunt work by Cruise, a broken ankle, great characters, a thrilling and engaging story, and a mystery as to where it could go from here. We love it. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 29 Jun 2023 03:00:00 -0700 TruStory FM TruStory FM 4897 “The IMF is like Halloween, a bunch of grown men in rubber masks playing trick-or-treat.”

Hunt Is Back, and He’s Better Than Ever... Really

It’s crazy that we’re at the sixth film in the franchise and it’s the best of the bunch. How does that happen? Likely, it’s because Cruise has been driving this franchise not just as star but also producer from the start, but it’s hard to dismiss the fact that writer/director Christopher McQuarrie returned. His sense of this story, these characters, and this world seems to fit hand to glove as much as Cruise does. Join us – Pete Wright and Andy Nelson – as we continue our Mission: Impossible series with McQuarrie’s 2018 film Mission: Impossible – Fallout.


Here’s a hint at what we talk about.

It’s like they take all the greatest moments from the previous five films and find ways to integrate reworked versions of them into this film. It’s fantastic. We walk through the various action beats in this film, starting with the over two-and-a-half minute single shot of Hunt and Walker doing a HALO jump into Paris. And it only gets better from there.


Hunt is dealing with Solomon Lane again, but we’re also adding John Lark into the mix. It’s a bit of a mystery as to who he is, but... not really. It’s hard to buy Lark, aka August Walker, as anything but villainous. Is it the way Henry Cavill plays him? Or is he just written that way? Regardless, he makes for a great villain and works exceptionally well in this franchise. 


There’s also the return to Julia as a key part in Hunt’s life. It plays well, and clearly is an important point to Hunt learning to navigate his life when it comes to saving the world vs. saving those he loves. That plays not only into Julia’s story but also Ilsa, as clearly something is developing here with her in her return.


All in all, it’s a great film that shows insane stunt work by Cruise, a broken ankle, great characters, a thrilling and engaging story, and a mystery as to where it could go from here. We love it. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2018, 2010s, Mission: Impossible, Christopher McQuarrie No Andy Nelson Pete Wright Mission: Impossible – Rogue Nation • The Next Reel 12 12 71 71 Mission: Impossible – Rogue Nation • The Next Reel full d963278e-5fe2-4d0a-9562-ca3963a0eadc https://share.transistor.fm/s/eab06009 “We’re kind of formulating a plan B, although technically it’s a plan C.”

Everyone’s Gone Rogue in Rogue Nation

Christopher McQuarrie did some uncredited rewrites on Mission: Impossible – Ghost Protocol, though he’d worked with Tom Cruise a number of times in the past, having written and directed Jack Reacher then writing Edge of Tomorrow. Clearly, his strength as a storyteller, perhaps more than his friendship with Cruise, led Cruise to offer him the opportunity to help the fifth Mission: Impossible film. That opportunity to not only work on the script but also direct seemed to be the right formula Cruise (perhaps more the producer than the star) was looking for to bring the franchise into right zone he’d been looking for from the start. Join us – Pete Wright and Andy Nelson – as we continue our journey through our Mission: Impossible series with a conversation about McQuarrie’s 2015 film Mission: Impossible – Rogue Nation.


Here’s a hint at what we talk about.

Right out of the gate, we’re given an exciting action sequence, one which had been advertised relentlessly to draw audiences to the film to see Cruise hanging off the side of a plane. For real. It’s insane but makes for a great start to the movie. Plus, we get more comedy with the team and intrigue as the IMF gets shut down by the Senate, which puts Ethan on the run. It’s a thrill of a way to start the movie that shows we’re on the right track now.


The team is great, keeping Jeremy Renner, Simon Pegg, and the ever-consistent Ving Rhames from the last film. It’s our first full repeat, and it works well. We do have questions about the roles of each of the team members though. Are they given enough delineation between them? Is this, perhaps, why Jeremy Renner doesn’t return? 


The big surprise is the addition of Rebecca Ferguson who proves herself Cruise’s equal and brings tremendous chemistry as a British spy working both with and against Hunt at seemingly every turn. She’s incredibly compelling and is stunning in that dress. 


Of course the villain has to work for the team to be of any interest, and we’re fans of what Sean Harris is bringing as ex-MI6 operative Solomon Lane, the head of The Syndicate. He’s compelling, and the plot moves in exciting directions dictated by him. It’s a thrill of a film in a franchise that only gets better. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “We’re kind of formulating a plan B, although technically it’s a plan C.”

Everyone’s Gone Rogue in Rogue Nation

Christopher McQuarrie did some uncredited rewrites on Mission: Impossible – Ghost Protocol, though he’d worked with Tom Cruise a number of times in the past, having written and directed Jack Reacher then writing Edge of Tomorrow. Clearly, his strength as a storyteller, perhaps more than his friendship with Cruise, led Cruise to offer him the opportunity to help the fifth Mission: Impossible film. That opportunity to not only work on the script but also direct seemed to be the right formula Cruise (perhaps more the producer than the star) was looking for to bring the franchise into right zone he’d been looking for from the start. Join us – Pete Wright and Andy Nelson – as we continue our journey through our Mission: Impossible series with a conversation about McQuarrie’s 2015 film Mission: Impossible – Rogue Nation.


Here’s a hint at what we talk about.

Right out of the gate, we’re given an exciting action sequence, one which had been advertised relentlessly to draw audiences to the film to see Cruise hanging off the side of a plane. For real. It’s insane but makes for a great start to the movie. Plus, we get more comedy with the team and intrigue as the IMF gets shut down by the Senate, which puts Ethan on the run. It’s a thrill of a way to start the movie that shows we’re on the right track now.


The team is great, keeping Jeremy Renner, Simon Pegg, and the ever-consistent Ving Rhames from the last film. It’s our first full repeat, and it works well. We do have questions about the roles of each of the team members though. Are they given enough delineation between them? Is this, perhaps, why Jeremy Renner doesn’t return? 


The big surprise is the addition of Rebecca Ferguson who proves herself Cruise’s equal and brings tremendous chemistry as a British spy working both with and against Hunt at seemingly every turn. She’s incredibly compelling and is stunning in that dress. 


Of course the villain has to work for the team to be of any interest, and we’re fans of what Sean Harris is bringing as ex-MI6 operative Solomon Lane, the head of The Syndicate. He’s compelling, and the plot moves in exciting directions dictated by him. It’s a thrill of a film in a franchise that only gets better. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 22 Jun 2023 03:00:00 -0700 TruStory FM TruStory FM 4315 “We’re kind of formulating a plan B, although technically it’s a plan C.”

Everyone’s Gone Rogue in Rogue Nation

Christopher McQuarrie did some uncredited rewrites on Mission: Impossible – Ghost Protocol, though he’d worked with Tom Cruise a number of times in the past, having written and directed Jack Reacher then writing Edge of Tomorrow. Clearly, his strength as a storyteller, perhaps more than his friendship with Cruise, led Cruise to offer him the opportunity to help the fifth Mission: Impossible film. That opportunity to not only work on the script but also direct seemed to be the right formula Cruise (perhaps more the producer than the star) was looking for to bring the franchise into right zone he’d been looking for from the start. Join us – Pete Wright and Andy Nelson – as we continue our journey through our Mission: Impossible series with a conversation about McQuarrie’s 2015 film Mission: Impossible – Rogue Nation.


Here’s a hint at what we talk about.

Right out of the gate, we’re given an exciting action sequence, one which had been advertised relentlessly to draw audiences to the film to see Cruise hanging off the side of a plane. For real. It’s insane but makes for a great start to the movie. Plus, we get more comedy with the team and intrigue as the IMF gets shut down by the Senate, which puts Ethan on the run. It’s a thrill of a way to start the movie that shows we’re on the right track now.


The team is great, keeping Jeremy Renner, Simon Pegg, and the ever-consistent Ving Rhames from the last film. It’s our first full repeat, and it works well. We do have questions about the roles of each of the team members though. Are they given enough delineation between them? Is this, perhaps, why Jeremy Renner doesn’t return? 


The big surprise is the addition of Rebecca Ferguson who proves herself Cruise’s equal and brings tremendous chemistry as a British spy working both with and against Hunt at seemingly every turn. She’s incredibly compelling and is stunning in that dress. 


Of course the villain has to work for the team to be of any interest, and we’re fans of what Sean Harris is bringing as ex-MI6 operative Solomon Lane, the head of The Syndicate. He’s compelling, and the plot moves in exciting directions dictated by him. It’s a thrill of a film in a franchise that only gets better. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2015, 2010s, Christopher McQuarrie, Mission: Impossible No Andy Nelson Pete Wright Mission: Impossible – Ghost Protocol • The Next Reel 12 12 70 70 Mission: Impossible – Ghost Protocol • The Next Reel full 746819e0-49cf-41da-88de-bea9cf0c075a https://share.transistor.fm/s/4f30940d “You actually said that out loud? ‘Mission accomplished?’”

Ethan Hunt Shifts Gears and Finds His Groove

Brad Bird’s on board the franchise, getting a chance to not only make his first live action film but also to do so in a major franchise with giant set pieces and mega-stars. Perhaps that’s what the franchise needed, after all of Cruise’s antics around the time the third film was released. There was even talk that this film might have been his last as the franchise lead, turning it over to Jeremy Renner from this point forward. But things worked out, perhaps because of Bird’s injection of fun and levity he brought, and the franchise shited to something that would only continue improving. Join us – Pete Wright and Andy Nelson – as we continue our M:I series with a conversation about Bird’s 2011 film Mission: Impossible – Ghost Protocol. 


Here’s a hint at what we talk about.

This film is a blast from start to finish. We have a great team that feels cohesive both as a team in context of the film working to solve their mission as well as the actors who actually have chemistry and blend well. There’s a lot of play with the spy tech here as we get some incredible gadgets, but we also get to see what happens when our spies have to think outside the box when gadgets break or malfunction. The set pieces in this film all bring new and different energy to the franchise and the film, particularly the centerpiece of the film – Cruise scaling the side of the Burj Khalifa in Dubai. It’s insane and we’re here for all of it. We also have a villain that feels wonderfully villainous. Could we have used more of Michael Niqvist? Sure. But what we get works well for us. Even his threat to launch a nuke and start WWIII, while at the level of Bond villains, has a bit of a grounded feel to it. 


We talk a bit about the end of Cruise/Wagner Productions, and also ponder why Bird hasn’t had a chance to make many more live action features. Regardless, it’s a great conversation about a film that certainly set a new high bar for this franchise. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You actually said that out loud? ‘Mission accomplished?’”

Ethan Hunt Shifts Gears and Finds His Groove

Brad Bird’s on board the franchise, getting a chance to not only make his first live action film but also to do so in a major franchise with giant set pieces and mega-stars. Perhaps that’s what the franchise needed, after all of Cruise’s antics around the time the third film was released. There was even talk that this film might have been his last as the franchise lead, turning it over to Jeremy Renner from this point forward. But things worked out, perhaps because of Bird’s injection of fun and levity he brought, and the franchise shited to something that would only continue improving. Join us – Pete Wright and Andy Nelson – as we continue our M:I series with a conversation about Bird’s 2011 film Mission: Impossible – Ghost Protocol. 


Here’s a hint at what we talk about.

This film is a blast from start to finish. We have a great team that feels cohesive both as a team in context of the film working to solve their mission as well as the actors who actually have chemistry and blend well. There’s a lot of play with the spy tech here as we get some incredible gadgets, but we also get to see what happens when our spies have to think outside the box when gadgets break or malfunction. The set pieces in this film all bring new and different energy to the franchise and the film, particularly the centerpiece of the film – Cruise scaling the side of the Burj Khalifa in Dubai. It’s insane and we’re here for all of it. We also have a villain that feels wonderfully villainous. Could we have used more of Michael Niqvist? Sure. But what we get works well for us. Even his threat to launch a nuke and start WWIII, while at the level of Bond villains, has a bit of a grounded feel to it. 


We talk a bit about the end of Cruise/Wagner Productions, and also ponder why Bird hasn’t had a chance to make many more live action features. Regardless, it’s a great conversation about a film that certainly set a new high bar for this franchise. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries


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]]> Thu, 15 Jun 2023 03:00:00 -0700 TruStory FM TruStory FM 4253 “You actually said that out loud? ‘Mission accomplished?’”

Ethan Hunt Shifts Gears and Finds His Groove

Brad Bird’s on board the franchise, getting a chance to not only make his first live action film but also to do so in a major franchise with giant set pieces and mega-stars. Perhaps that’s what the franchise needed, after all of Cruise’s antics around the time the third film was released. There was even talk that this film might have been his last as the franchise lead, turning it over to Jeremy Renner from this point forward. But things worked out, perhaps because of Bird’s injection of fun and levity he brought, and the franchise shited to something that would only continue improving. Join us – Pete Wright and Andy Nelson – as we continue our M:I series with a conversation about Bird’s 2011 film Mission: Impossible – Ghost Protocol. 


Here’s a hint at what we talk about.

This film is a blast from start to finish. We have a great team that feels cohesive both as a team in context of the film working to solve their mission as well as the actors who actually have chemistry and blend well. There’s a lot of play with the spy tech here as we get some incredible gadgets, but we also get to see what happens when our spies have to think outside the box when gadgets break or malfunction. The set pieces in this film all bring new and different energy to the franchise and the film, particularly the centerpiece of the film – Cruise scaling the side of the Burj Khalifa in Dubai. It’s insane and we’re here for all of it. We also have a villain that feels wonderfully villainous. Could we have used more of Michael Niqvist? Sure. But what we get works well for us. Even his threat to launch a nuke and start WWIII, while at the level of Bond villains, has a bit of a grounded feel to it. 


We talk a bit about the end of Cruise/Wagner Productions, and also ponder why Bird hasn’t had a chance to make many more live action features. Regardless, it’s a great conversation about a film that certainly set a new high bar for this franchise. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 2011, 2010s, Brad Bird, Mission: Impossible No Andy Nelson Pete Wright Working Girl • A Conversation with Writer/Producer Rachel Lewis • Movies We Like 4 4 4 4 Working Girl • A Conversation with Writer/Producer Rachel Lewis • Movies We Like full 56928545-7744-42b6-bde3-0ba48f257798 https://share.transistor.fm/s/8c23d9b0 “You don’t get anywhere in this world by waiting for what you want to come to you. You make it happen.”

Talking About Working Girl with our guest, writer/producer Rachel Lewis

Mike Nichols’ film has been in all of our lives for decades now, and there are reasons it stands out as a classic. It’s a Cinderella story dealing with the sexism in the 80s workplace, and how one woman proves she has the stuff to break out of the secretary role in which she’d been stuck. It’s full of laughs, but also full of heart. And lest we forget the magnificent big 80s hair. It’s a sight to behold. 


Sure, the movie has some dated elements that don’t work quite as well, but that’s looking through today’s eyes. For its place in the late 80s, it works perfectly and delivers a solid film. Writer/producer Rachel Lewis is a big fan, and we have a great conversation with her about the movie. We chat through the cast and the themes. And then there’s Carly Simon’s fantastic and anthemic song that’s as inspiring as the movie is itself. 


Rachel tells us about her career and how she got started in the world of improv comedy before moving to LA and working her way into pitch meetings. As a writer, WGA team captain, and lot coordinator for the current strike, she also breaks down some of the reasons for it and what the writers are collectively working toward.


It’s a fantastic conversation about a great movie and the importance of this current strike. Check it out! 


Film Sundries


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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 Lewis

Mike Nichols’ film has been in all of our lives for decades now, and there are reasons it stands out as a classic. It’s a Cinderella story dealing with the sexism in the 80s workplace, and how one woman proves she has the stuff to break out of the secretary role in which she’d been stuck. It’s full of laughs, but also full of heart. And lest we forget the magnificent big 80s hair. It’s a sight to behold. 


Sure, the movie has some dated elements that don’t work quite as well, but that’s looking through today’s eyes. For its place in the late 80s, it works perfectly and delivers a solid film. Writer/producer Rachel Lewis is a big fan, and we have a great conversation with her about the movie. We chat through the cast and the themes. And then there’s Carly Simon’s fantastic and anthemic song that’s as inspiring as the movie is itself. 


Rachel tells us about her career and how she got started in the world of improv comedy before moving to LA and working her way into pitch meetings. As a writer, WGA team captain, and lot coordinator for the current strike, she also breaks down some of the reasons for it and what the writers are collectively working toward.


It’s a fantastic conversation about a great movie and the importance of this current strike. Check it out! 


Film Sundries


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]]> Mon, 12 Jun 2023 03:00:00 -0700 TruStory FM TruStory FM 3371 “You don’t get anywhere in this world by waiting for what you want to come to you. You make it happen.”

Talking About Working Girl with our guest, writer/producer Rachel Lewis

Mike Nichols’ film has been in all of our lives for decades now, and there are reasons it stands out as a classic. It’s a Cinderella story dealing with the sexism in the 80s workplace, and how one woman proves she has the stuff to break out of the secretary role in which she’d been stuck. It’s full of laughs, but also full of heart. And lest we forget the magnificent big 80s hair. It’s a sight to behold. 


Sure, the movie has some dated elements that don’t work quite as well, but that’s looking through today’s eyes. For its place in the late 80s, it works perfectly and delivers a solid film. Writer/producer Rachel Lewis is a big fan, and we have a great conversation with her about the movie. We chat through the cast and the themes. And then there’s Carly Simon’s fantastic and anthemic song that’s as inspiring as the movie is itself. 


Rachel tells us about her career and how she got started in the world of improv comedy before moving to LA and working her way into pitch meetings. As a writer, WGA team captain, and lot coordinator for the current strike, she also breaks down some of the reasons for it and what the writers are collectively working toward.


It’s a fantastic conversation about a great movie and the importance of this current strike. Check it out! 


Film Sundries


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]]> 1988, 1980s, Mike Nichols, Rachel Lewis No Andy Nelson Pete Wright Mission: Impossible III • The Next Reel 12 12 69 69 Mission: Impossible III • The Next Reel full 354de808-ad77-4994-9f1d-595fdf71b321 https://share.transistor.fm/s/240f64c2 “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


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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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 08 Jun 2023 03:00:00 -0700 TruStory FM TruStory FM 5016 “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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 2006, 2000s, J.J. Abrams, Mission: Impossible No Andy Nelson Pete Wright Mission: Impossible 2 • The Next Reel 12 12 67 67 Mission: Impossible 2 • The Next Reel full b7fbdc8d-01ef-4ebe-b724-b68f9330e7dd https://share.transistor.fm/s/74d1bdec “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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 01 Jun 2023 03:00:00 -0700 TruStory FM TruStory FM 3438 “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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2000, 2000s, John Woo, Mission: Impossible No Andy Nelson Pete Wright Mission: Impossible • The Next Reel 12 12 66 66 Mission: Impossible • The Next Reel full 17692deb-5d89-4f1a-82cc-99ccadec438b https://share.transistor.fm/s/cfbeeed8 “This whole operation was a mole hunt.”

Tom Cruise Upgrades the TV Show with Mission: Impossible

It 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “This whole operation was a mole hunt.”

Tom Cruise Upgrades the TV Show with Mission: Impossible

It 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 25 May 2023 03:00:00 -0700 TruStory FM TruStory FM 4124 “This whole operation was a mole hunt.”

Tom Cruise Upgrades the TV Show with Mission: Impossible

It 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 1996, 1990s, Brian De Palma, Mission: Impossible No Andy Nelson Pete Wright There Will Be Blood • A Conversation with Filmmaker Uwe Boll • Movies We Like 4 4 3 3 There Will Be Blood • A Conversation with Filmmaker Uwe Boll • Movies We Like full c7b1b387-a780-411b-9a0b-f70ca2a1b9dd https://share.transistor.fm/s/e70deb7f “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 Boll

There 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 Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “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 Boll

There 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 Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 22 May 2023 03:00:00 -0700 TruStory FM TruStory FM 3963 “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 Boll

There 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 Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2007, Paul Thomas Anderson, Movies We Like, Uwe Boll Yes Andy Nelson Pete Wright Peninsula • The Next Reel 12 12 65 65 Peninsula • The Next Reel full 50f8c895-8fd2-4bd1-bd8e-1da911224fe2 https://share.transistor.fm/s/7fe4f8e3 “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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 18 May 2023 03:00:00 -0700 TruStory FM TruStory FM 3924 “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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2020, 2020s, Yeon Sang-ho, Train to Busan No Andy Nelson Pete Wright Train to Busan • The Next Reel 12 12 64 64 Train to Busan • The Next Reel full 109c2c39-d645-45b1-b833-eb200901af0c https://share.transistor.fm/s/8affe91a “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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 11 May 2023 03:00:00 -0700 TruStory FM TruStory FM 3537 “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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2016, 2010s, Yeon Sang-ho, Train to Busan No Andy Nelson Pete Wright The Lord of the Rings: The Return of the King • The Next Reel 12 12 62 62 The Lord of the Rings: The Return of the King • The Next Reel full 10b56f0f-b2c9-49ec-91ee-5ddb8fab3a25 https://share.transistor.fm/s/08899e31 “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 Again

With 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “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 Again

With 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 04 May 2023 03:00:00 -0700 TruStory FM TruStory FM 3925 “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 Again

With 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2003, 2000s, Peter Jackson, Lord of the Rings No Andy Nelson Pete Wright The Lord of the Rings: The Two Towers • The Next Reel 12 12 61 61 The Lord of the Rings: The Two Towers • The Next Reel full a9c71a8a-5dbe-404f-9e95-f79a692d7673 https://share.transistor.fm/s/812cc17d “I told you he was tricksy. I told you he was false.”

The Epic Journey Continues

With 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “I told you he was tricksy. I told you he was false.”

The Epic Journey Continues

With 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 27 Apr 2023 03:00:00 -0700 TruStory FM TruStory FM 5143 “I told you he was tricksy. I told you he was false.”

The Epic Journey Continues

With 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!

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]]> 2002, 2000s, Lord of the Rings, Peter Jackson No Andy Nelson Pete Wright Bambi • A Conversation with Screenwriter Todd Alcott • Movies We Like 4 4 2 2 Bambi • A Conversation with Screenwriter Todd Alcott • Movies We Like full ef9cdcdc-dc3e-4335-8b16-54b6f4662926 https://share.transistor.fm/s/d42bfa9b “Your mother can’t be with you anymore.”

Talking About Bambi with our Guest Todd Alcott, Screenwriter

When 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 Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

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]]> “Your mother can’t be with you anymore.”

Talking About Bambi with our Guest Todd Alcott, Screenwriter

When 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 Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Mon, 24 Apr 2023 03:00:00 -0700 TruStory FM TruStory FM 3545 “Your mother can’t be with you anymore.”

Talking About Bambi with our Guest Todd Alcott, Screenwriter

When 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 Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.


Support The Next Reel Family of Film Shows:

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]]> Todd Alcott, 1942, 1940s, David D. Hand No Andy Nelson Pete Wright The Lord of the Rings: The Fellowship of the Ring • The Next Reel 12 12 60 60 The Lord of the Rings: The Fellowship of the Ring • The Next Reel full bf42fa44-6a7b-4e9b-9c3d-7504c7ea580a https://share.transistor.fm/s/1397972b “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 Trilogy

Considering 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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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 Trilogy

Considering 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 20 Apr 2023 03:00:00 -0700 TruStory FM TruStory FM 5905 “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 Trilogy

Considering 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2001, 2000s, Peter Jackson, The Lord of the Rings No Andy Nelson Pete Wright John Wick: Chapter 4 • The Next Reel 12 12 59 59 John Wick: Chapter 4 • The Next Reel full 854278be-a128-4ba9-8e4a-b2986b690669 https://share.transistor.fm/s/d7d95185 “Friendship means little when it’s convenient.”

Wrapping Up the John Wick Saga

Before 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Friendship means little when it’s convenient.”

Wrapping Up the John Wick Saga

Before 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 13 Apr 2023 03:00:00 -0700 TruStory FM TruStory FM 5144 “Friendship means little when it’s convenient.”

Wrapping Up the John Wick Saga

Before 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 2023, 2020s, John Wick, Chad Stahelski No Andy Nelson Pete Wright John Wick: Chapter 3 – Parabellum • The Next Reel 12 12 57 57 John Wick: Chapter 3 – Parabellum • The Next Reel full 57e82daa-0f68-4746-ad0e-147c0d23170e https://share.transistor.fm/s/c7af6092 “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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 06 Apr 2023 03:00:00 -0700 TruStory FM TruStory FM 3919 “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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> John Wick, 2019, 2010s, Chad Stahelski No Andy Nelson Pete Wright The Speakeasy Retrofit • Movies We Like 4 4 The Speakeasy Retrofit • Movies We Like full 115206fa-4773-4118-be5c-7f22f0a5c322 https://share.transistor.fm/s/fb00b4ec 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!


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 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!


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Mon, 03 Apr 2023 03:00:00 -0700 TruStory FM TruStory FM 317 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!


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Movies We Like No Andy Nelson Pete Wright John Wick: Chapter 2 • The Next Reel 12 12 56 56 John Wick: Chapter 2 • The Next Reel full 89254ef9-1328-4e98-98da-040748d44d96 https://share.transistor.fm/s/2e189c92 “Can a man like you know peace?”

We’re Back With John as He Takes on the Italian Mafia

John 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Can a man like you know peace?”

We’re Back With John as He Takes on the Italian Mafia

John 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 30 Mar 2023 03:00:00 -0700 TruStory FM TruStory FM 4173 “Can a man like you know peace?”

We’re Back With John as He Takes on the Italian Mafia

John 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 2017, 2010s, Chad Stahelski, John Wick No Andy Nelson Pete Wright John Wick • The Next Reel 12 12 55 55 John Wick • The Next Reel full a53d96e5-d9b4-4baa-a1d7-ba5ebb771edf https://share.transistor.fm/s/b22e6a4f “Now that I have found my peace, find yours.”

Time to Avenge the Dead Puppy with John Wick

It took some time to get all the right players so the movie John Wick could move forward. Luckily, everything worked out and stunt coordinators Chad Stahelski and David Leitch got the opportunity to direct their first big film. Derek Kolstad’s script had all the right magic and Keanu Reeves reinvented himself yet again with a title that surprised everyone. Join us – Pete Wright and Andy Nelson as we kick off our John Wick series where it all started, Stahelski’s 2014 film John Wick.


Here’s a hint at what we talk about.

Pete loves this movie. Andy enjoys it but it’s never excited him as much as other people. That’s a good starting place for the conversation. Why does it work so well for some and others don’t take to it as much? We also talk about the way this got made and how rare something like that happens where all the pieces fall in place just right. How would this have felt if a septuagenerian was playing the lead? We spend a bit of time digging into the stunt work and why it helps the story, but perhaps also leaves it feeling overly clinical through some eyes. The world-building is spectacular though! 


There’s plenty to discuss with this and it’s exciting that its success spurred on an entire franchise. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “Now that I have found my peace, find yours.”

Time to Avenge the Dead Puppy with John Wick

It took some time to get all the right players so the movie John Wick could move forward. Luckily, everything worked out and stunt coordinators Chad Stahelski and David Leitch got the opportunity to direct their first big film. Derek Kolstad’s script had all the right magic and Keanu Reeves reinvented himself yet again with a title that surprised everyone. Join us – Pete Wright and Andy Nelson as we kick off our John Wick series where it all started, Stahelski’s 2014 film John Wick.


Here’s a hint at what we talk about.

Pete loves this movie. Andy enjoys it but it’s never excited him as much as other people. That’s a good starting place for the conversation. Why does it work so well for some and others don’t take to it as much? We also talk about the way this got made and how rare something like that happens where all the pieces fall in place just right. How would this have felt if a septuagenerian was playing the lead? We spend a bit of time digging into the stunt work and why it helps the story, but perhaps also leaves it feeling overly clinical through some eyes. The world-building is spectacular though! 


There’s plenty to discuss with this and it’s exciting that its success spurred on an entire franchise. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 23 Mar 2023 03:00:00 -0700 TruStory FM TruStory FM 4057 “Now that I have found my peace, find yours.”

Time to Avenge the Dead Puppy with John Wick

It took some time to get all the right players so the movie John Wick could move forward. Luckily, everything worked out and stunt coordinators Chad Stahelski and David Leitch got the opportunity to direct their first big film. Derek Kolstad’s script had all the right magic and Keanu Reeves reinvented himself yet again with a title that surprised everyone. Join us – Pete Wright and Andy Nelson as we kick off our John Wick series where it all started, Stahelski’s 2014 film John Wick.


Here’s a hint at what we talk about.

Pete loves this movie. Andy enjoys it but it’s never excited him as much as other people. That’s a good starting place for the conversation. Why does it work so well for some and others don’t take to it as much? We also talk about the way this got made and how rare something like that happens where all the pieces fall in place just right. How would this have felt if a septuagenerian was playing the lead? We spend a bit of time digging into the stunt work and why it helps the story, but perhaps also leaves it feeling overly clinical through some eyes. The world-building is spectacular though! 


There’s plenty to discuss with this and it’s exciting that its success spurred on an entire franchise. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 2014, 2010s, Chad Stahelski, John Wick No Andy Nelson Pete Wright T2 Trainspotting • The Next Reel 12 12 54 54 T2 Trainspotting • The Next Reel full ad52bab4-601f-44ff-94ec-2455a183dfcb https://share.transistor.fm/s/58f839e4 “So be addicted. Be addicted to something else.”

Checking in 20 Years Later with Renton, Spud, Sick Boy, and Begby

That’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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “So be addicted. Be addicted to something else.”

Checking in 20 Years Later with Renton, Spud, Sick Boy, and Begby

That’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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 16 Mar 2023 03:00:00 -0700 TruStory FM TruStory FM 3730 “So be addicted. Be addicted to something else.”

Checking in 20 Years Later with Renton, Spud, Sick Boy, and Begby

That’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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Trainspotting, Danny Boyle, 2017, 2010s No Andy Nelson Pete Wright Trainspotting • The Next Reel 12 12 53 53 Trainspotting • The Next Reel full 29af8bc7-e977-4bef-a724-c3325d8a1333 https://share.transistor.fm/s/7b48c27d “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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 09 Mar 2023 03:00:00 -0800 TruStory FM TruStory FM 4203 “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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1996, 1990s, Danny Boyle, Trainspotting No Andy Nelson Pete Wright Slumber Party Massacre III • The Next Reel 12 12 51 51 Slumber Party Massacre III • The Next Reel full 40d8df23-d255-43dc-8aef-1c25a4724d87 https://share.transistor.fm/s/4cdce059 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 Sundries

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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 02 Mar 2023 03:00:00 -0800 TruStory FM TruStory FM 3146 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 1990, 1990s, Sally Mattison, Slumber Party Massacre No Andy Nelson Pete Wright Slumber Party Massacre II 12 12 50 50 Slumber Party Massacre II full f82e8cca-7224-4ab2-9c50-f8808a962d62 https://share.transistor.fm/s/81356308 “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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “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.


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]]> Thu, 23 Feb 2023 03:00:00 -0800 TruStory FM TruStory FM 3071 “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


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]]> 1987, 1980s, Slumber Party Massacre, Deborah Brock No Andy Nelson Pete Wright The Slumber Party Massacre • The Next Reel 12 12 49 49 The Slumber Party Massacre • The Next Reel full f0bb12d5-a51a-4ee6-ba20-683ac9c2d1c7 https://share.transistor.fm/s/7fcc461b “Maybe we should split up.”

Time to Tackle Some 80s Slumber Party Slashers
Amy Holden Jones had been working as an editor but wanted to direct. She found her chance with Roger Corman doing one of his slasher films. The script, however, was a parody of slashers written by Rita Mae Brown, and even though it was reworked by Corman’s team, it still has some traces of that parody. What resulted is an interesting slasher film that feels like it’s doing something a bit more than others of its time. Join us – Pete Wright and Andy Nelson – as we kick off our Slumber Party Massacre series with Jones’ 1982 film The Slumber Party Massacre. 


Here’s a hint at what we talk about.

What does Jones bring to the screen as a woman director giving us essentially an exploitation slasher film? Does the nudity play as something more than what other slashers (or even sex comedies) of the era were doing? What do we think of our killer and his phallic drill? We talk about the kills, the conflicts, the T&A, and more. It’s an interesting film to discuss because there is a sense it’s doing something a bit more. 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

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]]> “Maybe we should split up.”

Time to Tackle Some 80s Slumber Party Slashers
Amy Holden Jones had been working as an editor but wanted to direct. She found her chance with Roger Corman doing one of his slasher films. The script, however, was a parody of slashers written by Rita Mae Brown, and even though it was reworked by Corman’s team, it still has some traces of that parody. What resulted is an interesting slasher film that feels like it’s doing something a bit more than others of its time. Join us – Pete Wright and Andy Nelson – as we kick off our Slumber Party Massacre series with Jones’ 1982 film The Slumber Party Massacre. 


Here’s a hint at what we talk about.

What does Jones bring to the screen as a woman director giving us essentially an exploitation slasher film? Does the nudity play as something more than what other slashers (or even sex comedies) of the era were doing? What do we think of our killer and his phallic drill? We talk about the kills, the conflicts, the T&A, and more. It’s an interesting film to discuss because there is a sense it’s doing something a bit more. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


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]]> Thu, 16 Feb 2023 03:00:00 -0800 TruStory FM TruStory FM 3603 We kick off our next series, looking at some 80s slashers directed by women! That’s right, it’s time to tackle the Slumber Party Massacre series. In today’s episode, we’re looking at the first film, Amy Holden Jones’ 1982 film ‘The Slumber Party Massacre.’ How do its origins as a parody lead to it perhaps punching a bit above its weight? We 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. 1982, 1980s, Amy Holden Jones, Slumber Party Massacre No Andy Nelson Pete Wright Gangs of Wasseypur – Part 2 • The Next Reel 12 12 48 48 Gangs of Wasseypur – Part 2 • The Next Reel full 6e6b7b2a-e2f7-435f-a828-e3837d088c78 https://share.transistor.fm/s/2c6805da “Death is certain. If God doesn’t kill me, this neighborhood will.”

Another Gangster Saga About Being Trapped in the Family Business
Chalk it up to writer/director Anurag Kashyap’s connection to the films of Coppola, De Palma, and Scorsese, but there’s a lot of The Godfather Part II, Scarface, and GoodFellas in this film. The family business. Betrayal. Extreme violence. Different factions working with and against each other. This film, the second half of Kashyap’s epic gangster saga detailing the real mafia of Wasseypur and the areas around it from the 1940s through the 2000s, covers a lot of ground but provides a powerful and fitting conclusion to this tale. Join us – Pete Wright and Andy Nelson – as we wrap up our Gangs of Wasseypur series with Kashyap’s 2012 film Gangs of Wasseypur - Part 2. 


Here’s a hint at what we talk about.

There’s a lot going on in this story, but largely this second half of the larger overall story focuses on Faizal Khan as he takes over the family business after the murders of his father and brother, and ends with his murder and a new head of the mafia. We work through a number of the plot points, exploring the various elements that shape the overall story. We discuss brothers. Fathers and sons. The nature of family businesses when in the criminal world. We also talk about husbands and wives, politics, so many elements. They all tie into this massive story. Plus, it’s incredibly violent with a horrific scene early on that we discuss in detail because of how beautifully shot it is. 


It’s a powerful conclusion to the epic story and certainly one worth visiting and discussing. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Death is certain. If God doesn’t kill me, this neighborhood will.”

Another Gangster Saga About Being Trapped in the Family Business
Chalk it up to writer/director Anurag Kashyap’s connection to the films of Coppola, De Palma, and Scorsese, but there’s a lot of The Godfather Part II, Scarface, and GoodFellas in this film. The family business. Betrayal. Extreme violence. Different factions working with and against each other. This film, the second half of Kashyap’s epic gangster saga detailing the real mafia of Wasseypur and the areas around it from the 1940s through the 2000s, covers a lot of ground but provides a powerful and fitting conclusion to this tale. Join us – Pete Wright and Andy Nelson – as we wrap up our Gangs of Wasseypur series with Kashyap’s 2012 film Gangs of Wasseypur - Part 2. 


Here’s a hint at what we talk about.

There’s a lot going on in this story, but largely this second half of the larger overall story focuses on Faizal Khan as he takes over the family business after the murders of his father and brother, and ends with his murder and a new head of the mafia. We work through a number of the plot points, exploring the various elements that shape the overall story. We discuss brothers. Fathers and sons. The nature of family businesses when in the criminal world. We also talk about husbands and wives, politics, so many elements. They all tie into this massive story. Plus, it’s incredibly violent with a horrific scene early on that we discuss in detail because of how beautifully shot it is. 


It’s a powerful conclusion to the epic story and certainly one worth visiting and discussing. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


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]]> Thu, 09 Feb 2023 03:00:00 -0800 TruStory FM TruStory FM 3622 We wrap up our conversation about Anurag Kashyap’s 2012 epic mafia saga with a look at ‘Gangs of Wasseypur - Part 2’. It’s about fathers and sons, vengeance, brotherhood, the family business, and so much more. It’s a violent but engaging ride and allows for a great conversation. Tune in! We 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 f 2012, 2010s, Anurag Kashyap, Gangs of Wasseypur No Andy Nelson Pete Wright Gangs of Wasseypur - Part 1 • The Next Reel 12 12 46 46 Gangs of Wasseypur - Part 1 • The Next Reel full 076c0fee-d650-4b5c-ad12-4b36f4d6cb66 https://share.transistor.fm/s/c1d02ebf 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 Sundries

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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 02 Feb 2023 03:00:00 -0800 TruStory FM TruStory FM 3144 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 Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> 2012, 2010s, Anurag Kashyap, Gangs of Wasseypur No Andy Nelson Pete Wright Song of the Thin Man • The Next Reel 12 12 45 45 Song of the Thin Man • The Next Reel full fa781215-12e5-4691-a010-e2824bf45246 https://share.transistor.fm/s/53359943 “Oh boy! Another murder!”

Closing Out Our Time With Nick and Nora
In 1947, Edward Buzzell directed the last of the ‘Thin Man’ films, written by a new pair – Steve Fisher and Nat Perrin. Despite the fact that the creative team’s largely new, William Powell and Myrna Loy remain the constants, and bring their same charm as Nick and Nora Charles to the screen. And the creative team here does a wonderful job of blending the comedy and the crime elements. At times, it feels downright film noir. The cast works well in this one, with Keenan Wynn as a jazz musician helping Nick out and Gloria Grahame as a singer caught in the web. Plus, young Dean Stockwell turns up as Nick Jr. The mystery holds up well, and it takes place in a setting that fits the story and tone. 


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

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]]> “Oh boy! Another murder!”

Closing Out Our Time With Nick and Nora
In 1947, Edward Buzzell directed the last of the ‘Thin Man’ films, written by a new pair – Steve Fisher and Nat Perrin. Despite the fact that the creative team’s largely new, William Powell and Myrna Loy remain the constants, and bring their same charm as Nick and Nora Charles to the screen. And the creative team here does a wonderful job of blending the comedy and the crime elements. At times, it feels downright film noir. The cast works well in this one, with Keenan Wynn as a jazz musician helping Nick out and Gloria Grahame as a singer caught in the web. Plus, young Dean Stockwell turns up as Nick Jr. The mystery holds up well, and it takes place in a setting that fits the story and tone. 


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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 26 Jan 2023 03:00:00 -0800 TruStory FM TruStory FM 3379 We wrap up our time with Nick and Nora Charles (and Asta! And Nick Jr!) as we dig into their last cinematic outing together, the 1947 film ‘Song of the Thin Man’ directed by Edward Buzzell. It’s a perfect way to wrap up our time with these characters as the story balances perfectly between crime and comedy. Tune in! We 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 t 1947, 1940s, Edward Buzzell, The Thin Man No Andy Nelson Pete Wright The Thin Man Goes Home • The Next Reel 12 12 44 44 The Thin Man Goes Home • The Next Reel full fcceebb6-86fd-4286-ad74-3b8d5153a46c https://share.transistor.fm/s/41cf47a8 “There’s nothing in the world Nick wants more than a pat on the back from his father. If he got that, I think he’d pop a vest button.”

Nick and Nora head to small town America to visit Nick’s parents and find mystery...
It took some doing, but Myrna Loy was finally convinced to make just one film during the War, taking time out of her volunteer efforts she was committing to the Red Cross. That one film was a return to the Thin Man series with her co-star William Powell. It had first been delayed due to Loy’s new marriage, then to the director’s death, then to the war. But the studio wanted to move forward and audiences refused to accept anyone but Loy in the part. So she took a small break to make this one film then went right back to the Red Cross. Join us – Pete Wright and Andy Nelson – as we continue our look at the Thin Man films – with Richard Thorpe’s 1945 film “The Thin Man Goes Home.”


Here’s a hint at what we talk about.

This takes some time to get set up, but does it work? The comedy feels different. Is that the writing team? The new director? All of the above? How do Loy and Powell do this go-around? Does it bother us that Junior’s nowhere to be seen? How about the mystery? Is it effective? 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

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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “There’s nothing in the world Nick wants more than a pat on the back from his father. If he got that, I think he’d pop a vest button.”

Nick and Nora head to small town America to visit Nick’s parents and find mystery...
It took some doing, but Myrna Loy was finally convinced to make just one film during the War, taking time out of her volunteer efforts she was committing to the Red Cross. That one film was a return to the Thin Man series with her co-star William Powell. It had first been delayed due to Loy’s new marriage, then to the director’s death, then to the war. But the studio wanted to move forward and audiences refused to accept anyone but Loy in the part. So she took a small break to make this one film then went right back to the Red Cross. Join us – Pete Wright and Andy Nelson – as we continue our look at the Thin Man films – with Richard Thorpe’s 1945 film “The Thin Man Goes Home.”


Here’s a hint at what we talk about.

This takes some time to get set up, but does it work? The comedy feels different. Is that the writing team? The new director? All of the above? How do Loy and Powell do this go-around? Does it bother us that Junior’s nowhere to be seen? How about the mystery? Is it effective? 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 19 Jan 2023 03:00:00 -0800 TruStory FM TruStory FM 3429 We continue our journey through the Thin Man series with Nick and Nora Charles (and Asta!) as we head to Sycamore Springs to visit Nick’s parents in ‘The Thin Man Goes Home.’ Different creatives behind it this time. How does it fare? We 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? 1945, 1940s, Richard Thorpe, The Thin Man Films No Andy Nelson Pete Wright Shadow of the Thin Man • The Next Reel 12 12 43 43 Shadow of the Thin Man • The Next Reel full 576e8e5a-7901-49b6-a8ac-c7b1b86f502a https://share.transistor.fm/s/9e615f21 Nick and Norah investigating a murder at the racetracks

W.S. Van Dyke’s back to have another good time with Nick and Nora Charles, though this time it’s with different writers. How does that affect things? And is William Powell seeming to be feeling better this time around? Join us – Pete Wright and Andy Nelson – as we continue our Thin Man series with a conversation about Maj. W.S. Van Dyke II’s Shadow of the Thin Man. 


Here’s a hint at what we talk about.

The mystery’s better this time around, though the actual reveal seems a bit tepid. Does that affect our enjoyment of the film? Maybe a little, but it’s still quite fun. Plus, the comedy feels like it’s back on track and Powell seems to be having a great time, even if he doesn’t get to play drunk much. 

We chat about Nick, Jr. and how that addition to the story works for us. We also talk about the odd undercranked gags they do with Asta that we mostly enjoy. The characters are as fun as ever. We just wish the final reveal felt a bit more interesting.


Still, it’s a fun film with fantastic characters. 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


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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Nick and Norah investigating a murder at the racetracks

W.S. Van Dyke’s back to have another good time with Nick and Nora Charles, though this time it’s with different writers. How does that affect things? And is William Powell seeming to be feeling better this time around? Join us – Pete Wright and Andy Nelson – as we continue our Thin Man series with a conversation about Maj. W.S. Van Dyke II’s Shadow of the Thin Man. 


Here’s a hint at what we talk about.

The mystery’s better this time around, though the actual reveal seems a bit tepid. Does that affect our enjoyment of the film? Maybe a little, but it’s still quite fun. Plus, the comedy feels like it’s back on track and Powell seems to be having a great time, even if he doesn’t get to play drunk much. 

We chat about Nick, Jr. and how that addition to the story works for us. We also talk about the odd undercranked gags they do with Asta that we mostly enjoy. The characters are as fun as ever. We just wish the final reveal felt a bit more interesting.


Still, it’s a fun film with fantastic characters. 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


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The Next Reel Family of Film Shows:

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]]> Thu, 12 Jan 2023 03:00:00 -0800 TruStory FM TruStory FM 3504 We’re back with Nick and Norah, this time at the tracks dealing with the murder of a jockey. Plus, Nick, Jr.’s older now. How’s Nick’s drinking? How are Nora’s nudges to be included in the investigations more? And how well does the murder mystery work? Tune in! We’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? Tu film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Another Thin Man • The Next Reel 12 12 41 41 Another Thin Man • The Next Reel full 46a00cb0-f269-4b8c-9977-d2d9ce6786f9 https://share.transistor.fm/s/383a3bef “He says his name is Charles, but he looks to me like a pool parlor dude.”

Nick and Nora have a baby!
It wasn’t an easy film for William Powell to jump into. He was recovering from the death of the love of his life, and he was also recovering from cancer. But he returned for yet another round with Myrna Loy as Nick and Nora Charles, and this time they have a baby. But does Powell seem like he has the energy for it? Join us – Pete Wright and Andy Nelson – as we continue our Thin Man series with W.S. Van Dyke’s 1939 film Another Thin Man.


Here’s a hint at what we talk about.

We dig a bit more into Powell’s history between the last film and this one. We also talk about Van Dyke as we learned he’s actually a II, not a junior. We struggle with the mystery and with the comedy in this one. It’s still fun, but largely is less dynamic than the previous two. Is that because of Powell’s struggles? Or were the writers struggling to come up with as interesting a mystery? Regardless, it didn’t work as well.


We still love Nick and Nora. Their banter and relationship works like a charm. They make the film easy to watch and we still have a lot of fun, 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!


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]]> “He says his name is Charles, but he looks to me like a pool parlor dude.”

Nick and Nora have a baby!
It wasn’t an easy film for William Powell to jump into. He was recovering from the death of the love of his life, and he was also recovering from cancer. But he returned for yet another round with Myrna Loy as Nick and Nora Charles, and this time they have a baby. But does Powell seem like he has the energy for it? Join us – Pete Wright and Andy Nelson – as we continue our Thin Man series with W.S. Van Dyke’s 1939 film Another Thin Man.


Here’s a hint at what we talk about.

We dig a bit more into Powell’s history between the last film and this one. We also talk about Van Dyke as we learned he’s actually a II, not a junior. We struggle with the mystery and with the comedy in this one. It’s still fun, but largely is less dynamic than the previous two. Is that because of Powell’s struggles? Or were the writers struggling to come up with as interesting a mystery? Regardless, it didn’t work as well.


We still love Nick and Nora. Their banter and relationship works like a charm. They make the film easy to watch and we still have a lot of fun, 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

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]]> Thu, 05 Jan 2023 03:00:00 -0800 TruStory FM TruStory FM 3271 We continue our time with Nick and Nora Charles, this time with the 1939 film ‘Another Thin Man,’ the third in the Thin Man series. Now, they have a baby and they’re back in New York! What do we think of the story? The characters? The mystery? The comedy? The drinking? Tune in! We 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? 1939, 1930s, W.S. Van Dyke, The Thin Man Series No Andy Nelson Pete Wright After the Thin Man • The Next Reel 12 12 39 39 After the Thin Man • The Next Reel full 5e36222d-d8fd-4f4f-8cbe-53f13421e6f5 https://share.transistor.fm/s/ed413646 “C’mon, let’s get something to eat. I’m thirsty!”

Back in the World of Nick and Norah Charles
With the success of The Thin Man, it was inevitable that the studio would want to return to the world of Nick and Norah Charles. While not based on another book by Dashiell Hammett, it’s clearly his characters and the returning screenwriting duo of Albert Hackett and Frances Goodrich know how to bring Nick and Norah to life. Join us – Pete Wright and Andy Nelson – as we kick off our ‘The Thin Man’ series, with W.S. Van Dyke’s 1936 film After the Thin Man.


Here’s a hint at what we talk about.

The Hays Code was in action, so less clear drinking of alcohol by the duo, but that doesn’t mean they’re not drunk. Particularly Charles. We love William Powell and Myrna Loy as these characters. They’re clearly having a great time. What’s with the story of infidelity thrown into Asta’s subplot though? 


The mystery is a fun one and there are a lot of great characters, including one played by a young Jimmy Stewart! The look of the film is similar enough to the first one where they feel like they’re cut from the same cloth, and we like that it starts feeling as if it’s a continuation of the first film.


All in all, it’s a delight and we both loved this one more than the first. Definitely 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

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]]> “C’mon, let’s get something to eat. I’m thirsty!”

Back in the World of Nick and Norah Charles
With the success of The Thin Man, it was inevitable that the studio would want to return to the world of Nick and Norah Charles. While not based on another book by Dashiell Hammett, it’s clearly his characters and the returning screenwriting duo of Albert Hackett and Frances Goodrich know how to bring Nick and Norah to life. Join us – Pete Wright and Andy Nelson – as we kick off our ‘The Thin Man’ series, with W.S. Van Dyke’s 1936 film After the Thin Man.


Here’s a hint at what we talk about.

The Hays Code was in action, so less clear drinking of alcohol by the duo, but that doesn’t mean they’re not drunk. Particularly Charles. We love William Powell and Myrna Loy as these characters. They’re clearly having a great time. What’s with the story of infidelity thrown into Asta’s subplot though? 


The mystery is a fun one and there are a lot of great characters, including one played by a young Jimmy Stewart! The look of the film is similar enough to the first one where they feel like they’re cut from the same cloth, and we like that it starts feeling as if it’s a continuation of the first film.


All in all, it’s a delight and we both loved this one more than the first. Definitely check it out then tune in! The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


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]]> Thu, 29 Dec 2022 03:00:00 -0800 TruStory FM TruStory FM 3210 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! 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 1936, 1930s, W.S. Van Dyke, The Thin Man No Andy Nelson Pete Wright Co-Parenting in the Movies: A Special Holiday Crossover Event with How to Split a Toaster: A Divorce Podcast About Saving Your Relationships 12 12 40 40 Co-Parenting in the Movies: A Special Holiday Crossover Event with How to Split a Toaster: A Divorce Podcast About Saving Your Relationships full 8b52e6d0-b287-4ed0-a8b0-eddc37bdcb15 https://share.transistor.fm/s/f1c73a42 Co-Parenting in the Movies

We’re ending the year with a podcast crossover episode. Andy joins Pete on How to Split a Toaster: A Divorce Podcast About Saving Your Relationships. On that show, Pete and his co-host Seth Nelson discuss a variety of divorce-related topics to help those going through the difficult process. Today’s episode is a reprieve from that specific focus. In this episode, everyone’s bringing three movies that feature co-parenting. 

Here’s a breakdown of what each person talks about:

Andy: 

  • Mr. Popper’s Penguins
  • Definitely, Maybe
  • Jurassic Park III

Seth:

  • The Santa Clause
  • Mrs. Doubtfire
  • Chef

Pete:

  • Roald Dahl’s Matilda the Musical
  • Chef
  • Boyhood

Happy holidays!


Links & Notes


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]]> Co-Parenting in the Movies

We’re ending the year with a podcast crossover episode. Andy joins Pete on How to Split a Toaster: A Divorce Podcast About Saving Your Relationships. On that show, Pete and his co-host Seth Nelson discuss a variety of divorce-related topics to help those going through the difficult process. Today’s episode is a reprieve from that specific focus. In this episode, everyone’s bringing three movies that feature co-parenting. 

Here’s a breakdown of what each person talks about:

Andy: 

  • Mr. Popper’s Penguins
  • Definitely, Maybe
  • Jurassic Park III

Seth:

  • The Santa Clause
  • Mrs. Doubtfire
  • Chef

Pete:

  • Roald Dahl’s Matilda the Musical
  • Chef
  • Boyhood

Happy holidays!


Links & Notes


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]]> Tue, 27 Dec 2022 03:00:00 -0800 TruStory FM TruStory FM 2050 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. 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 mov How to Split a Toaster, Seth Nelson No Andy Nelson Pete Wright The Twilight Saga: Breaking Dawn – Part 2 • The Next Reel 12 12 36 36 The Twilight Saga: Breaking Dawn – Part 2 • The Next Reel full 6821924d-595a-42a1-be7e-c6a1bac0a79c https://share.transistor.fm/s/208e104d “Jake, you really do stink.”

The End of the ‘Epic’ Saga
The time has come to wrap up the adaptations of Stephenie Meyer’s supernatural romance novels. And we didn’t even talk about reasons why they split the book up! Join us – Pete Wright and Andy Nelson – as we conclude our Twilight series with a conversation about Bill Condon’s 2012 film The Twilight Saga: Breaking Dawn – Part 2.


Vampires and werewolves and Volturi, oh my!

There’s... a lot... going on with these stories. They’re not great, but strangely, Condon’s film ends up being the most entertaining of the bunch. It’s as if he understood the assignment that they were going for camp. The rules are bonkers. Things are over-the-top. And it’s quite a bit of fun.


We talk about all the crazy new rules regarding werewolves and vampires that make their way into this film. There are all sorts of new faces to discuss, and true to form more indigenous peoples to offend. And that’s not even touching on the freaky CG baby or weird imprinting rules.


But it’s probably the most engaging of the whole franchise. We have a great time talking about it (and laughing at it a little). 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.


Support The Next Reel Family of Film Shows:

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]]> “Jake, you really do stink.”

The End of the ‘Epic’ Saga
The time has come to wrap up the adaptations of Stephenie Meyer’s supernatural romance novels. And we didn’t even talk about reasons why they split the book up! Join us – Pete Wright and Andy Nelson – as we conclude our Twilight series with a conversation about Bill Condon’s 2012 film The Twilight Saga: Breaking Dawn – Part 2.


Vampires and werewolves and Volturi, oh my!

There’s... a lot... going on with these stories. They’re not great, but strangely, Condon’s film ends up being the most entertaining of the bunch. It’s as if he understood the assignment that they were going for camp. The rules are bonkers. Things are over-the-top. And it’s quite a bit of fun.


We talk about all the crazy new rules regarding werewolves and vampires that make their way into this film. There are all sorts of new faces to discuss, and true to form more indigenous peoples to offend. And that’s not even touching on the freaky CG baby or weird imprinting rules.


But it’s probably the most engaging of the whole franchise. We have a great time talking about it (and laughing at it a little). 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.


Support The Next Reel Family of Film Shows:

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]]> Thu, 22 Dec 2022 03:00:00 -0800 TruStory FM TruStory FM 4260 We wrap up our conversations about Bill Condon’s adaptation of the second half of Stephenie Meyer’s novel, tackling werewolves, vampires, vampire babies, Volturi, witnesses, Charlie, and more as we discuss the 2012 film ‘The Twilight Saga: Breaking Dawn – Part 2.’ We 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 – 2012, 2010s, Bill Condon, The Twilight Saga No Andy Nelson Pete Wright The Twilight Saga: Breaking Dawn – Part 1 • The Next Reel 12 12 35 35 The Twilight Saga: Breaking Dawn – Part 1 • The Next Reel full ec2be1ae-b099-4ee3-8835-b38f206bcfa2 https://share.transistor.fm/s/48675779 “We must destroy it before it’s born.”

Condon goes for lust, horror and a bit of camp
We return to Forks, Washington, to join Edward and Bella at their wedding. We also join them on their honeymoon and then struggle with them as they figure out how to deal with a vampire baby. That’s right – we’re back in Twilight territory. Join us – Pete Wright and Andy Nelson – as we continue our Twilight series with a a conversation about Bill Condon’s 2011 film The Twilight Saga: Breaking Dawn – Part 1. 


Here’s a hint at what we talk about.

Why did they split Stephenie Meyer’s book into two movies? Does it feel necessary or feel like a studio cash grab? Did we need an entire movie just about the wedding, honeymoon, and baby? To that end, though, the camp works better in this film and actually keeps the film engaging, which is a nice change from the last film. Is that Condon’s doing? Perhaps.


How does the look of this film feel after the last three? Is there a sense of evolution in the franchise? What about Condon at the helm? Can we tell? And how about the return to Carter Burwell?


It’s an interesting film that doesn’t do a whole lot but does at least get us ready for the final entry. To that end, consider us here for 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “We must destroy it before it’s born.”

Condon goes for lust, horror and a bit of camp
We return to Forks, Washington, to join Edward and Bella at their wedding. We also join them on their honeymoon and then struggle with them as they figure out how to deal with a vampire baby. That’s right – we’re back in Twilight territory. Join us – Pete Wright and Andy Nelson – as we continue our Twilight series with a a conversation about Bill Condon’s 2011 film The Twilight Saga: Breaking Dawn – Part 1. 


Here’s a hint at what we talk about.

Why did they split Stephenie Meyer’s book into two movies? Does it feel necessary or feel like a studio cash grab? Did we need an entire movie just about the wedding, honeymoon, and baby? To that end, though, the camp works better in this film and actually keeps the film engaging, which is a nice change from the last film. Is that Condon’s doing? Perhaps.


How does the look of this film feel after the last three? Is there a sense of evolution in the franchise? What about Condon at the helm? Can we tell? And how about the return to Carter Burwell?


It’s an interesting film that doesn’t do a whole lot but does at least get us ready for the final entry. To that end, consider us here for 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 15 Dec 2022 03:00:00 -0800 TruStory FM TruStory FM 4068 We’ve been invited to Bella’s and Edward’s wedding, along with everyone in Forks it seems. That’s right, it’s time for Bill Condon’s adaptation of the first half of Stephenie Meyer’s final novel of her vampire/werewolf saga, The Twilight Saga: Breaking Dawn – Part 1. Is the camp back? What do we think of the wedding and honeymoon? What about the baby? The werewolf antagonistic subplot? Lots to unpack. Tune in! We’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 Da 2011, 2010s, Bill Condon, The Twilight Saga No Andy Nelson Pete Wright The Twilight Saga: Eclipse • The Next Reel 12 12 34 34 The Twilight Saga: Eclipse • The Next Reel full 0ebf90ef-1a20-446c-9c6c-be1e06aaba66 https://share.transistor.fm/s/eec967d3 “Let’s face it – I AM hotter than you.”

The melodrama continues between Bella and Jacob and Edward
David Slade takes the helm with the third adaptation of Stephenie Meyer’s supernatural romance novels, but how does it do to advance the story? Join us – Pete Wright and Andy Nelson – as we continue our series on the Twilight films with Slade’s 2010 film The Twilight Saga: Eclipse. 


Here’s a hint at what we talk about.

The romance novel love triangle just keeps happening, even though we feel it’s over. Bella’s already made up her mind – she wants to marry Edward. So why does Jacob keep rearing his ugly head in all of this? And why is Bella interested in either of these guys when they’re both clearly problematic? 


We talk about all of this romance and debate why this film feels so much more sluggish than the previous two. Is it Slade’s direction? Or the nature of Meyer’s source material? And why is Victoria still a thing? We struggle with caring about her, despite the change in actor.


Why are the Vulturi reduced to their youngsters playing vampire hall monitors? And what’s up with Victoria’s plan to use Riley and the newborn vampires to finally kill Bella? Are we buying any of this?


This film is a tough one to get through. We both have issues with it from the start. But sometimes, those make for the most fun conversations and that’s certainly the case here. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Let’s face it – I AM hotter than you.”

The melodrama continues between Bella and Jacob and Edward
David Slade takes the helm with the third adaptation of Stephenie Meyer’s supernatural romance novels, but how does it do to advance the story? Join us – Pete Wright and Andy Nelson – as we continue our series on the Twilight films with Slade’s 2010 film The Twilight Saga: Eclipse. 


Here’s a hint at what we talk about.

The romance novel love triangle just keeps happening, even though we feel it’s over. Bella’s already made up her mind – she wants to marry Edward. So why does Jacob keep rearing his ugly head in all of this? And why is Bella interested in either of these guys when they’re both clearly problematic? 


We talk about all of this romance and debate why this film feels so much more sluggish than the previous two. Is it Slade’s direction? Or the nature of Meyer’s source material? And why is Victoria still a thing? We struggle with caring about her, despite the change in actor.


Why are the Vulturi reduced to their youngsters playing vampire hall monitors? And what’s up with Victoria’s plan to use Riley and the newborn vampires to finally kill Bella? Are we buying any of this?


This film is a tough one to get through. We both have issues with it from the start. But sometimes, those make for the most fun conversations and that’s certainly the case here. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 08 Dec 2022 03:00:00 -0800 TruStory FM TruStory FM 3995 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! 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 f 2010, 2010s, David Slade, The Twilight Saga No Andy Nelson Pete Wright The Twilight Saga: New Moon • The Next Reel 12 12 33 33 The Twilight Saga: New Moon • The Next Reel full b16e7e4a-f111-4250-afe7-ea1e4c28f1b7 https://share.transistor.fm/s/c31688c1 “I guess the wolf’s out of the bag.”

Bella’s plight continues – who will she choose? We’re here for it!
Bella continues pining for Edward long after he’s moved away, but Jacob’s there for her. That’s right, we’re talking about vampires, werewolves, Volturi and more! Join us – Pete Wright and Andy Nelson – as we continue our journey through the Twilight series in our discussion about Chris Weitz’ 2009 film The Twilight Saga: New Moon.


Here’s a hint at what we talk about.

Kristen Stewart’s acting is tough, but is it her or Stephenie Meyer’s dialogue and romance novel elements? What about Robert Pattinson and Taylor Lautner? How about the Shakespearean elements? What do we think of the werewolves? And the effects? How is Weitz as the new director for the film? Do we like the romance? Or prefer the expanded lore? And how does Desplat do with the music? And the biggest question of all – are we on Team Jacob or Team Edward?


So much smoldering romance, blood, wolves, and fantastic Italian architecture! We’re here for it. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

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The Next Reel Family of Film Shows:

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]]> “I guess the wolf’s out of the bag.”

Bella’s plight continues – who will she choose? We’re here for it!
Bella continues pining for Edward long after he’s moved away, but Jacob’s there for her. That’s right, we’re talking about vampires, werewolves, Volturi and more! Join us – Pete Wright and Andy Nelson – as we continue our journey through the Twilight series in our discussion about Chris Weitz’ 2009 film The Twilight Saga: New Moon.


Here’s a hint at what we talk about.

Kristen Stewart’s acting is tough, but is it her or Stephenie Meyer’s dialogue and romance novel elements? What about Robert Pattinson and Taylor Lautner? How about the Shakespearean elements? What do we think of the werewolves? And the effects? How is Weitz as the new director for the film? Do we like the romance? Or prefer the expanded lore? And how does Desplat do with the music? And the biggest question of all – are we on Team Jacob or Team Edward?


So much smoldering romance, blood, wolves, and fantastic Italian architecture! We’re here for it. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!


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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 01 Dec 2022 03:00:00 -0800 TruStory FM TruStory FM 4022 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 Stephenie Meyer’s series in our conversation about Chris Weitz’s 2009 film “The Twilight Saga: New Moon.” 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 Stephenie Meyer’s series in our conversation about Chris Weitz’s 20 2009, 2000s, Chris Weitz, The Twilight Saga No Andy Nelson Pete Wright Twilight • The Next Reel 12 12 32 32 Twilight • The Next Reel full 2bc2d58a-b43d-4a77-b0fd-cecbac0617dc https://share.transistor.fm/s/ede17e3c “I’ve never given much thought to how I would die, but dying in place of someone I love seems like a good way to go.”

It’s time to explore the vampire romance Twilight!
Make fun of us all you want. We thought exploring the romance novel vampire series would be worth the conversation. That’s right, we’re looking at all five films adapted from Stephenie Meyer’s books. Does it work for us, two middle-aged white guys? Join us – Pete Wright and Andy Nelson – as we tackle the Twilight Saga starting with Catherine Hardwicke’s 2008 film Twilight.


Here’s a hint at what we talk about.

Hardwicke came from indie films dealing with youth angst. Do her skills translate here? How about her ability to direct action and special effects scenes? 


What about Kristen Stewart and Robert Pattinson? Do we buy into their characters? Their romance? How about the rest of the cast and characters?


Where do we struggle more – with the smoldering teenage romance or with the murderous vampire subplot? And Edward’s less than savory approaches to courtship, particularly through modern eyes?


And how about the vampires-through-Meyer’s-lens exposition?


There’s plenty to discuss in this film. We have a great time chatting about it. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “I’ve never given much thought to how I would die, but dying in place of someone I love seems like a good way to go.”

It’s time to explore the vampire romance Twilight!
Make fun of us all you want. We thought exploring the romance novel vampire series would be worth the conversation. That’s right, we’re looking at all five films adapted from Stephenie Meyer’s books. Does it work for us, two middle-aged white guys? Join us – Pete Wright and Andy Nelson – as we tackle the Twilight Saga starting with Catherine Hardwicke’s 2008 film Twilight.


Here’s a hint at what we talk about.

Hardwicke came from indie films dealing with youth angst. Do her skills translate here? How about her ability to direct action and special effects scenes? 


What about Kristen Stewart and Robert Pattinson? Do we buy into their characters? Their romance? How about the rest of the cast and characters?


Where do we struggle more – with the smoldering teenage romance or with the murderous vampire subplot? And Edward’s less than savory approaches to courtship, particularly through modern eyes?


And how about the vampires-through-Meyer’s-lens exposition?


There’s plenty to discuss in this film. We have a great time chatting about it. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 24 Nov 2022 03:00:00 -0800 TruStory FM TruStory FM 3687 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 Stephenie Meyer’s vamp-romance. Tune in to hear our conversation about the 2008 film ‘Twilight.’ 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 Stephenie Meyer’s vamp-romance. Tune in to hea 2008, 2000s, Catherine Hardwicke, The Twilight Saga No Andy Nelson Pete Wright The Raid 2 • The Next Reel 12 12 29 29 The Raid 2 • The Next Reel full 14ae5ba9-c10d-4420-bcf4-3f4625b1c87c https://share.transistor.fm/s/90cbe133 “They're not cops anymore. They're in my world now.”

Expanding the Universe with The Raid 2.
We often talk about world building on our podcast. We also talk about leveling up and not simply remaking the first film when you make a second one. With The Raid 2, writer-director Gareth Evans proves he understands all of this. The world building expands in exciting ways, and the film levels up to take us outside of the building into the streets of Jakarta. Join us – Pete Wright and Andy Nelson – as we wrap up our series looking at The Raid films with Evans 2014 followup, The Raid 2. 


Here’s a hint at what we talk about.

So much action. It’s a thrill ride from start to finish, and Evans proves he doesn’t need to keep it in an enclosed space like he did the first film. We get more with the corrupt cops, more with the gangs, more with Rama as he agrees to step away from his family to help take down the criminal elements in Jakarta. It’s big and it’s operatic in scope. Is the violence too much though? Or is it part of the opera?


How about the performances and the story? Too convoluted or does it all work? And why isn’t Evans doing more?


There’s a lot to discuss with this fantastic conclusion to Evans’ epic. We have a great time chatting about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “They're not cops anymore. They're in my world now.”

Expanding the Universe with The Raid 2.
We often talk about world building on our podcast. We also talk about leveling up and not simply remaking the first film when you make a second one. With The Raid 2, writer-director Gareth Evans proves he understands all of this. The world building expands in exciting ways, and the film levels up to take us outside of the building into the streets of Jakarta. Join us – Pete Wright and Andy Nelson – as we wrap up our series looking at The Raid films with Evans 2014 followup, The Raid 2. 


Here’s a hint at what we talk about.

So much action. It’s a thrill ride from start to finish, and Evans proves he doesn’t need to keep it in an enclosed space like he did the first film. We get more with the corrupt cops, more with the gangs, more with Rama as he agrees to step away from his family to help take down the criminal elements in Jakarta. It’s big and it’s operatic in scope. Is the violence too much though? Or is it part of the opera?


How about the performances and the story? Too convoluted or does it all work? And why isn’t Evans doing more?


There’s a lot to discuss with this fantastic conclusion to Evans’ epic. We have a great time chatting about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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.


Support The Next Reel Family of Film Shows:

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]]> Thu, 17 Nov 2022 03:00:00 -0800 TruStory FM TruStory FM 5303 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. 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. 2014, 2010s, Gareth Evans, The Raid Films No Andy Nelson Pete Wright The Raid • The Next Reel 12 12 28 28 The Raid • The Next Reel full 15f19251-3748-4a7a-9e9e-323b32af6ef1 https://share.transistor.fm/s/1ff67c69 “Just because you see what I do as wrong doesn’t mean I can’t be good at it.”

We’re heading in to take down the big bad in The Raid.

Gareth Huw Evans wasn’t making headway with his directing career in his home country of Wales, so moving to Indonesia to work in a project there at the suggestion of his wife – who happens to be from Indonesia – seemed like a good idea. It was there he learned more about the Pencak silat style of martial arts and where he met Iko Uwais. Uwais not only performs silat brilliantly, but also looks good and acts well on screen. That’s when they decided to make movies together. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at Evans Raid films starting with his 2011 film The Raid: Redemption. 


Here’s a hint at what we talk about.

If the elements in this film feel like your typical action film, why does this film work so much better than those? Is it Evans’ direction? The performances by Uwais and the rest of the cast? The stunts? The camerawork? To a certain extent, this film feels very much like a video game. That sense of the levels and intensifying action throughout lends to this sensibility. For critics like Roger Ebert, it doesn’t work very well. For us, though, it’s easy to enjoy. 


We talk about the nature of the story, the elements that make it stand up over other action fare, the stunts, the camera work, the performances, and more. It’s a thrill ride and we have a great time watching and discussing it. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Just because you see what I do as wrong doesn’t mean I can’t be good at it.”

We’re heading in to take down the big bad in The Raid.

Gareth Huw Evans wasn’t making headway with his directing career in his home country of Wales, so moving to Indonesia to work in a project there at the suggestion of his wife – who happens to be from Indonesia – seemed like a good idea. It was there he learned more about the Pencak silat style of martial arts and where he met Iko Uwais. Uwais not only performs silat brilliantly, but also looks good and acts well on screen. That’s when they decided to make movies together. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at Evans Raid films starting with his 2011 film The Raid: Redemption. 


Here’s a hint at what we talk about.

If the elements in this film feel like your typical action film, why does this film work so much better than those? Is it Evans’ direction? The performances by Uwais and the rest of the cast? The stunts? The camerawork? To a certain extent, this film feels very much like a video game. That sense of the levels and intensifying action throughout lends to this sensibility. For critics like Roger Ebert, it doesn’t work very well. For us, though, it’s easy to enjoy. 


We talk about the nature of the story, the elements that make it stand up over other action fare, the stunts, the camera work, the performances, and more. It’s a thrill ride and we have a great time watching and discussing it. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

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]]> Thu, 10 Nov 2022 03:00:00 -0800 TruStory FM TruStory FM 3499 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! 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 2011, 2010s, Gareth Evans, The Raid Films No Andy Nelson Pete Wright Before Midnight • The Next Reel 12 12 25 25 Before Midnight • The Next Reel full 6c2ace43-5c52-4da7-9983-21e43e095e07 https://share.transistor.fm/s/afe0e270 “Like sunlight, sunset, we appear, we disappear. We are so important to some, but we are just passing through.”

Time to wrap things up with Jesse and Céline
The conclusion of our 18-year journey with the two principal characters in Richard Linklater’s Before Trilogy lands in division. When we started this series, we were divided because of the Gen-X nature of the characters. With the second film, we both found a much stronger connection to the romantic rekindling between Jesse and Céline. Here, we find ourselves split again, and it’s because this pair – now together with kids – has a big fight. But there’s more to the film. Join us – Pete Wright and Andy Nelson – as we tie things up in our Before Trilogy with a conversation about Linklater’s 2013 film Before Midnight. 


A lot to argue about, a lot to agree about.

We both like how the film starts. We both like the conversation around the table as four couples talk about love, masculinity/femininity, and sex. It’s the nature of the marriage and Jesse’s and Céline’s conversations together – and arguments later – that lead to our splitting of the minds. Is it a natural conversation flow that leads to the fighting? Or is it crafted in a way that makes Céline seem crazier than she should and makes it feel like they haven’t talked in nine years? Does it all feel unnaturally “written” and not “real?” And did the conversation make sense to begin with?


There’s a lot of debate and arguing, and it makes for a fun conversation. Check out the trilogy then tune in! The Next Reel – when the movie ends, our conversation begins!


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.


Support The Next Reel Family of Film Shows:

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]]> “Like sunlight, sunset, we appear, we disappear. We are so important to some, but we are just passing through.”

Time to wrap things up with Jesse and Céline
The conclusion of our 18-year journey with the two principal characters in Richard Linklater’s Before Trilogy lands in division. When we started this series, we were divided because of the Gen-X nature of the characters. With the second film, we both found a much stronger connection to the romantic rekindling between Jesse and Céline. Here, we find ourselves split again, and it’s because this pair – now together with kids – has a big fight. But there’s more to the film. Join us – Pete Wright and Andy Nelson – as we tie things up in our Before Trilogy with a conversation about Linklater’s 2013 film Before Midnight. 


A lot to argue about, a lot to agree about.

We both like how the film starts. We both like the conversation around the table as four couples talk about love, masculinity/femininity, and sex. It’s the nature of the marriage and Jesse’s and Céline’s conversations together – and arguments later – that lead to our splitting of the minds. Is it a natural conversation flow that leads to the fighting? Or is it crafted in a way that makes Céline seem crazier than she should and makes it feel like they haven’t talked in nine years? Does it all feel unnaturally “written” and not “real?” And did the conversation make sense to begin with?


There’s a lot of debate and arguing, and it makes for a fun conversation. Check out the trilogy then tune in! The Next Reel – when the movie ends, our conversation begins!


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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 03 Nov 2022 03:00:00 -0700 TruStory FM TruStory FM 4042 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! 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 jo 2013, 2010s, Richard Linklater, The Before Trilogy No Andy Nelson Pete Wright Before Sunset • The Next Reel 12 12 24 24 Before Sunset • The Next Reel full 17d53d94-5607-439c-919c-d7c8a86fb5f2 https://share.transistor.fm/s/55b93164 “Why didn’t we just exchange phone numbers and stuff?”

Jesse and Céline are a bit more grown up in Before Sunset.
The sequel wasn’t an immediate thought on the minds of the group behind 1995’s Before Sunrise, but certainly was something that writer/director Richard Linklater, co-writer Kim Krizan, and actors Ethan Hawke and Julie Delpy all felt strongly about. They’d all grown close to the characters in the film and wanted to see where the were down the line. Did they meet up in six months? What have they been doing in the intervening years? Turns out, audiences were curious as well. Join us – Pete Wright and Andy Nelson – as we continue our exploration of the Before Trilogy with Linklater’s 2004 film Before Sunset. 


How do we feel about the film?

Turns out, the film works better for us than the first film (and Andy loved the first film!). There’s a sense of growth to Jesse and Céline that feels authentic. They’ve experienced life, made hard choices, fallen in and out of love, and find themselves in this point where they meet again. It works for us.


The conversations feel grounded, which we love. The city may not play as much a part of the story here, but it’s present in a way that works well that doesn’t feel like Paris has to be a third character.


The film has some brilliant moments throughout, but that ending... it certainly works in a charming way. But how does it work as a story told in real time? Is it?


It’s a delight of a film to watch and discuss. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!


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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Why didn’t we just exchange phone numbers and stuff?”

Jesse and Céline are a bit more grown up in Before Sunset.
The sequel wasn’t an immediate thought on the minds of the group behind 1995’s Before Sunrise, but certainly was something that writer/director Richard Linklater, co-writer Kim Krizan, and actors Ethan Hawke and Julie Delpy all felt strongly about. They’d all grown close to the characters in the film and wanted to see where the were down the line. Did they meet up in six months? What have they been doing in the intervening years? Turns out, audiences were curious as well. Join us – Pete Wright and Andy Nelson – as we continue our exploration of the Before Trilogy with Linklater’s 2004 film Before Sunset. 


How do we feel about the film?

Turns out, the film works better for us than the first film (and Andy loved the first film!). There’s a sense of growth to Jesse and Céline that feels authentic. They’ve experienced life, made hard choices, fallen in and out of love, and find themselves in this point where they meet again. It works for us.


The conversations feel grounded, which we love. The city may not play as much a part of the story here, but it’s present in a way that works well that doesn’t feel like Paris has to be a third character.


The film has some brilliant moments throughout, but that ending... it certainly works in a charming way. But how does it work as a story told in real time? Is it?


It’s a delight of a film to watch and discuss. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!


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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 27 Oct 2022 03:00:00 -0700 TruStory FM TruStory FM 3339 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. 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 an 2004, 2000s, Richard Linklater, The Before Trilogy No Andy Nelson Pete Wright Before Sunrise • The Next Reel 12 12 22 22 Before Sunrise • The Next Reel full e2ba2603-38c3-405f-b206-2ed8eca6b13e https://share.transistor.fm/s/c6e8d038 “If there’s any kind of magic in this world, it must be in the attempt of understanding someone, sharing something.”

Looking at Richard Linklater’s Before Sunrise.

There’s often been a sense of the arthouse style of storytelling with Richard Linklater’s films. Even after big Hollywood success, he still returns to his roots. Early in his explorations of minimalist, conversational storytelling, he decided to write a semi-autobiographical story of two people meeting in Europe and talking for 12 or so hours, building a connection, until they have to part with the possibility of never seeing each other again. With co-writer Kim Krizan, along with uncredited help from his stars Ethan Hawke and Julie Delpy, he brought Before Sunrise to life. But is this another great My Dinner With André? Or is this too mired in Gen-X sensibilities that keep us from connecting with the characters? Join us – Pete Wright and Andy Nelson – as we kick off our exploration of Linklater’s Before Trilogy with his 1995 film Before Sunrise. 


Here’s a hint at what we talk about.

How does Linkater work for us? Do we connect with his more artsy, indie films or prefer his studio films like School of Rock? Perhaps the bigger question is how much can we – former Gen-Xers – connect with these characters through today’s eyes? Do we feel like we’ve grown past this sort of conversational, stream-of-consciousness exploration they do or does it work for us?


To that end, how much do we enjoy Hawke and Delpy? And can we single out their performances outside of their own personas or, as uncredited co-writers of the film, does it seem they’re too intrinsically a part of these characters and vice versa to be able to pull out anything separate? 


Regardless, there are elements we can both agree on that work incredibly well for us. Unfortunately, that means there’s a lot of disagreement about other elements. 


We cover the gamut of those elements, debating the strengths and weaknesses of the film. It’s a great conversation about a unique film. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “If there’s any kind of magic in this world, it must be in the attempt of understanding someone, sharing something.”

Looking at Richard Linklater’s Before Sunrise.

There’s often been a sense of the arthouse style of storytelling with Richard Linklater’s films. Even after big Hollywood success, he still returns to his roots. Early in his explorations of minimalist, conversational storytelling, he decided to write a semi-autobiographical story of two people meeting in Europe and talking for 12 or so hours, building a connection, until they have to part with the possibility of never seeing each other again. With co-writer Kim Krizan, along with uncredited help from his stars Ethan Hawke and Julie Delpy, he brought Before Sunrise to life. But is this another great My Dinner With André? Or is this too mired in Gen-X sensibilities that keep us from connecting with the characters? Join us – Pete Wright and Andy Nelson – as we kick off our exploration of Linklater’s Before Trilogy with his 1995 film Before Sunrise. 


Here’s a hint at what we talk about.

How does Linkater work for us? Do we connect with his more artsy, indie films or prefer his studio films like School of Rock? Perhaps the bigger question is how much can we – former Gen-Xers – connect with these characters through today’s eyes? Do we feel like we’ve grown past this sort of conversational, stream-of-consciousness exploration they do or does it work for us?


To that end, how much do we enjoy Hawke and Delpy? And can we single out their performances outside of their own personas or, as uncredited co-writers of the film, does it seem they’re too intrinsically a part of these characters and vice versa to be able to pull out anything separate? 


Regardless, there are elements we can both agree on that work incredibly well for us. Unfortunately, that means there’s a lot of disagreement about other elements. 


We cover the gamut of those elements, debating the strengths and weaknesses of the film. It’s a great conversation about a unique film. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 20 Oct 2022 03:00:00 -0700 TruStory FM TruStory FM 3546 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! 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! 1995, 1990s, Richard Linklater, Before Trilogy No Andy Nelson Pete Wright Pitch Perfect 3 • The Next Reel 12 12 20 20 Pitch Perfect 3 • The Next Reel full 89d975ac-5dad-4de3-acbf-362645e92afc https://share.transistor.fm/s/c6b01f1f “You’ve been a very naughty girl, Turnip-Top!”

The Bellas Are Back, But Should They Have Stayed Away?

Making a sequel that’s more successful than its predecessor often means the studio wants to keep the ball rolling to make even more money – even when a third film isn’t needed. With the massive success of Pitch Perfect 2, they jumped at the chance to get #3 off the ground. Does it wrap things up as a trilogy? Yes. Does it do something new and level up from the previous films? To a certain extent. But does it feel necessary to us? Not really. Join us – Pete Wright and Andy Nelson – as we conclude our conversation in our Pitch Perfect trilogy with Trish Sie’s 2017 film Pitch Perfect 3.

Here’s a hint at what we talk about.

It’s clear this movie – and the franchise, really – is not for us. That’s strange, because the first film certainly made it feel like it was. But it’s clear with each passing film that Executive Producer Elizabeth Banks preferred the goofy comedy direction for the franchise instead of the great a cappella focus. It’s frustrating, because the actors making up the Bellas clearly can sing, but the story doesn’t seem to want to be about that. It wants to be about wacky character turned up to 12.

So while we can appreciate the singing and the performances in this film, it’s hard to get past the story that just feels so written. Even with a new director – Trish Sie – at the helm, the film doesn’t work for us. 

What’s funny is that, unlike the last film, this one feels like they were working harder to amp up the story and give it some new shifts that would level up the story from what we had previously. The second film didn’t do that, so that counts as a win here. Unfortunately, that ‘something new’ they’ve included is Fat Amy’s dad and their backstory, which just doesn’t work.

But hey – the movie works for some people, and it still allows for a great conversation. So tune in! The Next Reel – when the movie ends, our conversation begins!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You’ve been a very naughty girl, Turnip-Top!”

The Bellas Are Back, But Should They Have Stayed Away?

Making a sequel that’s more successful than its predecessor often means the studio wants to keep the ball rolling to make even more money – even when a third film isn’t needed. With the massive success of Pitch Perfect 2, they jumped at the chance to get #3 off the ground. Does it wrap things up as a trilogy? Yes. Does it do something new and level up from the previous films? To a certain extent. But does it feel necessary to us? Not really. Join us – Pete Wright and Andy Nelson – as we conclude our conversation in our Pitch Perfect trilogy with Trish Sie’s 2017 film Pitch Perfect 3.

Here’s a hint at what we talk about.

It’s clear this movie – and the franchise, really – is not for us. That’s strange, because the first film certainly made it feel like it was. But it’s clear with each passing film that Executive Producer Elizabeth Banks preferred the goofy comedy direction for the franchise instead of the great a cappella focus. It’s frustrating, because the actors making up the Bellas clearly can sing, but the story doesn’t seem to want to be about that. It wants to be about wacky character turned up to 12.

So while we can appreciate the singing and the performances in this film, it’s hard to get past the story that just feels so written. Even with a new director – Trish Sie – at the helm, the film doesn’t work for us. 

What’s funny is that, unlike the last film, this one feels like they were working harder to amp up the story and give it some new shifts that would level up the story from what we had previously. The second film didn’t do that, so that counts as a win here. Unfortunately, that ‘something new’ they’ve included is Fat Amy’s dad and their backstory, which just doesn’t work.

But hey – the movie works for some people, and it still allows for a great conversation. So tune in! The Next Reel – when the movie ends, our conversation begins!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 13 Oct 2022 03:00:00 -0700 TruStory FM TruStory FM 4868 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! 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 Pitch Perfect trilogy, Trish Sie, 2010s, 2017 No Andy Nelson Pete Wright Pitch Perfect 2 • The Next Reel 12 12 18 18 Pitch Perfect 2 • The Next Reel full a48006df-d658-4fb3-a7b2-86bf086417fb https://share.transistor.fm/s/f4c57634 “You are such a dis-a-ca-ppointment.”
 
Back to Barden, the Bellas, the Treblemakers and more!

We’re back to talk a cappella! That’s right, we return to Barden University to rejoin the Barden Bellas as they struggle to find their new sound, deal with being shut out of the ICCAs, and decide to compete at the World Finals. Producer Elizabeth Banks takes on the director’s role here with Kay Cannon back as the writer, so why does it feel so... rehashed? Join us – Pete Wright and Andy Nelson – as we continue our Pitch Perfect series with Banks’ 2015 film Pitch Perfect 2. 

We have a lot of issues with this film  – but still a lot of love for its a cappella performances

In the world of sequels, this film doesn’t do much to make it feel necessary. It’s largely a repeat of the first film. We talk about that and some of our struggles with their lack of imagination in where they take the story. They also seemed to have decided to crank everything that worked more or less in the last film to 11 in this film. We find that largely leaves most of it feeling very over-written. Plus, they take the racial comedy to levels that just feels inappropriate. We struggle quite a bit with what all of that does to characters and the overall journey Beca and the Bellas go on.

But it’s still about a cappella, so there’s a lot to love. We just wish the songs were as memorable here as they were in the first film.

It’s a rough ride after the first film. If you enjoy it really depends on how much you enjoy the a cappella performances. We’re a bit split there, but it still allows for a great conversation. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “You are such a dis-a-ca-ppointment.”
 
Back to Barden, the Bellas, the Treblemakers and more!

We’re back to talk a cappella! That’s right, we return to Barden University to rejoin the Barden Bellas as they struggle to find their new sound, deal with being shut out of the ICCAs, and decide to compete at the World Finals. Producer Elizabeth Banks takes on the director’s role here with Kay Cannon back as the writer, so why does it feel so... rehashed? Join us – Pete Wright and Andy Nelson – as we continue our Pitch Perfect series with Banks’ 2015 film Pitch Perfect 2. 

We have a lot of issues with this film  – but still a lot of love for its a cappella performances

In the world of sequels, this film doesn’t do much to make it feel necessary. It’s largely a repeat of the first film. We talk about that and some of our struggles with their lack of imagination in where they take the story. They also seemed to have decided to crank everything that worked more or less in the last film to 11 in this film. We find that largely leaves most of it feeling very over-written. Plus, they take the racial comedy to levels that just feels inappropriate. We struggle quite a bit with what all of that does to characters and the overall journey Beca and the Bellas go on.

But it’s still about a cappella, so there’s a lot to love. We just wish the songs were as memorable here as they were in the first film.

It’s a rough ride after the first film. If you enjoy it really depends on how much you enjoy the a cappella performances. We’re a bit split there, but it still allows for a great conversation. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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]]> Thu, 06 Oct 2022 03:00:00 -0700 TruStory FM TruStory FM 4721 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! 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 ser 2015, 2010s, Elizabeth Banks, Pitch Perfect Trilogy No Andy Nelson Pete Wright Pitch Perfect • The Next Reel 12 12 17 17 Pitch Perfect • The Next Reel full 0829eeaf-5ae0-42b8-ad0b-16f9e102f2f6 https://share.transistor.fm/s/d3cd980f “Nothing makes a woman feel more like a girl than a man who sings like a boy.”


Time to warm up those vocals, Pitches.

With Pete’s history in collegiate a cappella, it’s a surprise that it took us this long to get to the Pitch Perfect trilogy, but we’re finally here. Join us – Pete Wright and Andy Nelson – as we kick off our new series with a discussion about Jason Moore’s 2012 film Pitch Perfect.


How well does Pitch Perfect perfectly capture the world of collegiate a cappella competition?

With Pete’s background in this arena, we have a lot to talk about here. We start by going into Pete’s history in the world of a cappella groups and ICCA competitions. We also talk about silly names of a cappella groups and the mashup style of performance. From there, we talk about this movie and how it gets so much right. The college life. The first few weeks of school with all the tables at the student center. The way students behave. Everything feels authentic.


Once we get to the a cappella groups, they feel authentic as well. It’s clear from the foundational book for Kay Cannon’s script and Moore’s own history that they knew what they were doing. But the actors all feel perfect for the film as well, and they all sing like pros.

It’s a fun film that’s easy to love, and a great start to this series. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.


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]]> “Nothing makes a woman feel more like a girl than a man who sings like a boy.”


Time to warm up those vocals, Pitches.

With Pete’s history in collegiate a cappella, it’s a surprise that it took us this long to get to the Pitch Perfect trilogy, but we’re finally here. Join us – Pete Wright and Andy Nelson – as we kick off our new series with a discussion about Jason Moore’s 2012 film Pitch Perfect.


How well does Pitch Perfect perfectly capture the world of collegiate a cappella competition?

With Pete’s background in this arena, we have a lot to talk about here. We start by going into Pete’s history in the world of a cappella groups and ICCA competitions. We also talk about silly names of a cappella groups and the mashup style of performance. From there, we talk about this movie and how it gets so much right. The college life. The first few weeks of school with all the tables at the student center. The way students behave. Everything feels authentic.


Once we get to the a cappella groups, they feel authentic as well. It’s clear from the foundational book for Kay Cannon’s script and Moore’s own history that they knew what they were doing. But the actors all feel perfect for the film as well, and they all sing like pros.

It’s a fun film that’s easy to love, and a great start to this series. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.


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


Film Sundries

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]]> Thu, 29 Sep 2022 03:00:00 -0700 TruStory FM TruStory FM 5307 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. 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. Pitch Perfect Trilogy, 2012, 2010s, Jason Moore No Andy Nelson Pete Wright Back to the Future Part III • The Next Reel 12 12 14 14 Back to the Future Part III • The Next Reel full 19452c63-41ce-463d-aeaf-00b061f609bc https://share.transistor.fm/s/43056a94 "Shot in the back by Buford Tannen, over a matter of eighty dollars? What kind of a future do you call that?”


We Follow Marty and Doc to the Old West in Back to the Future Part III

Back-to-back film production doesn’t occur often because it could potentially prove costly for the production company. With the success of Back to the Future, however, Universal saw it had an audience and likely could earn back the budget if they shot the second and third films back to back. So even though largely the two films are in completely different areas (and times) with widely different casts, Robert Zemeckis and his team set out to make both films in 1989. Back to the Future Part II released in 1989 as he was finishing up post on the third installment, which he finished to release six months later, and Universal more than made their money back. Join us – Pete Wright and Andy Nelson – as we wrap up our Back to the Future series with a look at Zemeckis’ 1990 film Back to the Future Part III.


How does it work after the problematic second film?

Largely, we both enjoyed this one much more than the second film but not as much as the first. If there’s one thing that makes itself quite apparent, it’s Zemeckis’ and his co-writer Bob Gale’s struggle with time travel logic and exposition across the second and third films. This one largely stays in the same setting through the bulk of the film, so at least it’s not bouncing across five distinct settings like the second film was, and this film focuses on the love story between Doc Brown and Clara, the new school teacher. We love that part of the film.


But it still raises a lot of questions. Why do relatives in the McFly and Tannen families always look like Michael J. Fox and Thomas F. Wilson, respectively? It feels like it’s just there for them to play with the motion control cameras and to be riding the edge of film technology. It’s fun and it fits in a certain comic book tone the films have, but it also doesn’t line up with rules established in the first film.


This film also really highlights that Zemeckis and Gale didn’t know what to do with the female characters. Jennifer’s been largely abandoned. Lea Thompson plays Marty’s great-great grandmother now (is there another great- in there?) but doesn’t get to do much. And Mary Steenburgen – who shines as Clara – also feels a bit underwritten. 


Still, it’s a story about Marty and Doc and to that end, it works and we have fun with it. Plus, the effects are great and the stuntwork is top notch. 


It’s definitely a film worth revisiting as it’s a ton of fun, but like the second also ends up feeling like something that doesn’t have to be revisited again. Perhaps we’ll just stick with the first one. Regardless, it gives us a ton to discuss, so check it out again then tune in. The Next Reel – when the movie ends, our conversation begins!


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]]> "Shot in the back by Buford Tannen, over a matter of eighty dollars? What kind of a future do you call that?”


We Follow Marty and Doc to the Old West in Back to the Future Part III

Back-to-back film production doesn’t occur often because it could potentially prove costly for the production company. With the success of Back to the Future, however, Universal saw it had an audience and likely could earn back the budget if they shot the second and third films back to back. So even though largely the two films are in completely different areas (and times) with widely different casts, Robert Zemeckis and his team set out to make both films in 1989. Back to the Future Part II released in 1989 as he was finishing up post on the third installment, which he finished to release six months later, and Universal more than made their money back. Join us – Pete Wright and Andy Nelson – as we wrap up our Back to the Future series with a look at Zemeckis’ 1990 film Back to the Future Part III.


How does it work after the problematic second film?

Largely, we both enjoyed this one much more than the second film but not as much as the first. If there’s one thing that makes itself quite apparent, it’s Zemeckis’ and his co-writer Bob Gale’s struggle with time travel logic and exposition across the second and third films. This one largely stays in the same setting through the bulk of the film, so at least it’s not bouncing across five distinct settings like the second film was, and this film focuses on the love story between Doc Brown and Clara, the new school teacher. We love that part of the film.


But it still raises a lot of questions. Why do relatives in the McFly and Tannen families always look like Michael J. Fox and Thomas F. Wilson, respectively? It feels like it’s just there for them to play with the motion control cameras and to be riding the edge of film technology. It’s fun and it fits in a certain comic book tone the films have, but it also doesn’t line up with rules established in the first film.


This film also really highlights that Zemeckis and Gale didn’t know what to do with the female characters. Jennifer’s been largely abandoned. Lea Thompson plays Marty’s great-great grandmother now (is there another great- in there?) but doesn’t get to do much. And Mary Steenburgen – who shines as Clara – also feels a bit underwritten. 


Still, it’s a story about Marty and Doc and to that end, it works and we have fun with it. Plus, the effects are great and the stuntwork is top notch. 


It’s definitely a film worth revisiting as it’s a ton of fun, but like the second also ends up feeling like something that doesn’t have to be revisited again. Perhaps we’ll just stick with the first one. Regardless, it gives us a ton to discuss, so check it out again then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

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]]> Thu, 22 Sep 2022 03:00:00 -0700 TruStory FM TruStory FM 4818 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! 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 relative Back to the Future Trilogy, Robert Zemeckis, 1990, 1990s No Andy Nelson Pete Wright Back to the Future Part II • The Next Reel 12 12 13 13 Back to the Future Part II • The Next Reel full fd1bb28a-06d8-4a16-a73c-1a4bdd94896e https://share.transistor.fm/s/951f4f1f “What’s wrong, McFly? Chicken?”

Joining Marty and Doc Again in Back to the Future Part II

The sequels weren’t part of the plan when Robert Zemeckis and team made the first Back to the Future film. With its success, however, it was inevitable for Universal to want to return to the property and build a franchise. so Zemeckis and his co-writer/co-producer Bob Gale decided to make not just one sequel but two and film them back to back. Hence, this trilogy. Join us – Pete Wright and Andy Nelson – as we continue our look at the Back to the Future trilogy with the 1989 film Back to the Future Part II. 


Here’s a hint at what we talk about.

Right out of the gate, things feel different. They had to re-create the end of the first film with Elisabeth Shue playing Jennifer because Claudia Wells had to drop out. But why does the whole thing feel off? Like... more staged, perhaps? Crispin Glover also didn’t return, and that’s a BIG story. Aside from casting issues, we talk about the script and the ambitions to cover four distinctly different periods in the film. Some of that led to things that worked. Some didn’t. 

We like the stuff that worked. The interesting use of the motion control camera technology to put the same actors fluidly into the same shot with themselves. And the complex story is fairly interesting.

But we do have to deal with the over-the-top cartoonish characters, particularly in the future. And the whole ‘chicken’ thing. Not to mention the horrible way Jennifer’s treated. And the way time travel kinda breaks in the film.

There are plenty of issues, the biggest of which may be that it all just feels written. But still, it’s a fun watch. So why do we like it still?

We have a wide-ranging conversation and it’s a great film to discuss so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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


Film Sundries

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]]> “What’s wrong, McFly? Chicken?”

Joining Marty and Doc Again in Back to the Future Part II

The sequels weren’t part of the plan when Robert Zemeckis and team made the first Back to the Future film. With its success, however, it was inevitable for Universal to want to return to the property and build a franchise. so Zemeckis and his co-writer/co-producer Bob Gale decided to make not just one sequel but two and film them back to back. Hence, this trilogy. Join us – Pete Wright and Andy Nelson – as we continue our look at the Back to the Future trilogy with the 1989 film Back to the Future Part II. 


Here’s a hint at what we talk about.

Right out of the gate, things feel different. They had to re-create the end of the first film with Elisabeth Shue playing Jennifer because Claudia Wells had to drop out. But why does the whole thing feel off? Like... more staged, perhaps? Crispin Glover also didn’t return, and that’s a BIG story. Aside from casting issues, we talk about the script and the ambitions to cover four distinctly different periods in the film. Some of that led to things that worked. Some didn’t. 

We like the stuff that worked. The interesting use of the motion control camera technology to put the same actors fluidly into the same shot with themselves. And the complex story is fairly interesting.

But we do have to deal with the over-the-top cartoonish characters, particularly in the future. And the whole ‘chicken’ thing. Not to mention the horrible way Jennifer’s treated. And the way time travel kinda breaks in the film.

There are plenty of issues, the biggest of which may be that it all just feels written. But still, it’s a fun watch. So why do we like it still?

We have a wide-ranging conversation and it’s a great film to discuss so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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


Film Sundries

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]]> Thu, 15 Sep 2022 03:00:00 -0700 TruStory FM TruStory FM 4513 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! 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 Back to the Future, 1989, 1980s, Robert Zemeckis No Andy Nelson Pete Wright Back to the Future • The Next Reel 12 12 12 12 Back to the Future • The Next Reel full 7c024665-8784-4560-8d12-fa5b07729b4a https://share.transistor.fm/s/c724947d "Last night, Darth Vader came down from planet Vulcan and told me that if I didn't take Lorraine out, that he'd melt my brain."

We Go Back to BACK TO THE FUTURE

From the time we first saw this film, it’s safe to say that it’s been one of our favorites. It was popular at the time and has become a cornerstone in cinematic time traveling movies. Join us – Pete Wright and Andy Nelson - as we kick off our Back to the Future trilogy series with Robert Zemeckis’ 1985 classic Back to the Future.


What more can be said about Back to the Future?

The ground has been covered with talk about Zemeckis’ fantastic film Back to the Future, but there’s still plenty to discuss with the film. Where does it stand in the realm of time travel movies? Do we buy into the setup with the DeLorean time travel machine? How about the world building? What does the opening of the film say about the characters, the world, and how Zemeckis constructs a film? 


We talk about the actors – Michael J. Fox, Christopher Lloyd, Crispin Glover, Lea Thompson, Tom Wilson, Claudia Wells, and more – and what they each bring to their characters. We also talk about the staying power of the cast and how effective they are not just in the film but over the decades. And there’s the story about Eric Stoltz. We dig into that a bit, and how that affected the casting of Wells. 


How do the effects from Industrial Light and Magic hold up? Is that a sticking point for us? And why didn’t Alan Silvestri’s score get more recognition at the time? Huey Lewis and the News sure did! 


It’s a fantastic film and a thrill to finally talk about it on the show. Check out the movie then tune in. The Next Reel – when the movie ends, our conversation begins. 


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


Film Sundries

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]]> "Last night, Darth Vader came down from planet Vulcan and told me that if I didn't take Lorraine out, that he'd melt my brain."

We Go Back to BACK TO THE FUTURE

From the time we first saw this film, it’s safe to say that it’s been one of our favorites. It was popular at the time and has become a cornerstone in cinematic time traveling movies. Join us – Pete Wright and Andy Nelson - as we kick off our Back to the Future trilogy series with Robert Zemeckis’ 1985 classic Back to the Future.


What more can be said about Back to the Future?

The ground has been covered with talk about Zemeckis’ fantastic film Back to the Future, but there’s still plenty to discuss with the film. Where does it stand in the realm of time travel movies? Do we buy into the setup with the DeLorean time travel machine? How about the world building? What does the opening of the film say about the characters, the world, and how Zemeckis constructs a film? 


We talk about the actors – Michael J. Fox, Christopher Lloyd, Crispin Glover, Lea Thompson, Tom Wilson, Claudia Wells, and more – and what they each bring to their characters. We also talk about the staying power of the cast and how effective they are not just in the film but over the decades. And there’s the story about Eric Stoltz. We dig into that a bit, and how that affected the casting of Wells. 


How do the effects from Industrial Light and Magic hold up? Is that a sticking point for us? And why didn’t Alan Silvestri’s score get more recognition at the time? Huey Lewis and the News sure did! 


It’s a fantastic film and a thrill to finally talk about it on the show. Check out the movie then tune in. The Next Reel – when the movie ends, our conversation begins. 


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


Film Sundries

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]]> Thu, 08 Sep 2022 03:00:00 -0700 TruStory FM TruStory FM 4901 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! 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! Robert Zemeckis, 1985, 1980s, Back to the Future Trilogy No Andy Nelson Pete Wright Paddington 2 • The Next Reel 12 12 9 9 Paddington 2 • The Next Reel full 371d36b1-c0b2-47a1-bd54-5ed07c6965d9 https://share.transistor.fm/s/176ff952 “Nobody criticizes my food, nobody squirts condiments on my apron, and nobody bonks me on the head with a baguette!”


Let’s talk about Paddington 2!

Paddington 2 had become the best-reviewed film on Rotten Tomatoes, unseating Citizen Kane, until a lone critic lobbed a negative review at it, bringing it down a peg. But what does that say about this film? Is it really one of the greatest films ever made? Or does it speak more to Paddington’s ability to find the best in people and bring the best out of them – including film critics? Join us – Pete Wright and Andy Nelson – as we wrap up our Paddington series with Paul King’s follow-up to his 2014 film with 2017’s Paddington 2. 

Is there anything wrong with Paddington 2?

You’ll be hard-pressed to find us seeing anything wrong with this film. Even the juvenile humor involving Paddington using electric toothbrushes to clean his ears, nose, and teeth – in that order – doesn’t affect us negatively. The story’s so sweet and the character of Paddington really does work his magic on us. He’s a pure delight. That’s as much a tribute to writer/director King as it is to the CG artists behind his creation as it is to Ben Wishaw’s spot-on voice performance. 

The rest of the cast is stellar as well, though it’s hard to ignore the pure brilliance of Hugh Grant as the villainous Phoenix Buchanan. He clearly relishes the role and delivers a brilliant and unforgettable performance. 

So tune in as we break this film down and celebrate this adorable little bear from Peru. 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!

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]]> “Nobody criticizes my food, nobody squirts condiments on my apron, and nobody bonks me on the head with a baguette!”


Let’s talk about Paddington 2!

Paddington 2 had become the best-reviewed film on Rotten Tomatoes, unseating Citizen Kane, until a lone critic lobbed a negative review at it, bringing it down a peg. But what does that say about this film? Is it really one of the greatest films ever made? Or does it speak more to Paddington’s ability to find the best in people and bring the best out of them – including film critics? Join us – Pete Wright and Andy Nelson – as we wrap up our Paddington series with Paul King’s follow-up to his 2014 film with 2017’s Paddington 2. 

Is there anything wrong with Paddington 2?

You’ll be hard-pressed to find us seeing anything wrong with this film. Even the juvenile humor involving Paddington using electric toothbrushes to clean his ears, nose, and teeth – in that order – doesn’t affect us negatively. The story’s so sweet and the character of Paddington really does work his magic on us. He’s a pure delight. That’s as much a tribute to writer/director King as it is to the CG artists behind his creation as it is to Ben Wishaw’s spot-on voice performance. 

The rest of the cast is stellar as well, though it’s hard to ignore the pure brilliance of Hugh Grant as the villainous Phoenix Buchanan. He clearly relishes the role and delivers a brilliant and unforgettable performance. 

So tune in as we break this film down and celebrate this adorable little bear from Peru. 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

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]]> Thu, 01 Sep 2022 03:00:00 -0700 TruStory FM TruStory FM 5028 We wrap up our Paddington series with a conversation about the absolutely delightful sequel to the first film, Paul King’s 2017 film ‘Paddington 2.’ Is Hugh Grant right in saying this may be his best film? What do the critics have to say? And how well does it work for us? Tune in! We 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 doe Paddington, Paul King, 2017, 2010s No Andy Nelson Pete Wright Paddington • The Next Reel 12 12 8 8 Paddington • The Next Reel full 66a5f151-f5ce-4af5-8182-f13876d09603 https://share.transistor.fm/s/461d349e It’s so easy to love Paddington


Producer David Heyman had been wanting to adapt the “Paddington” series of children’s books for a while, announcing his plans to produce it in 2007. It took a bit to get it where it needed to be, but with director Paul King, they managed to get the film made and released it in 2014 to much acclaim. So how does it fare overall? Does it stand up as an exemplary adaptation of children’s books? Join us – Pete Wright and Andy Nelson – as we kick off our Paddington series with King’s first film in this franchise, 2014’s Paddington.


Does it matter if you grew up reading Paddington or not?

We don’t think so, but there is quite a bit of talk about the origins of this character and how they adapted him from the books. And of course, there’s the challenge of making him look realistic in a live action film, not to mention casting absolutely the right person for the voice performance. In all cases, they succeeded. 


Ben Wishaw is brilliant as the voice of Paddington, and likely a huge reason why he’s so loveable. But the Browns are also incredibly loveable, headed up by Hugh Bonneville and Sally Hawkins. Nicole Kidman is over the top and wonderful as the villain, but is she too villainous or just right for the story? And the cast is rounded out by some of our favorite Brits – Jim Broadbent, Peter Capaldi, Imelda Staunton, Michael Gambon, Julie Walters, and Matt Lucas.


All in all, it’s a pure delight of a film and a very easy one to talk about. 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

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The Next Reel Family of Film Shows:

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]]> It’s so easy to love Paddington


Producer David Heyman had been wanting to adapt the “Paddington” series of children’s books for a while, announcing his plans to produce it in 2007. It took a bit to get it where it needed to be, but with director Paul King, they managed to get the film made and released it in 2014 to much acclaim. So how does it fare overall? Does it stand up as an exemplary adaptation of children’s books? Join us – Pete Wright and Andy Nelson – as we kick off our Paddington series with King’s first film in this franchise, 2014’s Paddington.


Does it matter if you grew up reading Paddington or not?

We don’t think so, but there is quite a bit of talk about the origins of this character and how they adapted him from the books. And of course, there’s the challenge of making him look realistic in a live action film, not to mention casting absolutely the right person for the voice performance. In all cases, they succeeded. 


Ben Wishaw is brilliant as the voice of Paddington, and likely a huge reason why he’s so loveable. But the Browns are also incredibly loveable, headed up by Hugh Bonneville and Sally Hawkins. Nicole Kidman is over the top and wonderful as the villain, but is she too villainous or just right for the story? And the cast is rounded out by some of our favorite Brits – Jim Broadbent, Peter Capaldi, Imelda Staunton, Michael Gambon, Julie Walters, and Matt Lucas.


All in all, it’s a pure delight of a film and a very easy one to talk about. 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

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]]> Thu, 25 Aug 2022 03:00:00 -0700 TruStory FM TruStory FM 4482 We voyage from darkest Peru to London with one of our favorite bears, Paddington. In this episode, we kick off our exploration of the ‘Paddington’ films with Paul King’s 2014 ‘Paddington.’ It’s a sheer delight and yes, we brought our marmalade sandwiches. We 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. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Return of the Jedi • The Next Reel 12 12 5 5 Return of the Jedi • The Next Reel full 51a68bc9-72b3-41e1-bd12-358cbbd31785 https://share.transistor.fm/s/32cda665 We return to Return of the Jedi

Three years after the success of The Empire Strikes Back, George Lucas made his conclusion to his original Star Wars trilogy – helmed by director Richard Marquand – Return of the Jedi. How does it work as the wrap-up to this trilogy? What do we think of Luke’s cool new black duds? How about Han’s somewhat neutered character? Join us – Pete Wright and Andy Nelson – as we wrap up our Original Star Wars Trilogy series with Marquand’s 1983 film Return of the Jedi.


We clearly have a lot to say about Star Warsand Return of the Jedi

We grew up with the film and this franchise, so we’re very close to it, but it’s hard not to see how effective they were with the storytelling, even if it’s not quite at the level of the previous two films. But the effects? They’re amazing. We get all sorts of new characters, new ships, new worlds, and an epic conclusion. 


We have a great conversation talking about Jabba the Hutt, Endor and Ewoks, the Emperor, Yoda, Leia, Chewie, Darth Vader, Han, Luke, Lando, and everyone else who pops up. And of course we’re talking about the Harmy’s Despecialized Edition, which may not offer the color and cleanup but at least doesn’t have the new Sy Snoodles song. So, there’s that. 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

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]]> We return to Return of the Jedi

Three years after the success of The Empire Strikes Back, George Lucas made his conclusion to his original Star Wars trilogy – helmed by director Richard Marquand – Return of the Jedi. How does it work as the wrap-up to this trilogy? What do we think of Luke’s cool new black duds? How about Han’s somewhat neutered character? Join us – Pete Wright and Andy Nelson – as we wrap up our Original Star Wars Trilogy series with Marquand’s 1983 film Return of the Jedi.


We clearly have a lot to say about Star Warsand Return of the Jedi

We grew up with the film and this franchise, so we’re very close to it, but it’s hard not to see how effective they were with the storytelling, even if it’s not quite at the level of the previous two films. But the effects? They’re amazing. We get all sorts of new characters, new ships, new worlds, and an epic conclusion. 


We have a great conversation talking about Jabba the Hutt, Endor and Ewoks, the Emperor, Yoda, Leia, Chewie, Darth Vader, Han, Luke, Lando, and everyone else who pops up. And of course we’re talking about the Harmy’s Despecialized Edition, which may not offer the color and cleanup but at least doesn’t have the new Sy Snoodles song. So, there’s that. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 18 Aug 2022 03:00:00 -0700 TruStory FM TruStory FM 5739 We wrap up our look at the Original Star Wars trilogy with Richard Marquand’s 1983 film ‘Return of the Jedi.’ Again, we look at the Harmy’s Despecialized edition, but we did some side-by-side comparisons between it and the latest iteration on Disney+. How do the changes stack up? How does the film hold up for us? And how about those Ewoks? Tune in! We 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 film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Empire Strikes Back • The Next Reel 12 12 4 4 The Empire Strikes Back • The Next Reel full 36a69a0d-7041-43dc-9ec5-19db32eace9d https://share.transistor.fm/s/7c3195c8 Does The Empire Strikes Back Suffer From Middle-Film-Itis?


There’s a complaint about trilogies that are designed to be one long story that the middle film suffers the most because it neither feels like it has a beginning or an ending. Is that a problem with this film? What about being a sequel? Does it do more than the original did? Join us – Pete Wright and Andy Nelson – as we continue our series looking at the original Star Wars trilogy with Irvin Kershner’s 1980 film The Empire Strikes Back.


Here’s a hint at what we talk about.

Obviously, we love Empire so we don’t think it has those issues, but there are contingents of people out there who don’t find it as strong as the original. Still, George Lucas and director Irvin Kershner created a spectacular film that’s a thrill from start to finish. 


What do we think of Harmy’s despecialized version? And how have all the subsequent projects affected our readings of certain lines in the film? The key question though is do any of those readings affect our joy?


The Empire Strikes Back is a magnificent film and we have a great time talking about it. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Does The Empire Strikes Back Suffer From Middle-Film-Itis?


There’s a complaint about trilogies that are designed to be one long story that the middle film suffers the most because it neither feels like it has a beginning or an ending. Is that a problem with this film? What about being a sequel? Does it do more than the original did? Join us – Pete Wright and Andy Nelson – as we continue our series looking at the original Star Wars trilogy with Irvin Kershner’s 1980 film The Empire Strikes Back.


Here’s a hint at what we talk about.

Obviously, we love Empire so we don’t think it has those issues, but there are contingents of people out there who don’t find it as strong as the original. Still, George Lucas and director Irvin Kershner created a spectacular film that’s a thrill from start to finish. 


What do we think of Harmy’s despecialized version? And how have all the subsequent projects affected our readings of certain lines in the film? The key question though is do any of those readings affect our joy?


The Empire Strikes Back is a magnificent film and we have a great time talking about it. 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 11 Aug 2022 03:00:00 -0700 TruStory FM TruStory FM 4792 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! 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. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A Woman Under the Influence — Tami Reiker • Movies We Like 4 4 1 1 A Woman Under the Influence — Tami Reiker • Movies We Like full 82724e61-e46e-42c7-9590-ebdd0cbb51d5 https://share.transistor.fm/s/b1e85352 “You think there’s something wrong with me or something? You think I’m wacko or something?”

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 April for 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You think there’s something wrong with me or something? You think I’m wacko or something?”

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 April for 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Tue, 09 Aug 2022 02:00:00 -0700 TruStory FM TruStory FM 2975 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.’ 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.’ Movies We Like, Tami Reiker No Andy Nelson Pete Wright Star Wars • The Next Reel 12 12 3 3 Star Wars • The Next Reel full a6487f45-687c-418c-969b-88bc0b43bd11 https://share.transistor.fm/s/0bb3fff3 “Only Imperial Storm Troopers are so precise.”

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Only Imperial Storm Troopers are so precise.”

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 04 Aug 2022 02:00:00 -0700 TruStory FM TruStory FM 6672 We kick off our 12th season with a big one, starting our conversations about the original Star Wars trilogy. In this episode, we’re looking at where it all started – George Lucas’ 1977 film ‘Star Wars.’ We kick off our 12th season with a big one, starting our conversations about the original Star Wars trilogy. In this episode, we’re looking at where it all started – George Lucas’ 1977 film ‘Star Wars.’ film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A Note From Andy and Pete • The Next Reel 11 11 84 84 A Note From Andy and Pete • The Next Reel bonus affbe506-7ff2-4a9a-b0a2-76d87bd0e068 https://share.transistor.fm/s/51d75ded 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.

]]> 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.

]]> Sat, 16 Jul 2022 02:00:00 -0700 TruStory FM TruStory FM 233 Andy and Pete have a quick note about starting dynamic advertising during the episodes. Andy and Pete have a quick note about starting dynamic advertising during the episodes. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Billy Madison • The Next Reel 11 11 83 83 Billy Madison • The Next Reel full 5ae3ed0d-64a8-4394-99b0-3fa899e59731 https://share.transistor.fm/s/6d51b5f4 “Did the penguin tell you to do this?”

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!

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.

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!


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Did the penguin tell you to do this?”

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!

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.

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!


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 14 Jul 2022 02:00:00 -0700 TruStory FM TruStory FM 4760 We end our 90s Comedies series and our 11th season with Tamra Davis’ comedy ‘Billy Madison.’ It was Adam Sandler’s first opportunity to carry a film, and he’s clearly found his audience. What did we think of it? We end our 90s Comedies series and our 11th season with Tamra Davis’ comedy ‘Billy Madison.’ It was Adam Sandler’s first opportunity to carry a film, and he’s clearly found his audience. What did we think of it? film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Last Supper • The Next Reel 11 11 82 82 The Last Supper • The Next Reel full c8755960-a19d-42e5-8494-575bf189e5bd https://share.transistor.fm/s/4ee44eaf “How could you guys eat with a dead man at the table?”

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!

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

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]]> “How could you guys eat with a dead man at the table?”

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!

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

Film Sundries

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]]> Thu, 07 Jul 2022 02:00:00 -0700 TruStory FM TruStory FM 4594 Our 90s Comedies series continues with a dip into black satire. In today’s episode, we’re talking about Stacy Title’s 1995 film ‘The Last Supper.’ Is it more relevant than ever with its take on divisiveness? Or does it not work at all? Tune in to find out! Our 90s Comedies series continues with a dip into black satire. In today’s episode, we’re talking about Stacy Title’s 1995 film ‘The Last Supper.’ Is it more relevant than ever with its take on divisiveness? Or does it not work at all? Tune in to find out film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Clueless • The Next Reel 11 11 80 80 Clueless • The Next Reel full e499a367-693a-4554-af50-b60333352936 https://share.transistor.fm/s/5e717910 “So, okay, you’re probably going, ‘Is this, like, a Noxema commercial or what?’ But seriously, I actually have a very normal life for a teenage girl.”

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!

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

Film Sundries

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]]> “So, okay, you’re probably going, ‘Is this, like, a Noxema commercial or what?’ But seriously, I actually have a very normal life for a teenage girl.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 30 Jun 2022 02:00:00 -0700 TruStory FM TruStory FM 5008 We started this season with Amy Heckerling and we return to her in today’s episode with her 1995 loose adaptation of Jane Austen’s “Emma.” Join us as we talk about her film ‘Clueless,’ the second in our 90s Comedies series. We started this season with Amy Heckerling and we return to her in today’s episode with her 1995 loose adaptation of Jane Austen’s “Emma.” Join us as we talk about her film ‘Clueless,’ the second in our 90s Comedies series. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Buffy the Vampire Slayer • The Next Reel 11 11 79 79 Buffy the Vampire Slayer • The Next Reel full ec9b96b6-b966-4f63-8e61-5eb7c9927958 https://share.transistor.fm/s/3d4241ba “I can’t believe I’m doing this. I can’t believe I’m in a graveyard with a strange man hunting for vampires on a school night.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “I can’t believe I’m doing this. I can’t believe I’m in a graveyard with a strange man hunting for vampires on a school night.”

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!

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.


Support The Next Reel Family of Film Shows:

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]]> Thu, 23 Jun 2022 02:00:00 -0700 TruStory FM TruStory FM 4899 We kick off our 90s Comedies series with Fran Rubel Kuzui’s 1992 comedy horror ‘Buffy the Vampire Slayer.’ Is it the film we remembered it to be? How does it hold up to the series and everything else in the Buffyverse? We kick off our 90s Comedies series with Fran Rubel Kuzui’s 1992 comedy horror ‘Buffy the Vampire Slayer.’ Is it the film we remembered it to be? How does it hold up to the series and everything else in the Buffyverse? film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright After the Wedding • The Next Reel 11 11 76 76 After the Wedding • The Next Reel full f2fdc552-93ce-4a83-b0a4-27d2e7773dd7 https://share.transistor.fm/s/2be9ca14 “You can’t just run our lives in your sick head.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “You can’t just run our lives in your sick head.”

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!

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.


Support The Next Reel Family of Film Shows:

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]]> Thu, 16 Jun 2022 02:00:00 -0700 TruStory FM TruStory FM 3823 We wrap up our Mads and Susanne series with the 2006 collaboration between Mads Mikkelsen and Susanne Bier – After the Wedding. What do we think of this film? How does it compare to last week’s film ‘Open Hearts’? Tune in to hear the conversation. We wrap up our Mads and Susanne series with the 2006 collaboration between Mads Mikkelsen and Susanne Bier – After the Wedding. What do we think of this film? How does it compare to last week’s film ‘Open Hearts’? Tune in to hear the conversation. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Open Hearts • The Next Reel 11 11 75 75 Open Hearts • The Next Reel full 3c4ab7ff-6cfa-4e67-b133-cbd622fc2145 https://share.transistor.fm/s/9ebfbad8 “I didn’t mean for this to happen.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “I didn’t mean for this to happen.”

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!

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.


Support The Next Reel Family of Film Shows:

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]]> Thu, 09 Jun 2022 02:00:00 -0700 TruStory FM TruStory FM 4583 We continue our eleventh season looking at films directed by women with a short series called Mads and Susanne. In this series, we’re looking at films directed by Susanne Bier starring Mads Mikkelsen, and we start with their 2002 collaboration, ‘Open Hearts.’ We continue our eleventh season looking at films directed by women with a short series called Mads and Susanne. In this series, we’re looking at films directed by Susanne Bier starring Mads Mikkelsen, and we start with their 2002 collaboration, ‘Open Hear film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Queen of Katwe • The Next Reel 11 11 72 72 Queen of Katwe • The Next Reel full 307c682e-2fa7-450a-9619-183888349e28 https://share.transistor.fm/s/5a200d2c “In chess, the small one can become the big one. That’s why I like it.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “In chess, the small one can become the big one. That’s why I like it.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 02 Jun 2022 02:00:00 -0700 TruStory FM TruStory FM 3864 We wrap up our Sports series with Mira Nair’s 2016 film ‘Queen of Katwe.’ We return to Nair after talking about ‘Salaam Bombay!’ in our Coming of Age Debuts series. How does this one compare? How does it fit in the world of sports? And does it reach farther than most biopics? We wrap up our Sports series with Mira Nair’s 2016 film ‘Queen of Katwe.’ We return to Nair after talking about ‘Salaam Bombay!’ in our Coming of Age Debuts series. How does this one compare? How does it fit in the world of sports? And does it reach farth film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Blues Brothers • The Next Reel • Member Bonus 11 11 74 74 The Blues Brothers • The Next Reel • Member Bonus full bdceaeb8-255c-47ec-9413-0a7cfe177c1f https://share.transistor.fm/s/c6f1fee1 “We’re on a mission from God.”

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!

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

Film Sundries

]]> “We’re on a mission from God.”

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!

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

Film Sundries

]]> Tue, 31 May 2022 02:00:00 -0700 TruStory FM TruStory FM 4121 We’re returning to our Great Car Chases series to look at John Landis’ 1980 comedy ‘The Blues Brothers.’ It’s our monthly member bonus episode. Thanks for your support! Enjoy the conversation. We’re returning to our Great Car Chases series to look at John Landis’ 1980 comedy ‘The Blues Brothers.’ It’s our monthly member bonus episode. Thanks for your support! Enjoy the conversation. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Lords of Dogtown • The Next Reel 11 11 71 71 Lords of Dogtown • The Next Reel full c2894375-e479-4201-882c-af3c689c9b41 https://share.transistor.fm/s/9cfcddb5 “This wave breaks 24 hours a day every day.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “This wave breaks 24 hours a day every day.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 26 May 2022 02:00:00 -0700 TruStory FM TruStory FM 3653 We continue our Sports series, in which we’re looking at four films about sports directed by women, with Catherine Hardwicke’s sophomore effort from 2005, ‘Lords of Dogtown.’ Is it more than a biopic? Can we identify with the protagonists? And how’s the skateboarding? We continue our Sports series, in which we’re looking at four films about sports directed by women, with Catherine Hardwicke’s sophomore effort from 2005, ‘Lords of Dogtown.’ Is it more than a biopic? Can we identify with the protagonists? And how’s the s film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Girlfight • The Next Reel 11 11 69 69 Girlfight • The Next Reel full f54300c4-d3fb-4be2-b041-d0a1825ac7c1 https://share.transistor.fm/s/09d9ad34 “All these years, you just looked right through me.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “All these years, you just looked right through me.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 19 May 2022 02:00:00 -0700 TruStory FM TruStory FM 3333 We continue our season of all films directed by women and our series focused on Sports films with Karyn Kusama’s 2000 debut film ‘Girlfight,’ starring Michelle Rodriguez, also in her debut performance. It’s a solid film and well-worth talking about. Check it out then tune in to this episode! We continue our season of all films directed by women and our series focused on Sports films with Karyn Kusama’s 2000 debut film ‘Girlfight,’ starring Michelle Rodriguez, also in her debut performance. It’s a solid film and well-worth talking about. Check film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Love & Basketball • The Next Reel 11 11 68 68 Love & Basketball • The Next Reel full b69e77d3-5f98-46e5-a6b5-4241c0f50497 https://share.transistor.fm/s/1ceb27d3 “What I always admired was the fight in you.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “What I always admired was the fight in you.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 12 May 2022 02:00:00 -0700 TruStory FM TruStory FM 4170 It’s time for our next series! We’re kicking off our Sports series with Gina Prince-Bythewood’s 2000 film ‘Love & Basketball.’ This is an incredible film and an easy one to love and talk about. Definitely check it out then tune in! It’s time for our next series! We’re kicking off our Sports series with Gina Prince-Bythewood’s 2000 film ‘Love & Basketball.’ This is an incredible film and an easy one to love and talk about. Definitely check it out then tune in! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Booksmart • The Next Reel 11 11 65 65 Booksmart • The Next Reel full f9a8a9d5-d4b1-4d88-b3b4-03c77a6b76c2 https://share.transistor.fm/s/b3ac24e0 “I’m a golden starfish!”

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!

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

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]]> “I’m a golden starfish!”

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!

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

Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


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]]> Thu, 05 May 2022 02:00:00 -0700 TruStory FM TruStory FM 4745 We come to the end of our Coming of Age Debuts series with Olivia Wilde’s fantastic 2019 film ‘Booksmart.’ We have such a great time with this movie. Tune in to hear us talk about the film and what makes a coming of age film a coming of age film. We come to the end of our Coming of Age Debuts series with Olivia Wilde’s fantastic 2019 film ‘Booksmart.’ We have such a great time with this movie. Tune in to hear us talk about the film and what makes a coming of age film a coming of age film. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Diary of a Teenage Girl • The Next Reel 11 11 64 64 The Diary of a Teenage Girl • The Next Reel full 82569717-d34f-408d-bea9-09e51b2359af https://share.transistor.fm/s/5f7c6776 “I think this makes me officially an adult. Right?”

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!

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

Film Sundries

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]]> “I think this makes me officially an adult. Right?”

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!

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.


Support The Next Reel Family of Film Shows:

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]]> Thu, 28 Apr 2022 02:00:00 -0700 TruStory FM TruStory FM 3935 In this episode, we continue our Coming of Age Debuts series looking at Marielle Heller’s first feature – ‘The Diary of a Teenage Girl’ from 2015. It’s an assured film with a well-defined point of view. It may not be for everyone, but we love it. Tune in! In this episode, we continue our Coming of Age Debuts series looking at Marielle Heller’s first feature – ‘The Diary of a Teenage Girl’ from 2015. It’s an assured film with a well-defined point of view. It may not be for everyone, but we love it. Tune in! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Thirteen • The Next Reel 11 11 62 62 Thirteen • The Next Reel full 4cb84216-23d3-4e9e-bb8b-90812dabbee9 https://share.transistor.fm/s/71b82906 “Hit me! I’m serious, I can’t feel anything. Hit me!”

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!

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

Film Sundries

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]]> “Hit me! I’m serious, I can’t feel anything. Hit me!”

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!

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

Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


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The Next Reel Family of Film Shows:

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]]> Thu, 21 Apr 2022 02:00:00 -0700 TruStory FM TruStory FM 5451 We continue moving through our Coming of Age Debuts series with 2003’s film ‘Thirteen’ by Catherine Hardwicke. It’s a tough look into life as a thirteen-year-old girl when you start hanging out with the wrong crowd. Check it out then tune in! We continue moving through our Coming of Age Debuts series with 2003’s film ‘Thirteen’ by Catherine Hardwicke. It’s a tough look into life as a thirteen-year-old girl when you start hanging out with the wrong crowd. Check it out then tune in! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Virgin Suicides • The Next Reel 11 11 61 61 The Virgin Suicides • The Next Reel full a96fe2ed-6335-4fd5-8736-652dea572710 https://share.transistor.fm/s/4d35aab2 “Cecilia was the first to go.”

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!

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

Film Sundries

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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Cecilia was the first to go.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 14 Apr 2022 02:00:00 -0700 TruStory FM TruStory FM 4588 Our ‘Coming of Age Debuts’ series continues! This week, we’re taking on Sofia Coppola and her debut feature film ‘The Virgin Suicides.’ It’s a hallucinatory, haunting film about memory and growing up. We had a great time revisiting it and have a great conversation about it, so check it out then tune in! Our ‘Coming of Age Debuts’ series continues! This week, we’re taking on Sofia Coppola and her debut feature film ‘The Virgin Suicides.’ It’s a hallucinatory, haunting film about memory and growing up. We had a great time revisiting it and have a great con film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Ratcatcher • The Next Reel 11 11 60 60 Ratcatcher • The Next Reel full d171f5ce-8da0-45fb-b189-808d4f692837 https://share.transistor.fm/s/c15d4e91 “Goodbye, Snowball.”

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!

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

Film Sundries

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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Goodbye, Snowball.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 07 Apr 2022 02:00:00 -0700 TruStory FM TruStory FM 3596 We continue our Coming of Age Debuts series with Lynne Ramsay’s 1999 film ‘Ratcatcher.’ How does she do right out of the gate? We loved ‘We Need to Talk About Kevin.’ Do we see hints at what Ramsay does there in this earlier film? And what does this film say about coming of age in Glasgow 1973? Tune in to find out! We continue our Coming of Age Debuts series with Lynne Ramsay’s 1999 film ‘Ratcatcher.’ How does she do right out of the gate? We loved ‘We Need to Talk About Kevin.’ Do we see hints at what Ramsay does there in this earlier film? And what does this film film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Slums of Beverly Hills • The Next Reel 11 11 58 58 Slums of Beverly Hills • The Next Reel full 154de3ca-8b09-433f-bb5b-4c29177d9574 https://share.transistor.fm/s/ae72610c “It’s not unusual to move every three months.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “It’s not unusual to move every three months.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 31 Mar 2022 02:00:00 -0700 TruStory FM TruStory FM 4136 We continue our Coming of Age Debuts series with Tamara Jenkins’ first film, 1998’s ‘Slums of Beverly Hills.’ This film feels like a solid representation of what ‘coming of age’ means. How does the film work for us? Does the comedy hold up? And Jenkins’ direction? Tune in to find out! We continue our Coming of Age Debuts series with Tamara Jenkins’ first film, 1998’s ‘Slums of Beverly Hills.’ This film feels like a solid representation of what ‘coming of age’ means. How does the film work for us? Does the comedy hold up? And Jenkins’ d film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Salaam Bombay! • The Next Reel 11 11 57 57 Salaam Bombay! • The Next Reel full 3b77127f-ad42-4bbd-89c5-5adcca30f1f9 https://share.transistor.fm/s/baf82d46 “Like a rose in the gutter...”

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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]]> “Like a rose in the gutter...”

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!

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

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]]> Thu, 24 Mar 2022 02:00:00 -0700 TruStory FM TruStory FM 3802 We kick off our series on Coming of Age Debuts with Mira Nair’s first narrative feature. It’s ‘Salaam Bombay!’ from 1988. It’s a realistic look at life on the streets for a kid in the slums of Bombay. What do we think of the film? Tune in to find out! We kick off our series on Coming of Age Debuts with Mira Nair’s first narrative feature. It’s ‘Salaam Bombay!’ from 1988. It’s a realistic look at life on the streets for a kid in the slums of Bombay. What do we think of the film? Tune in to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Rambling Rose • The Next Reel 11 11 54 54 Rambling Rose • The Next Reel full 7191044d-601d-4ade-8fd6-94b0da52d70e https://share.transistor.fm/s/7a3c6428 “I’m curious, Rose. I’m very curious.”

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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]]> “I’m curious, Rose. I’m very curious.”

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!

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

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]]> Thu, 17 Mar 2022 02:00:00 -0700 TruStory FM TruStory FM 4958 We wrap up our John Heard series with a film he’s hardly in. It’s Martha Coolidge’s 1991 Depression coming of age story ‘Rambling Rose,’ which stars Laura Dern and her mother Diane Ladd! Tune in. We wrap up our John Heard series with a film he’s hardly in. It’s Martha Coolidge’s 1991 Depression coming of age story ‘Rambling Rose,’ which stars Laura Dern and her mother Diane Ladd! Tune in. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Awakenings • The Next Reel 11 11 53 53 Awakenings • The Next Reel full f7842658-d9d8-42a2-a1a4-e45189a9ff39 https://share.transistor.fm/s/e711d295 “You want there to be a connection. That doesn’t mean there is one.”

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!

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

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]]> “You want there to be a connection. That doesn’t mean there is one.”

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!

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

Film Sundries

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]]> Thu, 10 Mar 2022 02:00:00 -0800 TruStory FM TruStory FM 4666 We continue exploring the films of John Heard with our current series. In this episode, we look at the second of two films he did directed by Penny Marshall. He’s a supporting character and delivers well opposite Robert De Niro and Robin Williams. It’s the 1990 film ‘Awakenings’ based on Dr. Oliver Sacks’ 1973 book. Tune in! We continue exploring the films of John Heard with our current series. In this episode, we look at the second of two films he did directed by Penny Marshall. He’s a supporting character and delivers well opposite Robert De Niro and Robin Williams. It’s th film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Big • The Next Reel 11 11 51 51 Big • The Next Reel full 712f7e7b-26d8-4e39-85f7-770a8a36edbd https://share.transistor.fm/s/b97a30ca “This doesn’t just happen. This guy — this doesn’t happen. He doesn’t just come to a meeting and say ‘bugs.’”

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!

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

Film Sundries

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]]> “This doesn’t just happen. This guy — this doesn’t happen. He doesn’t just come to a meeting and say ‘bugs.’”

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!

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

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]]> Thu, 03 Mar 2022 02:00:00 -0800 TruStory FM TruStory FM 4677 We started our John Heard series with some films in which he played the lead. Now we’re looking at some in which he plays smaller but still important parts. In this episode, we’re looking at Penny Marshall’s 1988 film ‘Big’ in which John Heard plays a corporate workplace bully to Hanks’ character. What do we think of the film? Tune in to find out! We started our John Heard series with some films in which he played the lead. Now we’re looking at some in which he plays smaller but still important parts. In this episode, we’re looking at Penny Marshall’s 1988 film ‘Big’ in which John Heard plays a cor film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Chilly Scenes of Winter • The Next Reel 11 11 50 50 Chilly Scenes of Winter • The Next Reel full 60c264cd-c418-4a38-9679-3bc63aea696e https://share.transistor.fm/s/df39ea80 “Why didn’t I meet you first?”

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!

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

Film Sundries

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Support The Next Reel Family of Film Shows:

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]]> “Why didn’t I meet you first?”

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!

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

Film Sundries

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]]> Thu, 24 Feb 2022 02:00:00 -0800 TruStory FM TruStory FM 3952 We continue our journey through our John Heard series with his second-of-two films with Joan Micklin Silver, 1979’s ‘Chilly Scenes of Winter.’ It’s fair to say this worked really well for us. It’s worth seeking out so do so then tune in! We continue our journey through our John Heard series with his second-of-two films with Joan Micklin Silver, 1979’s ‘Chilly Scenes of Winter.’ It’s fair to say this worked really well for us. It’s worth seeking out so do so then tune in! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Between the Lines • The Next Reel 11 11 47 47 Between the Lines • The Next Reel full 25e0d82b-efde-427e-a290-5f0073e76682 https://share.transistor.fm/s/f4497217 “We are still about telling the truth. We are still about something big here, and not many people can say that, man.”

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!

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

Film Sundries

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The Next Reel Family of Film Shows:

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]]> “We are still about telling the truth. We are still about something big here, and not many people can say that, man.”

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!

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

Film Sundries

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]]> Thu, 17 Feb 2022 02:00:00 -0800 TruStory FM TruStory FM 3090 We wrap up our Journalist series and kick off our John Heard series with Joan Micklin Silver’s 1977 story about the lives of people working at an alternative newspaper as it’s bought by a corporate entity – ‘Between the Lines.’ Great film. Check it out and tune in! We wrap up our Journalist series and kick off our John Heard series with Joan Micklin Silver’s 1977 story about the lives of people working at an alternative newspaper as it’s bought by a corporate entity – ‘Between the Lines.’ Great film. Check it out an film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Weight of Water • The Next Reel 11 11 46 46 The Weight of Water • The Next Reel full 6606a7de-3cfb-4a5f-a8af-6c675206afec https://share.transistor.fm/s/9ccf4ec8 “I thought you were snapping a few photographs, not reopening the whole case.”

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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]]> “I thought you were snapping a few photographs, not reopening the whole case.”

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!

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

Film Sundries

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]]> Thu, 10 Feb 2022 02:00:00 -0800 TruStory FM TruStory FM 3624 We continue our Journalists series with a dip back into Kathryn Bigelow’s body of work. This time, it’s her 2002 film ‘The Weight of Water.’ It didn’t get much praise on its initial release. What did we think of it? Tune in! We continue our Journalists series with a dip back into Kathryn Bigelow’s body of work. This time, it’s her 2002 film ‘The Weight of Water.’ It didn’t get much praise on its initial release. What did we think of it? Tune in! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Merrily We Go to Hell • The Next Reel 11 11 44 44 Merrily We Go to Hell • The Next Reel full 53c315b5-6b14-4199-bc2e-b982607e9954 https://share.transistor.fm/s/d5332903 “Gentlemen, I give you the holy state of matrimony, modern style! Single lives, twin beds, and triple bromides in the morning!”

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!

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

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]]> “Gentlemen, I give you the holy state of matrimony, modern style! Single lives, twin beds, and triple bromides in the morning!”

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!

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

Film Sundries

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]]> Thu, 03 Feb 2022 11:00:00 -0800 TruStory FM TruStory FM 3054 We continue our Journalists series with a film that’s a bit more journalist adjacent – Dorothy Arzner’s 1932 film ‘Merrily We Go to Hell.’ What do we think of Frederic March and Sylvia Sidney? How about their modern marriage? And how did the Hays Code figure in to this movie? Tune in for more! We continue our Journalists series with a film that’s a bit more journalist adjacent – Dorothy Arzner’s 1932 film ‘Merrily We Go to Hell.’ What do we think of Frederic March and Sylvia Sidney? How about their modern marriage? And how did the Hays Code fig film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A Quick Note From Andy • The Next Reel 11 11 42 42 A Quick Note From Andy • The Next Reel bonus ff9c8e68-dbc3-4fe9-ae8a-23280de64ba0 https://share.transistor.fm/s/84eacaea We're taking an unexpected short break but we'll be back before you know it!

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

]]> Thu, 20 Jan 2022 02:00:00 -0800 TruStory FM TruStory FM 79 We're taking an unexpected short break but we'll be back before you know it! We're taking an unexpected short break but we'll be back before you know it! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Boat People • The Next Reel 11 11 41 41 Boat People • The Next Reel full b896fc9c-bb50-4358-8caa-a03905547976 https://share.transistor.fm/s/a7f53127 "The government doesn’t let us mix with foreigners. You’ll get us into trouble if you take photos here.”

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!

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

Film Sundries

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]]> "The government doesn’t let us mix with foreigners. You’ll get us into trouble if you take photos here.”

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!

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

Film Sundries

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]]> Thu, 13 Jan 2022 02:00:00 -0800 TruStory FM TruStory FM 3876 We conclude our series on Hong Kong New Wave director Ann Hui and kick off a series on journalists with Hui’s 1982 film ‘Boat People,’ the film that really put her on the map. How does it work for us? Does it accurately portray journalists? And does that matter? Tune in to hear our thoughts! We conclude our series on Hong Kong New Wave director Ann Hui and kick off a series on journalists with Hui’s 1982 film ‘Boat People,’ the film that really put her on the map. How does it work for us? Does it accurately portray journalists? And does that film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Our Time Will Come • The Next Reel 11 11 38 38 Our Time Will Come • The Next Reel full 5941dc24-4696-4de4-8287-be721ad78828 https://share.transistor.fm/s/34c3d217 “See you after the victory.”

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!

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

Film Sundries

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]]> “See you after the victory.”

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!

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

Film Sundries

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]]> Thu, 06 Jan 2022 02:00:00 -0800 TruStory FM TruStory FM 4169 We’re continuing our series on Hong Kong New Wave director Ann Hui. In this episode, we discuss her 2017 war drama ‘Our Time Will Come.’ How historical is it? What do we think of the documentary framing device? And what do we think overall? Tune in to find out! We’re continuing our series on Hong Kong New Wave director Ann Hui. In this episode, we discuss her 2017 war drama ‘Our Time Will Come.’ How historical is it? What do we think of the documentary framing device? And what do we think overall? Tune in to fin film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Song of the Exile • The Next Reel 11 11 37 37 Song of the Exile • The Next Reel full 4163b8dc-746a-4a23-bbfe-26f93a5b3d3a https://share.transistor.fm/s/c5b6bf7f 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 with in 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!

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

Film Sundries

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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 with in 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!

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

Film Sundries

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]]> Thu, 30 Dec 2021 02:00:00 -0800 TruStory FM TruStory FM 3279 We continue exploring the films of Hong Kong filmmaker Ann Hui with her 1990 film ‘Song of the Exile’ starring Maggie Cheung and Lu Hsiao-fen. It’s a mother/daughter story that explores family history, family secrets, and finding connections, but does it work for us? Tune in to this episode to find out! We continue exploring the films of Hong Kong filmmaker Ann Hui with her 1990 film ‘Song of the Exile’ starring Maggie Cheung and Lu Hsiao-fen. It’s a mother/daughter story that explores family history, family secrets, and finding connections, but does it film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Arthur Christmas • The Next Reel 11 11 35 35 Arthur Christmas • The Next Reel full cbfe9153-8246-4f17-994e-e925a6fd9b7e https://share.transistor.fm/s/11262c91 "No one gets an unwrapped present on my watch!”

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!

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

Film Sundries

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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> "No one gets an unwrapped present on my watch!”

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!

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

Film Sundries

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]]> Thu, 23 Dec 2021 02:00:00 -0800 TruStory FM TruStory FM 4606 We close out our 10-part 10 Year Anniversary series – all in part of celebrating our 10 years of podcasting – with a holiday treat. We’re looking at Sarah Smith’s 2011 film ‘Arthur Christmas.’ It’s an absolute delight of a film with a voice cast that brings their A-game headed by James McAvoy. Will this turn into your own annual treat? Check it out this holiday season then tune in! We close out our 10-part 10 Year Anniversary series – all in part of celebrating our 10 years of podcasting – with a holiday treat. We’re looking at Sarah Smith’s 2011 film ‘Arthur Christmas.’ It’s an absolute delight of a film with a voice cast that brin film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A Simple Life • The Next Reel 11 11 33 33 A Simple Life • The Next Reel full 02e06087-e183-4d1d-a9bf-ae400a4d09ac https://share.transistor.fm/s/ea4eb58e 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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]]> 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!

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

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]]> Thu, 16 Dec 2021 02:00:00 -0800 TruStory FM TruStory FM 4353 Andy and Pete continue our 10 Year Anniversaries series with an episode that’s a crossover with our next series – a look at director Ann Hui. We’re looking at her 2011 film ‘A Simple Life,’ starring Andy Lau and Deannie Ip. It’s a touching and quiet film about a maid and the young man who’s family she’s been working for nearly 60 years, and how their relationship evolves when she decides to retire to an old folks’ home. The pace may not be for everyone, but we were both really touched by the film. Tune in to hear our conversation! Andy and Pete continue our 10 Year Anniversaries series with an episode that’s a crossover with our next series – a look at director Ann Hui. We’re looking at her 2011 film ‘A Simple Life,’ starring Andy Lau and Deannie Ip. It’s a touching and quiet film film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Zindagi Na Milegi Dobara • The Next Reel 11 11 32 32 Zindagi Na Milegi Dobara • The Next Reel full f743d959-fb79-4e83-9714-a726ac0ecf92 https://share.transistor.fm/s/dafe17b2 "Your fiancée can’t crash your bachelor party!”

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!

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

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]]> "Your fiancée can’t crash your bachelor party!”

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!

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

Film Sundries

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]]> Thu, 09 Dec 2021 02:00:00 -0800 TruStory FM TruStory FM 4573 Pete and Andy hit the road with Kamir, Imraan, and Arjun on this week’s show as we continue our 10 Year Anniversaries series with Zoya Akhtar’s delightful film ‘Zindagi Na Milegi Dobara.’ It’s a road movie following three guys on an adventure vacation/bachelor party, and while it sounds a bit like ‘The Hangover,’ it’s anything but. We had a great time with it! Check it out then tune in! Pete and Andy hit the road with Kamir, Imraan, and Arjun on this week’s show as we continue our 10 Year Anniversaries series with Zoya Akhtar’s delightful film ‘Zindagi Na Milegi Dobara.’ It’s a road movie following three guys on an adventure vacation/bac film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Where Do We Go Now? • The Next Reel 11 11 30 30 Where Do We Go Now? • The Next Reel full 0ff5675c-7f32-444d-ad1e-c99326ebd305 https://share.transistor.fm/s/13a545e6 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!

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

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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!

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

Film Sundries

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]]> Thu, 02 Dec 2021 02:00:00 -0800 TruStory FM TruStory FM 4135 We continue our 10 Year Anniversaries series with Nadine Labaki’s 2011 film ‘Where Do We Go Now?’ Labaki uses a touch of magical realism and musical elements to weave a tale of an isolated village where the woman try to keep the men from going to war with one another. We had a great time with this movie, which surprised both of us with its tone that balances comedy and drama well. It’s a fun conversation too! Tune in! We continue our 10 Year Anniversaries series with Nadine Labaki’s 2011 film ‘Where Do We Go Now?’ Labaki uses a touch of magical realism and musical elements to weave a tale of an isolated village where the woman try to keep the men from going to war with film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright We Need to Talk About Kevin • The Next Reel 11 11 29 29 We Need to Talk About Kevin • The Next Reel full fd974fab-0540-4d6b-926e-ef58ebc52330 https://share.transistor.fm/s/f62d51ee "You don’t look happy.”

“Have I ever?”

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!

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

Film Sundries

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]]> "You don’t look happy.”

“Have I ever?”

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!

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

Film Sundries

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]]> Thu, 25 Nov 2021 02:00:00 -0800 TruStory FM TruStory FM 4023 We’re talking about Lynne Ramsay’s 2011 film ‘We Need to Talk About Kevin’ as the 6th film in our 10 Year Anniversaries series, part of our own anniversary celebration. This film is a tough one to watch but incredibly well put together and a powerful journey. We’re big fans. Tune in to hear what we have to say! We’re talking about Lynne Ramsay’s 2011 film ‘We Need to Talk About Kevin’ as the 6th film in our 10 Year Anniversaries series, part of our own anniversary celebration. This film is a tough one to watch but incredibly well put together and a powerful jour film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Tomboy • The Next Reel 11 11 27 27 Tomboy • The Next Reel full bcdb04a2-1d02-49b5-a484-884313a46079 https://share.transistor.fm/s/521ee917 "It’s kind of complicated, actually.”

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. This means 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!

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

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]]> "It’s kind of complicated, actually.”

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. This means 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!

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

Film Sundries

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]]> Thu, 18 Nov 2021 02:00:00 -0800 TruStory FM TruStory FM 3892 We continue our 10 Year Anniversary series with Céline Sciamma’s 2011 film ‘Tomboy.’ We both really connected to the film and found it to be a powerful experience. Tune in to check it out! We continue our 10 Year Anniversary series with Céline Sciamma’s 2011 film ‘Tomboy.’ We both really connected to the film and found it to be a powerful experience. Tune in to check it out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Raiders of the Lost Ark Revisited • The Next Reel 11 11 26 26 Raiders of the Lost Ark Revisited • The Next Reel full b47c5f8c-da79-4e6e-bea5-dc17c6112eb8 https://share.transistor.fm/s/13ea3e95 "You’re not the podcast I knew ten years ago.”

“It’s not the years, honey, it’s the mileage.”

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!

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

Film Sundries

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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> "You’re not the podcast I knew ten years ago.”

“It’s not the years, honey, it’s the mileage.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 11 Nov 2021 11:10:00 -0800 TruStory FM TruStory FM 4473 Ten years ago, we decided to start up a little podcast called Movies We Like with a conversation about ‘Raiders of the Lost Ark.’ Well, that podcast has grown and blossomed over time, becoming The Next Reel, and the day this episode releases – November 11th, 2021 – will be our ten year anniversary! Join us as we return to where it all started for a look back at the origins of our podcast as well as Spielberg’s film. Ten years ago, we decided to start up a little podcast called Movies We Like with a conversation about ‘Raiders of the Lost Ark.’ Well, that podcast has grown and blossomed over time, becoming The Next Reel, and the day this episode releases – November 11 film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Pariah • The Next Reel 11 11 25 25 Pariah • The Next Reel full 6666c865-a41a-494d-abc6-19155ea53b48 https://share.transistor.fm/s/d6db7f3d “I’m not running. I’m choosing.”

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!

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

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]]> “I’m not running. I’m choosing.”

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!

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

Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.


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]]> Thu, 11 Nov 2021 02:00:00 -0800 TruStory FM TruStory FM 3620 We continue our 10 Year Anniversary series with Dee Rees’ 2011 film ‘Pariah.’ It was quite the breakout hit for her 10 years ago. How does it hold up today? And how has Dee used it to get her career off the ground? Tune in to hear our conversation about it! We continue our 10 Year Anniversary series with Dee Rees’ 2011 film ‘Pariah.’ It was quite the breakout hit for her 10 years ago. How does it hold up today? And how has Dee used it to get her career off the ground? Tune in to hear our conversation about i film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Hard Labor • The Next Reel 11 11 23 23 Hard Labor • The Next Reel full 69296533-517e-4925-9ad5-c1636fcbd851 https://share.transistor.fm/s/89bbda37 "This place is a real find!”

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!

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

Film Sundries

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]]> "This place is a real find!”

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!

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

Film Sundries

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]]> Thu, 04 Nov 2021 02:00:00 -0700 TruStory FM TruStory FM 3823 We’re looking at the second film in our Ten Year Anniversary series – Juliana Rojas’ and Marco Dutra’s 2011 film ‘Hard Labor,’ or ‘Trabalhar Cansa.’ It’s a look at the struggles of the working world in Brazil’s struggling economy, but what do we think of the horror metaphors in the film? Is it enough or does it leave the film feeling muddled? Tune in to see what we thought! We’re looking at the second film in our Ten Year Anniversary series – Juliana Rojas’ and Marco Dutra’s 2011 film ‘Hard Labor,’ or ‘Trabalhar Cansa.’ It’s a look at the struggles of the working world in Brazil’s struggling economy, but what do we think of film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Future • The Next Reel 11 11 22 22 The Future • The Next Reel full fe88fcdf-62d5-42df-8635-cb17598a98fe https://share.transistor.fm/s/749bfdbb "So for all practical purposes, in a month, that’s it for us.”

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!

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

Film Sundries

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]]> "So for all practical purposes, in a month, that’s it for us.”

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!

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

Film Sundries

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]]> Thu, 28 Oct 2021 02:00:00 -0700 TruStory FM TruStory FM 3252 We’re continuing our 10th anniversary celebration series with Miranda July's 2011 film ‘The Future’. It’s quirky and charming and has a lot to say about life and how we live it. But it doesn’t seem to land with everyone. How does it work for us? Tune in to find out! We’re continuing our 10th anniversary celebration series with Miranda July's 2011 film ‘The Future’. It’s quirky and charming and has a lot to say about life and how we live it. But it doesn’t seem to land with everyone. How does it work for us? Tune in t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright 17 Girls • The Next Reel 11 11 20 20 17 Girls • The Next Reel full cc2f8028-c89a-4cbb-b279-f521624c5735 https://share.transistor.fm/s/932f64a3 "Remember how devastated you were at first? So why get others to do the same?”

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 didn’t love it. He found more compelling elements in a few of the characters but certainly not all of them. He didn’t find it boring but understands how people could find it that way.

We mainly focus on Camille, the first of the girls to get pregnant, but she’s a challenging character to have as a protagonist. Is she more our antagonist? There is a moment early on when we get a sense of her life at home. Does that give us what we need to latch on to her and start feeling what she’s going through? Or do we need more?

How About the 17 Girls in 17 Girls?

What about #2? This speaks partly to our frustrations about the film – we’re assuming all 17 of the girls have names, but we aren’t given many of them in the film. But #2 gets pregnant just because she wants to be part of the in-crowd. Of all the stories, perhaps hers is the most tragic. But we’re not given much of her.

How about Clémentine? If any girls ends up getting more of our sympathy, surely it’s her. She’s desperate to stay a part of the club so does everything she can to get pregnant, even though her body is too small to handle a pregnancy. She runs away from home after fighting with her parents and her friends put her up in an abandoned trailer by the beach. It’s miserable. But do we end up garnering much sympathy for her?

This is the challenge of the film. It’s constructed more like a parable or fable, and we don’t find much to connect with the characters themselves. Is that a problem in context of this film? Or would it be fine if the story had more energy?

17 Girls is a slow-paced film.

We spend a lot of time with our group of pregnant girls together as well as alone. When they’re alone, they’re often sitting quietly at home looking scared, helpless, lost. When they’re together, they’re talking about all the great times they’ll have helping each other care for their children. If you can’t connect with these girls, it’s easy to feel bored. And that’s a big part of our conversation.

We also talk about the nature of the town of Lorient, France, where the story takes place. It feels like a dying town, and perhaps we’re meant to feel that the people here are dying as much as the town is and in a weird way, these girls may be trying to find a way to latch onto life. That also ties into the ladybugs we see in the film.

It’s an interesting film to kick off our new series with. Is it a fun film? No, but it provides a lot of points for discussion. Perhaps that’s all we needed right now, even if it’s not a film we’ll be returning to. Check it out (or not) then tune in to this week’s 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 — visit TruStory FM.


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]]> "Remember how devastated you were at first? So why get others to do the same?”

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 didn’t love it. He found more compelling elements in a few of the characters but certainly not all of them. He didn’t find it boring but understands how people could find it that way.

We mainly focus on Camille, the first of the girls to get pregnant, but she’s a challenging character to have as a protagonist. Is she more our antagonist? There is a moment early on when we get a sense of her life at home. Does that give us what we need to latch on to her and start feeling what she’s going through? Or do we need more?

How About the 17 Girls in 17 Girls?

What about #2? This speaks partly to our frustrations about the film – we’re assuming all 17 of the girls have names, but we aren’t given many of them in the film. But #2 gets pregnant just because she wants to be part of the in-crowd. Of all the stories, perhaps hers is the most tragic. But we’re not given much of her.

How about Clémentine? If any girls ends up getting more of our sympathy, surely it’s her. She’s desperate to stay a part of the club so does everything she can to get pregnant, even though her body is too small to handle a pregnancy. She runs away from home after fighting with her parents and her friends put her up in an abandoned trailer by the beach. It’s miserable. But do we end up garnering much sympathy for her?

This is the challenge of the film. It’s constructed more like a parable or fable, and we don’t find much to connect with the characters themselves. Is that a problem in context of this film? Or would it be fine if the story had more energy?

17 Girls is a slow-paced film.

We spend a lot of time with our group of pregnant girls together as well as alone. When they’re alone, they’re often sitting quietly at home looking scared, helpless, lost. When they’re together, they’re talking about all the great times they’ll have helping each other care for their children. If you can’t connect with these girls, it’s easy to feel bored. And that’s a big part of our conversation.

We also talk about the nature of the town of Lorient, France, where the story takes place. It feels like a dying town, and perhaps we’re meant to feel that the people here are dying as much as the town is and in a weird way, these girls may be trying to find a way to latch onto life. That also ties into the ladybugs we see in the film.

It’s an interesting film to kick off our new series with. Is it a fun film? No, but it provides a lot of points for discussion. Perhaps that’s all we needed right now, even if it’s not a film we’ll be returning to. Check it out (or not) then tune in to this week’s 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 — visit TruStory FM.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 21 Oct 2021 02:00:00 -0700 TruStory FM TruStory FM 4567 We’re kicking off the celebration for our own 10th anniversary later this year with a series about films also celebrating their 10th anniversaries! In this episode, we start our Tenth Anniversary series with Delphine and Muriel Coulin’s 2011 film ‘17 Filles’, aka ‘17 Girls’. It’s about 17 teenage girls all deciding to get pregnant together. In a way, it’s a frightening continuation of our last ‘Horror Debuts’ series. We’re kicking off the celebration for our own 10th anniversary later this year with a series about films also celebrating their 10th anniversaries! In this episode, we start our Tenth Anniversary series with Delphine and Muriel Coulin’s 2011 film ‘17 Fill film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Retake: Horror Debuts • The Next Reel • Member Bonus 11 11 19 19 Retake: Horror Debuts • The Next Reel • Member Bonus full 8ca4164b-f77b-4b6e-aa67-b42b2ae9555b https://share.transistor.fm/s/b03ca992 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!

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

Film Sundries

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.

]]> 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!

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

Film Sundries

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.

]]> Sun, 17 Oct 2021 03:00:00 -0700 TruStory FM TruStory FM 3377 This series is over. We’ve covered Messiah of Evil, Goodnight Mommy, A Girl Walks Home Alone at Night, The Babadook, The Lure, Saint Maud, and Relic. So what did we think of these horror debuts? And what did we think about their directors? This series is over. We’ve covered Messiah of Evil, Goodnight Mommy, A Girl Walks Home Alone at Night, The Babadook, The Lure, Saint Maud, and Relic. So what did we think of these horror debuts? And what did we think about their directors? film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Flickchart Re-Ranking • October 2021 • The Next Reel • Member Bonus 11 11 21 21 Flickchart Re-Ranking • October 2021 • The Next Reel • Member Bonus full 96523e4a-ac21-441e-8574-d1199b7e43d1 https://share.transistor.fm/s/e9854e5c “Meryl Streep is not in enough movies where she feeds on people with the mouth in her armpit.”

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.

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!

]]> “Meryl Streep is not in enough movies where she feeds on people with the mouth in her armpit.”

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.

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!

]]> Fri, 15 Oct 2021 02:00:00 -0700 TruStory FM TruStory FM 1889 Andy and Pete are back for more Flickchart Re-Ranking. This is our October 2021 member bonus re-ranking battle. We employ all of our secret combo moves in this episode. This is a member bonus episode, but we're releasing it to the world to enjoy! Please consider becoming a member! Andy and Pete are back for more Flickchart Re-Ranking. This is our October 2021 member bonus re-ranking battle. We employ all of our secret combo moves in this episode. This is a member bonus episode, but we're releasing it to the world to enjoy! Please c film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Saint Maud • The Next Reel 11 11 18 18 Saint Maud • The Next Reel full e351f38d-5e42-4167-8a1d-85f27d70e21a https://share.transistor.fm/s/d31892db "We don’t need anyone else.”

The release of Rose Glass’s 2019 film Saint Maud was cut short due to the pandemic. That being said, 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. The story in that first half engaged him so strongly that he was never able to really connect with the film after that point. Andy, on the other hand, remembered the trailer. 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.

Despite our split, there's a lot to love about Saint Maud.

Outside of that, though, Glass has a sense of story clearly. 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. 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. Maud's self harm comes up. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> "We don’t need anyone else.”

The release of Rose Glass’s 2019 film Saint Maud was cut short due to the pandemic. That being said, 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. The story in that first half engaged him so strongly that he was never able to really connect with the film after that point. Andy, on the other hand, remembered the trailer. 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.

Despite our split, there's a lot to love about Saint Maud.

Outside of that, though, Glass has a sense of story clearly. 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. 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. Maud's self harm comes up. 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 14 Oct 2021 02:00:00 -0700 TruStory FM TruStory FM 4004 Our Horror Debuts series comes to an end with Rose Glass’s 2019 film ‘Saint Maud.’ It’s a dark ride on the psychosis train but we find ourselves a little divided on this one. Tune in to find out why! Our Horror Debuts series comes to an end with Rose Glass’s 2019 film ‘Saint Maud.’ It’s a dark ride on the psychosis train but we find ourselves a little divided on this one. Tune in to find out why! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Lure • The Next Reel 11 11 17 17 The Lure • The Next Reel full 419b02b8-f072-4a2e-a5e6-2c6e0a34c777 https://share.transistor.fm/s/0eb3eb5b “To me, you’ll always be a fish, an animal.”

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. 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. 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. There’s something strong in this recent run of films we’ve discussed, though, that seems to make the metaphors very visual. It’s a wonderful genre to explore ideas like these. 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 The Lure 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 The Lure. 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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “To me, you’ll always be a fish, an animal.”

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. 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. 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. There’s something strong in this recent run of films we’ve discussed, though, that seems to make the metaphors very visual. It’s a wonderful genre to explore ideas like these. 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 The Lure 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 The Lure. 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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 07 Oct 2021 02:00:00 -0700 TruStory FM TruStory FM 4600 We’re talking about the fifth film in our Horror Debuts series – Agnieszka Smoczynska’s 2015 film ‘The Lure.’ It’s a bit of a genre mashup – horror, musical, fairytale – and certainly worth talking about. We’re talking about the fifth film in our Horror Debuts series – Agnieszka Smoczynska’s 2015 film ‘The Lure.’ It’s a bit of a genre mashup – horror, musical, fairytale – and certainly worth talking about. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Relic • The Next Reel • Member Bonus 11 11 16 16 Relic • The Next Reel • Member Bonus full 826d8bb2-ad26-4e75-b281-f83dfdaff3c0 https://share.transistor.fm/s/08740474 "It’s here. Under the bed.”

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!

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.

]]> "It’s here. Under the bed.”

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!

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.

]]> Thu, 30 Sep 2021 04:00:00 -0700 TruStory FM TruStory FM 3254 The members voted and for September 2021, they selected Natalie Erika James’ 2020 horror film ‘Relic’ as our member bonus episode. This is now the seventh film in our Horror Debuts series. Check out the film and tune in! The members voted and for September 2021, they selected Natalie Erika James’ 2020 horror film ‘Relic’ as our member bonus episode. This is now the seventh film in our Horror Debuts series. Check out the film and tune in! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Babadook • The Next Reel 11 11 15 15 The Babadook • The Next Reel full 30613cd6-b8e7-4ef2-9bb0-1f9087c3f19d https://share.transistor.fm/s/aa02628f "I promise to protect you if you promise to protect me.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> "I promise to protect you if you promise to protect me.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 30 Sep 2021 02:00:00 -0700 TruStory FM TruStory FM 4271 The fourth of six in our Horror Debuts series. So many people love Jennifer Kent’s ‘The Babadook,’ but does it deliver? Or is it wearing its metaphor too firmly on its sleeve? We tackle Mister Babadook – including a discussion about his LGBTQ+ explosion in memes and interweb posts – in this episode. The fourth of six in our Horror Debuts series. So many people love Jennifer Kent’s ‘The Babadook,’ but does it deliver? Or is it wearing its metaphor too firmly on its sleeve? We tackle Mister Babadook – including a discussion about his LGBTQ+ explosion i film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A Girl Walks Home Alone at Night • The Next Reel 11 11 14 14 A Girl Walks Home Alone at Night • The Next Reel full 6ffde1a6-7e1d-429a-889b-b44a8140eb4a https://share.transistor.fm/s/0351024a 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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]]> 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 23 Sep 2021 02:00:00 -0700 TruStory FM TruStory FM 3791 The third of six in our Horror Debuts series. People call Ana Lily Amirpour’s film ‘A Girl Walks Home Alone at Night’ an Iranian Feminist Vampire Spaghetti Western Movie. But is it horror? We dig into this movie on the show this week! The third of six in our Horror Debuts series. People call Ana Lily Amirpour’s film ‘A Girl Walks Home Alone at Night’ an Iranian Feminist Vampire Spaghetti Western Movie. But is it horror? We dig into this movie on the show this week! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Goodnight Mommy • The Next Reel 11 11 12 12 Goodnight Mommy • The Next Reel full d3a91795-4534-46d5-bdc9-36f2f83f94cd https://share.transistor.fm/s/f3be7b68 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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

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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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 16 Sep 2021 02:00:00 -0700 TruStory FM TruStory FM 4795 The second of six in our Horror Debuts series. Aunt/Nephew writer/director pair Veronika Franz and Severin Fiala tackle twins, possible doppelgängers, and family grief in this slow build of a horror film. It’s incredibly well-crafted but how does the story work for us. Tune in to find out! The second of six in our Horror Debuts series. Aunt/Nephew writer/director pair Veronika Franz and Severin Fiala tackle twins, possible doppelgängers, and family grief in this slow build of a horror film. It’s incredibly well-crafted but how does the stor film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Messiah of Evil • The Next Reel 11 11 11 11 Messiah of Evil • The Next Reel full b1a4d74c-b3b1-45cf-83cb-062a09d161ab https://share.transistor.fm/s/af8d7a1f "We’re never going to leave this place, are we?”

While Gloria Katz and Willard Huyck were writing 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 and, unfortunately for them, was taken away by the producers 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. It wasn’t until its 35th anniversary when it was restored that they seemed to recognize 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’s and Huyck’s film is a bit of a mess when you look at the story, but is that what you’re meant to take away from it? 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 a horror tone poem certainly is. It’s a tremendous creation in mood and tone.

That can be a bit of a struggle, though. It’s certainly more of a struggle for Pete who felt like he’d been set up for more slasher killings as we get in the start of the film before it shifts into less overt, bloody killings. But the mood is there and it gets under Andy’s skin. He feels it’s enough and thinks the film is excelling at creating a vibe that’s hard to shake.

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.

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 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 her 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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> "We’re never going to leave this place, are we?”

While Gloria Katz and Willard Huyck were writing 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 and, unfortunately for them, was taken away by the producers 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. It wasn’t until its 35th anniversary when it was restored that they seemed to recognize 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’s and Huyck’s film is a bit of a mess when you look at the story, but is that what you’re meant to take away from it? 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 a horror tone poem certainly is. It’s a tremendous creation in mood and tone.

That can be a bit of a struggle, though. It’s certainly more of a struggle for Pete who felt like he’d been set up for more slasher killings as we get in the start of the film before it shifts into less overt, bloody killings. But the mood is there and it gets under Andy’s skin. He feels it’s enough and thinks the film is excelling at creating a vibe that’s hard to shake.

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.

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 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 her 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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 09 Sep 2021 01:00:00 -0700 TruStory FM TruStory FM 3512 The first of six in our Horror Debuts series. Before 'American Graffiti,' before 'Indiana Jones and the Temple of Doom,' before 'Howard the Duck,' there was 'Messiah of Evil.' We talk about where husband and wife team Gloria Katz and Willard Huyck got their start. The first of six in our Horror Debuts series. Before 'American Graffiti,' before 'Indiana Jones and the Temple of Doom,' before 'Howard the Duck,' there was 'Messiah of Evil.' We talk about where husband and wife team Gloria Katz and Willard Huyck got the film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Look Who's Talking • The Next Reel 11 11 8 8 Look Who's Talking • The Next Reel full 9752a95a-069b-41ef-bab3-364ecb5a2eb3 https://share.transistor.fm/s/47734bc7 "So you’re the one that’s been kicking me.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

]]> "So you’re the one that’s been kicking me.”

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!

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

Film Sundries

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]]> Thu, 02 Sep 2021 02:00:00 -0700 TruStory FM TruStory FM 4695 Fifth of five in our ‘80s Comedy with Coolidge & Heckerling’ series. Amy Heckerling returns to personal filmmaking but does it in a broad romantic comedy. We close out the series with a conversation about her most successful film. Fifth of five in our ‘80s Comedy with Coolidge & Heckerling’ series. Amy Heckerling returns to personal filmmaking but does it in a broad romantic comedy. We close out the series with a conversation about her most successful film. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Real Genius • The Next Reel 11 11 7 7 Real Genius • The Next Reel full 45209073-d09a-4f9a-8946-9eeab57c5205 https://share.transistor.fm/s/26fb5384 “Compared to you, most people have the IQ of a carrot.”

We're Fans of Martha Coolidge's 1985 Film Real Genius

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 (much like in Die Hard!), 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 (last discussed in Valley Girl), Jon Gries, Mark Kamiyama, Dean Devlin (last discussed as producer for Independence Day), 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!

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.


Support The Next Reel Family of Film Shows:

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]]> “Compared to you, most people have the IQ of a carrot.”

We're Fans of Martha Coolidge's 1985 Film Real Genius

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 (much like in Die Hard!), 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 (last discussed in Valley Girl), Jon Gries, Mark Kamiyama, Dean Devlin (last discussed as producer for Independence Day), 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!

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.


Support The Next Reel Family of Film Shows:

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]]> Thu, 26 Aug 2021 02:00:00 -0700 TruStory FM TruStory FM 4416 The fourth of five in our 80s Comedy with Coolidge and Heckerling series, and the second film directed by Martha Coolidge we've discussed on the show. So much to love in this film! It's a film about smart people that feels genuine. Plus, there's lots of popcorn too... The fourth of five in our 80s Comedy with Coolidge and Heckerling series, and the second film directed by Martha Coolidge we've discussed on the show. So much to love in this film! It's a film about smart people that feels genuine. Plus, there's lots of p film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Johnny Dangerously • The Next Reel 11 11 5 5 Johnny Dangerously • The Next Reel full 1c5fdc8e-ca38-4212-a5d4-226b094a7714 https://share.transistor.fm/s/92ec57f4 “You fargin sneaky bastige!”

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 (or even Robin Hood: Men in Tights). 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 wait! There's more!

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 in 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

]]> “You fargin sneaky bastige!”

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 (or even Robin Hood: Men in Tights). 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 wait! There's more!

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 in 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 19 Aug 2021 02:00:00 -0700 TruStory FM TruStory FM 4387 How does director Amy Heckerling handle shifting to broad parody comedy, in a period film to boot? What do we think of Michael Keaton, Joe Piscopo, Marilu Henner, Maureen Stapleton, Griffin Dunne, and the rest of the cast? How about that alternate ending? Tune in to this week’s show to get answers to these questions and more! How does director Amy Heckerling handle shifting to broad parody comedy, in a period film to boot? What do we think of Michael Keaton, Joe Piscopo, Marilu Henner, Maureen Stapleton, Griffin Dunne, and the rest of the cast? How about that alternate ending? film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Valley Girl • The Next Reel 11 11 4 4 Valley Girl • The Next Reel full e7be0c03-b02d-45bd-a4a6-9bc39c11402a https://share.transistor.fm/s/78371f5a "I’m so sure!”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> "I’m so sure!”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 12 Aug 2021 02:00:00 -0700 TruStory FM TruStory FM 4187 What’s the story as to how director Martha Coolidge found Nicolas Cage for his part in this film? And how great is he with Deborah Foreman as the two leads? The Romeo and Juliet story works well in this teen world of the San Fernando Valley vs. the grungier Hollywood/DTLA. How do the actors deliver in creating these two worlds? And how about Coolidge and her music selections? We talk about all of this and more on this week’s show so check it out then tune in! What’s the story as to how director Martha Coolidge found Nicolas Cage for his part in this film? And how great is he with Deborah Foreman as the two leads? The Romeo and Juliet story works well in this teen world of the San Fernando Valley vs. the grungi film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Fast Times at Ridgemont High • The Next Reel 11 11 3 3 Fast Times at Ridgemont High • The Next Reel full c9173254-9297-469a-8508-a2679775342f https://share.transistor.fm/s/8404fa69 "What are you waiting for? You’re 15 years old!”

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. 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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> "What are you waiting for? You’re 15 years old!”

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. 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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 05 Aug 2021 02:00:00 -0700 TruStory FM TruStory FM 4500 Director Amy Heckerling got her start with ‘Fast Times at Ridgemont High,’ but how does it hold up today? So many incredible young performers early in their careers in this film – Jennifer Jason Leigh, Sean Penn, Phoebe Cates, Judge Reinhold, Forest Whitaker, Anthony Edwards, Eric Stoltz, even Nicolas Cage! Who are the standouts? Is the film enough of a comedy or is it too serious? And how about the music? Tune in to this week’s show to get answers to these questions and more! Director Amy Heckerling got her start with ‘Fast Times at Ridgemont High,’ but how does it hold up today? So many incredible young performers early in their careers in this film – Jennifer Jason Leigh, Sean Penn, Phoebe Cates, Judge Reinhold, Forest Whita film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Identity • The Next Reel 10 10 61 61 Identity • The Next Reel full c4f26416-4bc4-49cb-b8ff-d07812b53e22 https://share.transistor.fm/s/de7a5f09 "As I was going up the stair,

I met a man who wasn’t there.

He wasn’t there again today.

I wish, I wish he’d go away.”

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!

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

Film Sundries

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]]> "As I was going up the stair,

I met a man who wasn’t there.

He wasn’t there again today.

I wish, I wish he’d go away.”

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!

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

Film Sundries

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]]> Thu, 01 Jul 2021 02:00:00 -0700 TruStory FM TruStory FM 3936 We totally buy into the twists in the film, but why do so many other people have problems with them? In a cast of great actors, which do we have issues with (if any)? And what do we think of James Mangold as a director? Is there anything that stands out as Mangolden techniques we see here? Tune in to this week’s show to get answers to these questions and more! We totally buy into the twists in the film, but why do so many other people have problems with them? In a cast of great actors, which do we have issues with (if any)? And what do we think of James Mangold as a director? Is there anything that stands out a film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Memento • The Next Reel 10 10 60 60 Memento • The Next Reel full b2170546-2ba3-4582-9bd9-52430e2a87a6 https://share.transistor.fm/s/1d303ade "You can’t trust a man’s life to your little notes and pictures.”

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!

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

Film Sundries

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]]> "You can’t trust a man’s life to your little notes and pictures.”

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!

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

Film Sundries

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]]> Thu, 24 Jun 2021 02:00:00 -0700 TruStory FM TruStory FM 3776 How great are Guy Pearce, Carrie-Anne Moss and Joe Pantoliano in “Memento?” Does the simultaneous forward and backward telling of the story work for us or does it feel like a stunt? Why did Nolan and his brother Jonathan push for this to be in the Original Screenplay category at the Oscars? Tune in to this week’s show to get answers to these questions and more! How great are Guy Pearce, Carrie-Anne Moss and Joe Pantoliano in “Memento?” Does the simultaneous forward and backward telling of the story work for us or does it feel like a stunt? Why did Nolan and his brother Jonathan push for this to be in the Origina film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Sword of Trust • The Next Reel 10 10 58 58 Sword of Trust • The Next Reel full e89e5d90-45ea-4422-827a-eed9dc88e975 https://share.transistor.fm/s/dd0c34d4 “This is definitely how people die.”

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!

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.


Support The Next Reel Family of Film Shows:

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]]> “This is definitely how people die.”

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!

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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]]> Thu, 17 Jun 2021 02:00:00 -0700 TruStory FM TruStory FM 3840 How does director Lynn Shelton do with her return to indie comedy? What do Marc Maron, Jon Bass, Michaela Watkins, and Jillian Bell bring to the table as the central performers in the film? As her final film before she passed away sadly in 2020, how does this film fit into her filmography and will we be returning to talk about more of her films? Tune in to this week’s show to get answers to these questions and more! How does director Lynn Shelton do with her return to indie comedy? What do Marc Maron, Jon Bass, Michaela Watkins, and Jillian Bell bring to the table as the central performers in the film? As her final film before she passed away sadly in 2020, how does film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Outside In • The Next Reel 10 10 57 57 Outside In • The Next Reel full 6a394199-83fd-4685-a131-7491c6668ab6 https://share.transistor.fm/s/619519ce “How could you possibly know that it’s me that you want?”

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!

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

Film Sundries

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]]> “How could you possibly know that it’s me that you want?”

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!

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

Film Sundries

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]]> Thu, 10 Jun 2021 02:00:00 -0700 TruStory FM TruStory FM 3739 Lynn Shelton returns to team Duplass, this time with Jay. How well do they do as co-writers? Why weren’t people talking about Edie Falco and her performance in this film more? We also love Kaitlyn Dever who clearly shows she’s incredibly talented. And how does Shelton do with a straightforward drama? Tune in to this week’s show to get answers to these questions and more! Lynn Shelton returns to team Duplass, this time with Jay. How well do they do as co-writers? Why weren’t people talking about Edie Falco and her performance in this film more? We also love Kaitlyn Dever who clearly shows she’s incredibly talented. And how film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Laggies • The Next Reel 10 10 55 55 Laggies • The Next Reel full 5cac6be7-88be-4b4d-8ae2-fb72ce7b9089 https://share.transistor.fm/s/7ed74410 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!

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

Film Sundries

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Our Lynn Shelton Series


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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!

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.

Our Lynn Shelton Series


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]]> Thu, 03 Jun 2021 02:00:00 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3861 Does “Laggies” work as director Lynn Shelton’s chance to tell bigger budget comedy dramas? How charming are Keira Knightley and Sam Rockwell? And what’s up with the title “Laggies.” What does it mean anyway? Tune in to this week’s show to get answers to these questions and more! Does “Laggies” work as director Lynn Shelton’s chance to tell bigger budget comedy dramas? How charming are Keira Knightley and Sam Rockwell? And what’s up with the title “Laggies.” What does it mean anyway? Tune in to this week’s show to get answers to t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Your Sister's Sister • The Next Reel 10 10 54 54 Your Sister's Sister • The Next Reel full 6df7b020-fe13-47c3-b923-839afb4547f1 https://share.transistor.fm/s/b7f6a8d9 "You have great taste in life and terrible taste in men.”

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!

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

Film Sundries

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Support The Next Reel Family of Film Shows:

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]]> "You have great taste in life and terrible taste in men.”

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!

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.


Support The Next Reel Family of Film Shows:

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]]> Thu, 27 May 2021 06:00:00 -0700 TruStory FM TruStory FM 3948 How great are Emily Blunt, Mark Duplass, and Rosemary DeWitt in their roles? Does Lynn Shelton amp up her comedy and drama in this film or does it just create characters with problems we can’t identify with? And how gorgeous is the Pacific Northwest? Tune in to this week’s show – the second in our Lynn Shelton series – to get answers to these questions and more! How great are Emily Blunt, Mark Duplass, and Rosemary DeWitt in their roles? Does Lynn Shelton amp up her comedy and drama in this film or does it just create characters with problems we can’t identify with? And how gorgeous is the Pacific Northwest? Tune film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Humpday • The Next Reel 10 10 52 52 Humpday • The Next Reel full 5fbb74fd-0929-4886-87be-065c06494942 https://share.transistor.fm/s/b0b0a090 “I guess that the way I like to think of myself and the way I actually am are, um, maybe more different than I’d like them to be.”

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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]]> “I guess that the way I like to think of myself and the way I actually am are, um, maybe more different than I’d like them to be.”

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!

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

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]]> Thu, 20 May 2021 06:00:00 -0700 TruStory FM TruStory FM 3461 Does this film that really kickstarted Lynn Shelton’s career completely work or are there elements that don’t work as well? How much do we like Mark Duplass, Joshua Leonard, and Alycia Delmore as the three principal characters? And does the ending work? We’re kicking off our Lynn Shelton series with this film, so check it out and tune in to get answers to these questions and more! Does this film that really kickstarted Lynn Shelton’s career completely work or are there elements that don’t work as well? How much do we like Mark Duplass, Joshua Leonard, and Alycia Delmore as the three principal characters? And does the ending work? W film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Mist • The Next Reel 10 10 51 51 The Mist • The Next Reel full c79e890f-1560-4704-bf2e-d8e490b8deb2 https://share.transistor.fm/s/4d9cd99b "What the hell were those tentacles even attached to?”

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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]]> "What the hell were those tentacles even attached to?”

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!

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

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]]> Thu, 13 May 2021 06:00:00 -0700 TruStory FM TruStory FM 4306 Which version should you watch, color or black-and-white? Does the bleak ending ruin the film for us or make the film stand up in a pool of mediocre horror fare? And how much does everyone just hate Marcia Gay Harden’s character by the end of this thing? We talk about these points and more on the show this week. Tune in! Which version should you watch, color or black-and-white? Does the bleak ending ruin the film for us or make the film stand up in a pool of mediocre horror fare? And how much does everyone just hate Marcia Gay Harden’s character by the end of this thing? film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Green Mile • The Next Reel 10 10 49 49 The Green Mile • The Next Reel full 205b764b-182d-40af-8867-3d5a8e147fbd https://share.transistor.fm/s/67e3f9dc "I’m tired of people being ugly to each other.”

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!

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

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]]> "I’m tired of people being ugly to each other.”

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!

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

Film Sundries

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]]> Thu, 06 May 2021 06:00:00 -0700 TruStory FM TruStory FM 4469 How does Frank Darabont’s second Stephen King feature hold up to his first? How great are all the performances across the board here, but notably Michael Clarke Duncan? And how problematic is the film with its magical negro element? Tune in to this week’s show to get answers to these questions and more! How does Frank Darabont’s second Stephen King feature hold up to his first? How great are all the performances across the board here, but notably Michael Clarke Duncan? And how problematic is the film with its magical negro element? Tune in to this week’s film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Shawshank Redemption • The Next Reel 10 10 48 48 The Shawshank Redemption • The Next Reel full cc17018a-8c28-48cc-b24c-1f09b51f9e14 https://share.transistor.fm/s/934ce1ce "Put your trust in the Lord. Your ass belongs to me. Welcome to Shawshank!”

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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]]> "Put your trust in the Lord. Your ass belongs to me. Welcome to Shawshank!”

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!

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

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]]> Thu, 29 Apr 2021 06:00:00 -0700 TruStory FM TruStory FM 4772 Tom & Tony Bancroft from The Bancroft Brothers Animation Podcast join us to kick off our Stephen King à la Darabont series! Why has this film stood the test of time as well as it has? How much did Darabont change from the original source material? And how awkward is it to picture any of the other actors considered for the role after seeing the brilliance of Tim Robbins and Morgan Freeman? It’s one of our favorites, so tune in to this week’s show to get answers to these questions and more! Tom & Tony Bancroft from The Bancroft Brothers Animation Podcast join us to kick off our Stephen King à la Darabont series! Why has this film stood the test of time as well as it has? How much did Darabont change from the original source material? And film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Notorious Bettie Page • The Next Reel 10 10 47 47 The Notorious Bettie Page • The Next Reel full 78fd6c1b-414d-4022-8fc8-37b3fb4dfb12 https://share.transistor.fm/s/56d15419 "God gave me the talent to pose for pictures.”

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!

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

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]]> "God gave me the talent to pose for pictures.”

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!

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

Film Sundries

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]]> Thu, 22 Apr 2021 06:00:00 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3878 Does this film hold up as well as Mary Harron’s previous film, American Psycho? How great is Gretchen Mol in this role? And why does this feel too much like a safe, standard biopic instead of more edgy like Harron’s first film, I Shot Andy Warhol, another biopic? Tune in to this week’s episode to get answers to these questions and more! Does this film hold up as well as Mary Harron’s previous film, American Psycho? How great is Gretchen Mol in this role? And why does this feel too much like a safe, standard biopic instead of more edgy like Harron’s first film, I Shot Andy Warhol, another film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright American Psycho • The Next Reel 10 10 46 46 American Psycho • The Next Reel full 38d00dbd-bccb-44df-a8ba-804b082f833a https://share.transistor.fm/s/0743eb5b “There is an idea of a Patrick Bateman. Some kind of abstraction. But there is no real me. Only an entity, something illusory. And though I can hide my cold gaze and you can shake my hand and feel flesh gripping yours, and maybe you can even sense our lifestyles are probably comparable, I simply am not there.”

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!

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

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]]> “There is an idea of a Patrick Bateman. Some kind of abstraction. But there is no real me. Only an entity, something illusory. And though I can hide my cold gaze and you can shake my hand and feel flesh gripping yours, and maybe you can even sense our lifestyles are probably comparable, I simply am not there.”

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!

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

Film Sundries

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]]> Thu, 15 Apr 2021 06:00:00 -0700 TruStory FM TruStory FM 5120 Is this a case where the book and film stand as separate but equal entities? How great (and frightening) is Christian Bale as Patrick Bateman? Why didn’t this film get more awards notice? And who is this mysterious Davis anyway? Tune in to this week’s show to get answers to these questions and more! Is this a case where the book and film stand as separate but equal entities? How great (and frightening) is Christian Bale as Patrick Bateman? Why didn’t this film get more awards notice? And who is this mysterious Davis anyway? Tune in to this week’s sho film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright I Shot Andy Warhol • The Next Reel 10 10 45 45 I Shot Andy Warhol • The Next Reel full aa142a5d-f755-4e05-93ea-43c324ca9af9 https://share.transistor.fm/s/f18ea473 "That’s that man hater. I don’t know what Andy sees in her.”

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!

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

Film Sundries

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]]> "That’s that man hater. I don’t know what Andy sees in her.”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 08 Apr 2021 06:00:00 -0700 TruStory FM TruStory FM 3227 How strong is Lili Taylor as Valerie Solanas and why didn’t her film career take off more after this film? How much do you need to know about Andy Warhol, Candy Darling, Solanas, and everyone else from The Factory before watching this film? And do unlikeable protagonists still allow for great and rewatchable films? Tune in to this week’s show to get these answers and more! How strong is Lili Taylor as Valerie Solanas and why didn’t her film career take off more after this film? How much do you need to know about Andy Warhol, Candy Darling, Solanas, and everyone else from The Factory before watching this film? And do unlikea film, filmcommentary, moviereview, movies, review Yes Andy Nelson Pete Wright Born on the Fourth of July • The Next Reel 10 10 43 43 Born on the Fourth of July • The Next Reel full 0cc969a5-8c8a-4cb7-a9bb-be02a54c0089 https://share.transistor.fm/s/8cb8c035 “Thou shalt not kill, Mom. Thou shalt not kill women and children!”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “Thou shalt not kill, Mom. Thou shalt not kill women and children!”

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!

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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 01 Apr 2021 06:00:00 -0700 TruStory FM TruStory FM 4227 What’s the better Vietnam film in Oliver Stone’s career – _Platoon_ or _Born on the Fourth of July_? How well does Tom Cruise work in the lead role, especially at this point in his career? And how does this film show the culmination of everything Stone’s learned to tell the filmic stories he wants to tell over the course of the 80s? Tune in to this week’s show to hear us answer these questions and more! What’s the better Vietnam film in Oliver Stone’s career – _Platoon_ or _Born on the Fourth of July_? How well does Tom Cruise work in the lead role, especially at this point in his career? And how does this film show the culmination of everything Stone’ film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright