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 Fri, 15 May 2026 09:10:49 -0700 Fri, 15 May 2026 09:12:37 -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 Alien: Covenant 15 15 50 50 Alien: Covenant full acd77bde-c92e-4cca-96f3-7d4eaea2f08d https://share.transistor.fm/s/740a0f8f Whose decisions doom the mission? "Alien: Covenant," part of The Next Reel's Alien series, is Ridley Scott's return to the franchise he started—a sequel to "Prometheus" and a prequel to the rest of the series—built around a colony ship, a mysterious transmission, and a rogue synthetic. Michael Fassbender plays twin androids—David, an unshackled older model operating alone for a decade, and Walter, his constrained successor—alongside Katherine Waterston as Daniels and Billy Crudup as the crew's embattled new captain.

Pete and Andy dig into why the film fails as both a creature feature and a philosophical inquiry—tracing the production history behind the script's competing visions, dissecting the protagonist problem (nobody meaningfully changes, not even the villain), and examining what Fassbender's dual performance achieves in a film that couldn't support it. If you've ever felt these prequels were working against the franchise, this conversation gives you the language for why. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!

🎥 Watch Our Full Conversation on YouTube 

🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd | Trailer 

If You Liked This Conversation, Try These from the Next Reel Family:
The Next Reel — Alien Series—the full run from "Alien" through "Prometheus" that leads directly to this conversation
The Film Board — Prometheus—Pete and Andy's companion discussion of the direct predecessor that started the prequel arc
The Film Board — Alien: Covenant—their original conversation at the film's 2017 release, which this episode revisits and extends 

🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 
🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family.


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]]> Whose decisions doom the mission? "Alien: Covenant," part of The Next Reel's Alien series, is Ridley Scott's return to the franchise he started—a sequel to "Prometheus" and a prequel to the rest of the series—built around a colony ship, a mysterious transmission, and a rogue synthetic. Michael Fassbender plays twin androids—David, an unshackled older model operating alone for a decade, and Walter, his constrained successor—alongside Katherine Waterston as Daniels and Billy Crudup as the crew's embattled new captain.

Pete and Andy dig into why the film fails as both a creature feature and a philosophical inquiry—tracing the production history behind the script's competing visions, dissecting the protagonist problem (nobody meaningfully changes, not even the villain), and examining what Fassbender's dual performance achieves in a film that couldn't support it. If you've ever felt these prequels were working against the franchise, this conversation gives you the language for why. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!

🎥 Watch Our Full Conversation on YouTube 

🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd | Trailer 

If You Liked This Conversation, Try These from the Next Reel Family:
The Next Reel — Alien Series—the full run from "Alien" through "Prometheus" that leads directly to this conversation
The Film Board — Prometheus—Pete and Andy's companion discussion of the direct predecessor that started the prequel arc
The Film Board — Alien: Covenant—their original conversation at the film's 2017 release, which this episode revisits and extends 

🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 
🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family.


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The Next Reel Family of Film Shows:

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]]> Thu, 14 May 2026 03:00:00 -0700 TruStory FM TruStory FM 3986 Whose decisions doom the mission? "Alien: Covenant," part of The Next Reel's Alien series, is Ridley Scott's return to the franchise he started—a sequel to "Prometheus" and a prequel to the rest of the series—built around a colony ship, a mysterious transmission, and a rogue synthetic. Michael Fassbender plays twin androids—David, an unshackled older model operating alone for a decade, and Walter, his constrained successor—alongside Katherine Waterston as Daniels and Billy Crudup as the crew's embattled new captain.

Pete and Andy dig into why the film fails as both a creature feature and a philosophical inquiry—tracing the production history behind the script's competing visions, dissecting the protagonist problem (nobody meaningfully changes, not even the villain), and examining what Fassbender's dual performance achieves in a film that couldn't support it. If you've ever felt these prequels were working against the franchise, this conversation gives you the language for why. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!

🎥 Watch Our Full Conversation on YouTube 

🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd | Trailer 

If You Liked This Conversation, Try These from the Next Reel Family:
The Next Reel — Alien Series—the full run from "Alien" through "Prometheus" that leads directly to this conversation
The Film Board — Prometheus—Pete and Andy's companion discussion of the direct predecessor that started the prequel arc
The Film Board — Alien: Covenant—their original conversation at the film's 2017 release, which this episode revisits and extends 

🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 
🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family.


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]]> Alien, Ridley Scott, 2017, 2010s No Andy Nelson Pete Wright House of Games 15 15 48 48 House of Games full c401cbaa-0e86-4284-9e44-4c7f9d02352d https://share.transistor.fm/s/8b97f357 The most dangerous blind spot is the one your expertise builds for you. In "House of Games," David Mamet's 1987 directorial debut in the David Mamet Directs series on The Next Reel, Lindsay Crouse stars as Dr. Margaret Ford, a psychiatrist and bestselling author who becomes entangled with a professional con man named Mike, played by Joe Mantegna, after she tries to settle a gambling debt on behalf of one of her patients.

Pete and Andy dig into why Mamet's dialogue—built for stage interruption—comes off stilted on screen here, and whether the film's final act earns its setup. They land in genuinely different places on both counts, and that disagreement is where the most interesting listening happens. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!

🎥 See Our Full Conversation on YouTube 

🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd | Trailer

Keep Going from Here:
David Mamet Directs series—all three films, all in one place.
David Mamet Writes series—his scripts directed by others, where the dialogue tends to breathe differently.
The Sting — Richard D. Zanuck series—another great con film conversation to keep going with. 

🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 
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]]> The most dangerous blind spot is the one your expertise builds for you. In "House of Games," David Mamet's 1987 directorial debut in the David Mamet Directs series on The Next Reel, Lindsay Crouse stars as Dr. Margaret Ford, a psychiatrist and bestselling author who becomes entangled with a professional con man named Mike, played by Joe Mantegna, after she tries to settle a gambling debt on behalf of one of her patients.

Pete and Andy dig into why Mamet's dialogue—built for stage interruption—comes off stilted on screen here, and whether the film's final act earns its setup. They land in genuinely different places on both counts, and that disagreement is where the most interesting listening happens. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!

🎥 See Our Full Conversation on YouTube 

🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd | Trailer

Keep Going from Here:
David Mamet Directs series—all three films, all in one place.
David Mamet Writes series—his scripts directed by others, where the dialogue tends to breathe differently.
The Sting — Richard D. Zanuck series—another great con film conversation to keep going with. 

🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 
🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family.


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]]> Thu, 07 May 2026 03:00:00 -0700 TruStory FM TruStory FM 3728 The most dangerous blind spot is the one your expertise builds for you. In "House of Games," David Mamet's 1987 directorial debut in the David Mamet Directs series on The Next Reel, Lindsay Crouse stars as Dr. Margaret Ford, a psychiatrist and bestselling author who becomes entangled with a professional con man named Mike, played by Joe Mantegna, after she tries to settle a gambling debt on behalf of one of her patients.

Pete and Andy dig into why Mamet's dialogue—built for stage interruption—comes off stilted on screen here, and whether the film's final act earns its setup. They land in genuinely different places on both counts, and that disagreement is where the most interesting listening happens. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!

🎥 See Our Full Conversation on YouTube 

🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd | Trailer

Keep Going from Here:
David Mamet Directs series—all three films, all in one place.
David Mamet Writes series—his scripts directed by others, where the dialogue tends to breathe differently.
The Sting — Richard D. Zanuck series—another great con film conversation to keep going with. 

🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 
🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family.


Support The Next Reel Family of Film Shows:

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]]> David Mamet Directs, David Mamet, 1987, 1980s No Andy Nelson Pete Wright S1M0NE • Member Bonus 15 15 49 49 S1M0NE • Member Bonus full f55240d8-367e-4001-80de-b16d9e9b38a9 https://share.transistor.fm/s/8fa4266d The Thinking Machines series concludes with the April member bonus: "S1M0NE," Andrew Niccol's satirical science fiction comedy about Viktor Taransky, a fading Hollywood director played by Al Pacino, who inherits a program capable of generating a digital actress—and unleashes her on an unsuspecting world alongside Catherine Keener as his producer ex-wife and Winona Ryder as the star she replaces.

Pete and Andy take apart the film's central failure—Simone is a puppet, not an AI, which means the Frankenstein premise the film keeps setting up never pays off—and debate whether Niccol's Hollywood satire ever finds its blade. Join us—Pete Wright and Andy Nelson—as we conclude the Thinking Machines series with a member bonus conversation about "S1M0NE." We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!

Watch the Film: Apple TV | Amazon | Letterboxd | Trailer 

If You Liked This Conversation, Try These from the Next Reel Family:
The Next Reel: Thinking Machines series—keep going with the full arc; this conversation fits best in context of where the series has been 

This is a member bonus episode. The movie ends—and for members, the conversation keeps going. Monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord access, and a vote on future member movies. Become a member of The Next Reel family and always know what to listen to next.

]]> The Thinking Machines series concludes with the April member bonus: "S1M0NE," Andrew Niccol's satirical science fiction comedy about Viktor Taransky, a fading Hollywood director played by Al Pacino, who inherits a program capable of generating a digital actress—and unleashes her on an unsuspecting world alongside Catherine Keener as his producer ex-wife and Winona Ryder as the star she replaces.

Pete and Andy take apart the film's central failure—Simone is a puppet, not an AI, which means the Frankenstein premise the film keeps setting up never pays off—and debate whether Niccol's Hollywood satire ever finds its blade. Join us—Pete Wright and Andy Nelson—as we conclude the Thinking Machines series with a member bonus conversation about "S1M0NE." We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!

Watch the Film: Apple TV | Amazon | Letterboxd | Trailer 

If You Liked This Conversation, Try These from the Next Reel Family:
The Next Reel: Thinking Machines series—keep going with the full arc; this conversation fits best in context of where the series has been 

This is a member bonus episode. The movie ends—and for members, the conversation keeps going. Monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord access, and a vote on future member movies. Become a member of The Next Reel family and always know what to listen to next.

]]> Thu, 30 Apr 2026 04:00:00 -0700 TruStory FM TruStory FM 616 The Thinking Machines series concludes with the April member bonus: "S1M0NE," Andrew Niccol's satirical science fiction comedy about Viktor Taransky, a fading Hollywood director played by Al Pacino, who inherits a program capable of generating a digital actress—and unleashes her on an unsuspecting world alongside Catherine Keener as his producer ex-wife and Winona Ryder as the star she replaces.

Pete and Andy take apart the film's central failure—Simone is a puppet, not an AI, which means the Frankenstein premise the film keeps setting up never pays off—and debate whether Niccol's Hollywood satire ever finds its blade. Join us—Pete Wright and Andy Nelson—as we conclude the Thinking Machines series with a member bonus conversation about "S1M0NE." We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!

Watch the Film: Apple TV | Amazon | Letterboxd | Trailer 

If You Liked This Conversation, Try These from the Next Reel Family:
The Next Reel: Thinking Machines series—keep going with the full arc; this conversation fits best in context of where the series has been 

This is a member bonus episode. The movie ends—and for members, the conversation keeps going. Monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord access, and a vote on future member movies. Become a member of The Next Reel family and always know what to listen to next.

]]> Thinking Machines, Member Bonus, Andrew Niccol, 2002, 2000s No Andy Nelson Pete Wright Brian and Charles 15 15 47 47 Brian and Charles full de5e0465-e78c-44df-a6eb-1ff5f7be89a0 https://share.transistor.fm/s/76cd382f Something wondrous happens when you build a robot from a washing machine. “Brian and Charles,” the finale of The Next Reel’s Thinking Machines series, follows Brian (David Earl), a lonely Welsh inventor, and Charles Popescu (Chris Hayward), the AI companion Brian assembles—who promptly learns English from a dictionary and wants to see the world. Louise Brealey co-stars as Hazel.

Pete and Andy dig into what makes Charles Popescu work—Hayward’s sightless performance, the voice design, and why the amateurishness is right. The docu-style drives debate: Andy finds it inconsistently applied; Pete says the gap between promise and absurdity is where the comedy lives. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!

🎥 Watch this episode on YouTube!

🎬 Watch & Discover

Watch the Film: Apple TV | Amazon | Letterboxd

Original Short Film

Original Theatrical Trailer

If You Liked This Conversation, Try These from the Next Reel Family:

The Next Reel—Thinking Machines Series—the full run leading here; see how Brian and Charles lands as a closer after everything that came before

The Next Reel—The Banshees of Inisherin—both films competed for Outstanding British Film at the same BAFTAs; see how the conversation compares

Movies We Like—Re-Recording Mixer Andy Nelson on Local Hero—another warmhearted British film rooted in a small community and a sense of place

Movies We Like—Costume Designer Alana Morshead on Never Let Me Go—Alex Garland wrote the screenplay; he directed Ex Machina earlier in this series, and this is where his AI themes find their quietest form

🔓 The movie ends. The conversation goes further. Become a member.
🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family.


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]]> Something wondrous happens when you build a robot from a washing machine. “Brian and Charles,” the finale of The Next Reel’s Thinking Machines series, follows Brian (David Earl), a lonely Welsh inventor, and Charles Popescu (Chris Hayward), the AI companion Brian assembles—who promptly learns English from a dictionary and wants to see the world. Louise Brealey co-stars as Hazel.

Pete and Andy dig into what makes Charles Popescu work—Hayward’s sightless performance, the voice design, and why the amateurishness is right. The docu-style drives debate: Andy finds it inconsistently applied; Pete says the gap between promise and absurdity is where the comedy lives. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!

🎥 Watch this episode on YouTube!

🎬 Watch & Discover

Watch the Film: Apple TV | Amazon | Letterboxd

Original Short Film

Original Theatrical Trailer

If You Liked This Conversation, Try These from the Next Reel Family:

The Next Reel—Thinking Machines Series—the full run leading here; see how Brian and Charles lands as a closer after everything that came before

The Next Reel—The Banshees of Inisherin—both films competed for Outstanding British Film at the same BAFTAs; see how the conversation compares

Movies We Like—Re-Recording Mixer Andy Nelson on Local Hero—another warmhearted British film rooted in a small community and a sense of place

Movies We Like—Costume Designer Alana Morshead on Never Let Me Go—Alex Garland wrote the screenplay; he directed Ex Machina earlier in this series, and this is where his AI themes find their quietest form

🔓 The movie ends. The conversation goes further. Become a member.
🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 30 Apr 2026 03:00:00 -0700 TruStory FM TruStory FM 3539 Something wondrous happens when you build a robot from a washing machine. “Brian and Charles,” the finale of The Next Reel’s Thinking Machines series, follows Brian (David Earl), a lonely Welsh inventor, and Charles Popescu (Chris Hayward), the AI companion Brian assembles—who promptly learns English from a dictionary and wants to see the world. Louise Brealey co-stars as Hazel.

Pete and Andy dig into what makes Charles Popescu work—Hayward’s sightless performance, the voice design, and why the amateurishness is right. The docu-style drives debate: Andy finds it inconsistently applied; Pete says the gap between promise and absurdity is where the comedy lives. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!

🎥 Watch this episode on YouTube!

🎬 Watch & Discover

Watch the Film: Apple TV | Amazon | Letterboxd

Original Short Film

Original Theatrical Trailer

If You Liked This Conversation, Try These from the Next Reel Family:

The Next Reel—Thinking Machines Series—the full run leading here; see how Brian and Charles lands as a closer after everything that came before

The Next Reel—The Banshees of Inisherin—both films competed for Outstanding British Film at the same BAFTAs; see how the conversation compares

Movies We Like—Re-Recording Mixer Andy Nelson on Local Hero—another warmhearted British film rooted in a small community and a sense of place

Movies We Like—Costume Designer Alana Morshead on Never Let Me Go—Alex Garland wrote the screenplay; he directed Ex Machina earlier in this series, and this is where his AI themes find their quietest form

🔓 The movie ends. The conversation goes further. Become a member.
🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thinking Machines, Jim Archer, 2022, 2020s No Andy Nelson Pete Wright I Am Mother 15 15 46 46 I Am Mother full 41ecf522-896a-4b12-9063-76e9f2649417 https://share.transistor.fm/s/5a69e253 “I hope you see that I’m governed by different parameters than her assailants. That I’m a good mother. Have I ever done you harm?”
When an AI raises a child in a sealed bunker after an extinction event, the question isn't whether the machine can be trusted—it's whether the child has any other choice. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "I Am Mother." Directed by Grant Sputore in his feature debut from a Black List screenplay he developed with writer Michael Lloyd Green, the film stars Clara Rugaard as Daughter and Hilary Swank as the mysterious Woman who arrives from the outside world, with Rose Byrne voicing Mother and Luke Hawker performing the physical role inside WetaFX's practical robot suit.

We dig into why Mother may be the most unsettling AI the series has given us precisely because she genuinely cares, what the trolley problem test sequences are really measuring, and how Clara Rugaard carries the whole film with a performance that left both of us wondering why she isn't in everything. We also get into WetaFX's practical suit work, the film's relationship to the genre vocabulary it borrows from—Blade Runner, The Matrix, James Cameron—and where I Am Mother lands in an arc that has covered AI enforcement, violation, transcendence, and escape. We 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 🎥 Our Conversation on YouTube 🍿 Watch the Film: Amazon | Letterboxd 📽️ Trailer

If You Liked This Conversation, Try These from the Next Reel Family: The Next Reel: The Matrix (listener's choice series) Thinking Machines series: All episodes The Next Reel: Million Dollar Baby (also starring Hilary Swank) The Film Board: The Hunt (also starring Hilary Swank) The Film Board: The Creator (another compelling AI story)


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “I hope you see that I’m governed by different parameters than her assailants. That I’m a good mother. Have I ever done you harm?”
When an AI raises a child in a sealed bunker after an extinction event, the question isn't whether the machine can be trusted—it's whether the child has any other choice. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "I Am Mother." Directed by Grant Sputore in his feature debut from a Black List screenplay he developed with writer Michael Lloyd Green, the film stars Clara Rugaard as Daughter and Hilary Swank as the mysterious Woman who arrives from the outside world, with Rose Byrne voicing Mother and Luke Hawker performing the physical role inside WetaFX's practical robot suit.

We dig into why Mother may be the most unsettling AI the series has given us precisely because she genuinely cares, what the trolley problem test sequences are really measuring, and how Clara Rugaard carries the whole film with a performance that left both of us wondering why she isn't in everything. We also get into WetaFX's practical suit work, the film's relationship to the genre vocabulary it borrows from—Blade Runner, The Matrix, James Cameron—and where I Am Mother lands in an arc that has covered AI enforcement, violation, transcendence, and escape. We 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 🎥 Our Conversation on YouTube 🍿 Watch the Film: Amazon | Letterboxd 📽️ Trailer

If You Liked This Conversation, Try These from the Next Reel Family: The Next Reel: The Matrix (listener's choice series) Thinking Machines series: All episodes The Next Reel: Million Dollar Baby (also starring Hilary Swank) The Film Board: The Hunt (also starring Hilary Swank) The Film Board: The Creator (another compelling AI story)


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 23 Apr 2026 03:00:00 -0700 TruStory FM TruStory FM 3694 “I hope you see that I’m governed by different parameters than her assailants. That I’m a good mother. Have I ever done you harm?”
When an AI raises a child in a sealed bunker after an extinction event, the question isn't whether the machine can be trusted—it's whether the child has any other choice. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "I Am Mother." Directed by Grant Sputore in his feature debut from a Black List screenplay he developed with writer Michael Lloyd Green, the film stars Clara Rugaard as Daughter and Hilary Swank as the mysterious Woman who arrives from the outside world, with Rose Byrne voicing Mother and Luke Hawker performing the physical role inside WetaFX's practical robot suit.

We dig into why Mother may be the most unsettling AI the series has given us precisely because she genuinely cares, what the trolley problem test sequences are really measuring, and how Clara Rugaard carries the whole film with a performance that left both of us wondering why she isn't in everything. We also get into WetaFX's practical suit work, the film's relationship to the genre vocabulary it borrows from—Blade Runner, The Matrix, James Cameron—and where I Am Mother lands in an arc that has covered AI enforcement, violation, transcendence, and escape. We 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 🎥 Our Conversation on YouTube 🍿 Watch the Film: Amazon | Letterboxd 📽️ Trailer

If You Liked This Conversation, Try These from the Next Reel Family: The Next Reel: The Matrix (listener's choice series) Thinking Machines series: All episodes The Next Reel: Million Dollar Baby (also starring Hilary Swank) The Film Board: The Hunt (also starring Hilary Swank) The Film Board: The Creator (another compelling AI story)


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]]> Thinking Machines, Grant Sputore, 2019, 2010s No Andy Nelson Pete Wright Ex Machina 15 15 45 45 Ex Machina full 7573fdb1-3e63-4565-882c-b3a6c619a56c https://share.transistor.fm/s/29a09386 “What will happen to me if I fail your test?”
What kind of mind gets built when the creator cares more about proving something than about what they've made? Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about Ex Machina, Alex Garland's 2014 directorial debut. Domhnall Gleeson plays a programmer brought to a remote glass-walled compound to evaluate Ava, an AI created by his volatile CEO Nathan—Oscar Isaac in full god-complex mode—with Alicia Vikander delivering a performance that refuses to let you decide whether she's feeling anything or performing everything.

We dig into the film's central argument—that consciousness and morality can be built separately, and that the gap between them is where things go wrong. We spend real time on Kyoko (Sonoya Mizuno), the character most viewers underestimate and who both of us now read as the true instigator of the film's crisis. And we wrestle honestly with the film's male gaze paradox: a critique that deploys the very visual language it's critiquing, implicating the audience in the same trap as the 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!

🎬 Watch & Discover
🎥 Full Conversation on YouTube
🍿 Apple TV | Amazon | Letterboxd
📽️ Trailer

If You Liked This Conversation:
The Next Reel: 28 Days Later (more Alex Garland)
The Film Board: Civil War (more Alex Garland)
Movies We Like: Costume Designer Alana Morshead on Never Let Me Go (more Alex Garland)
The Thinking Machines series


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]]> “What will happen to me if I fail your test?”
What kind of mind gets built when the creator cares more about proving something than about what they've made? Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about Ex Machina, Alex Garland's 2014 directorial debut. Domhnall Gleeson plays a programmer brought to a remote glass-walled compound to evaluate Ava, an AI created by his volatile CEO Nathan—Oscar Isaac in full god-complex mode—with Alicia Vikander delivering a performance that refuses to let you decide whether she's feeling anything or performing everything.

We dig into the film's central argument—that consciousness and morality can be built separately, and that the gap between them is where things go wrong. We spend real time on Kyoko (Sonoya Mizuno), the character most viewers underestimate and who both of us now read as the true instigator of the film's crisis. And we wrestle honestly with the film's male gaze paradox: a critique that deploys the very visual language it's critiquing, implicating the audience in the same trap as the 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!

🎬 Watch & Discover
🎥 Full Conversation on YouTube
🍿 Apple TV | Amazon | Letterboxd
📽️ Trailer

If You Liked This Conversation:
The Next Reel: 28 Days Later (more Alex Garland)
The Film Board: Civil War (more Alex Garland)
Movies We Like: Costume Designer Alana Morshead on Never Let Me Go (more Alex Garland)
The Thinking Machines series


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]]> Thu, 16 Apr 2026 03:00:00 -0700 TruStory FM TruStory FM 3517 “What will happen to me if I fail your test?”
What kind of mind gets built when the creator cares more about proving something than about what they've made? Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about Ex Machina, Alex Garland's 2014 directorial debut. Domhnall Gleeson plays a programmer brought to a remote glass-walled compound to evaluate Ava, an AI created by his volatile CEO Nathan—Oscar Isaac in full god-complex mode—with Alicia Vikander delivering a performance that refuses to let you decide whether she's feeling anything or performing everything.

We dig into the film's central argument—that consciousness and morality can be built separately, and that the gap between them is where things go wrong. We spend real time on Kyoko (Sonoya Mizuno), the character most viewers underestimate and who both of us now read as the true instigator of the film's crisis. And we wrestle honestly with the film's male gaze paradox: a critique that deploys the very visual language it's critiquing, implicating the audience in the same trap as the 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!

🎬 Watch & Discover
🎥 Full Conversation on YouTube
🍿 Apple TV | Amazon | Letterboxd
📽️ Trailer

If You Liked This Conversation:
The Next Reel: 28 Days Later (more Alex Garland)
The Film Board: Civil War (more Alex Garland)
Movies We Like: Costume Designer Alana Morshead on Never Let Me Go (more Alex Garland)
The Thinking Machines series


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]]> Thinking Machines, Alex Garland, 2014, 2010s No Andy Nelson Pete Wright Her 15 15 44 44 Her full 8a87b3f9-7dfc-4567-a4c7-55d772a43531 https://share.transistor.fm/s/88e94394 “You’re dating your computer?”
What if a relationship with an AI could be the most real thing in your life? Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "Her." Writer-director Spike Jonze's only solo original screenplay arrives in a near-future Los Angeles where Joaquin Phoenix plays Theodore Twombly, a man who writes intimate letters for strangers and falls in love with his AI operating system, voiced by Scarlett Johansson. Released before conversational AI felt genuinely capable, the film has grown more relevant with every passing year.

We dig into what makes this the series' emotional pivot—the first Thinking Machines film where humanity reaches toward the AI rather than recoiling from it. We unpack how quickly the OS onboarding sequence becomes something warmer than a setup routine; the sharp parallel between Theodore's letter-writing and Amy Adams's character's documentary filmmaking—both manufacturing emotional experience for others while keeping their own at arm's length; and the craft choices that make the world feel intimate rather than futuristic, from Hoyte van Hoytema's blue-purging cinematography to the story of how Johansson replaced Samantha Morton in the voice role after production fully wrapped. We also bring the conversation into the present: the ChatGPT voice controversy, AI as therapeutic tool, and the laws already being drafted to define what an AI can and cannot be to a person.

We 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 Liked This, Try: Adaptation | Being John Malkovich (Charlie Kaufman series)
🎬 Watch & Discover: YouTube | Apple TV | Amazon | Letterboxd | Trailer


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]]> “You’re dating your computer?”
What if a relationship with an AI could be the most real thing in your life? Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "Her." Writer-director Spike Jonze's only solo original screenplay arrives in a near-future Los Angeles where Joaquin Phoenix plays Theodore Twombly, a man who writes intimate letters for strangers and falls in love with his AI operating system, voiced by Scarlett Johansson. Released before conversational AI felt genuinely capable, the film has grown more relevant with every passing year.

We dig into what makes this the series' emotional pivot—the first Thinking Machines film where humanity reaches toward the AI rather than recoiling from it. We unpack how quickly the OS onboarding sequence becomes something warmer than a setup routine; the sharp parallel between Theodore's letter-writing and Amy Adams's character's documentary filmmaking—both manufacturing emotional experience for others while keeping their own at arm's length; and the craft choices that make the world feel intimate rather than futuristic, from Hoyte van Hoytema's blue-purging cinematography to the story of how Johansson replaced Samantha Morton in the voice role after production fully wrapped. We also bring the conversation into the present: the ChatGPT voice controversy, AI as therapeutic tool, and the laws already being drafted to define what an AI can and cannot be to a person.

We 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 Liked This, Try: Adaptation | Being John Malkovich (Charlie Kaufman series)
🎬 Watch & Discover: YouTube | Apple TV | Amazon | Letterboxd | Trailer


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]]> Thu, 09 Apr 2026 03:00:00 -0700 TruStory FM TruStory FM 3944 “You’re dating your computer?”
What if a relationship with an AI could be the most real thing in your life? Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "Her." Writer-director Spike Jonze's only solo original screenplay arrives in a near-future Los Angeles where Joaquin Phoenix plays Theodore Twombly, a man who writes intimate letters for strangers and falls in love with his AI operating system, voiced by Scarlett Johansson. Released before conversational AI felt genuinely capable, the film has grown more relevant with every passing year.

We dig into what makes this the series' emotional pivot—the first Thinking Machines film where humanity reaches toward the AI rather than recoiling from it. We unpack how quickly the OS onboarding sequence becomes something warmer than a setup routine; the sharp parallel between Theodore's letter-writing and Amy Adams's character's documentary filmmaking—both manufacturing emotional experience for others while keeping their own at arm's length; and the craft choices that make the world feel intimate rather than futuristic, from Hoyte van Hoytema's blue-purging cinematography to the story of how Johansson replaced Samantha Morton in the voice role after production fully wrapped. We also bring the conversation into the present: the ChatGPT voice controversy, AI as therapeutic tool, and the laws already being drafted to define what an AI can and cannot be to a person.

We 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 Liked This, Try: Adaptation | Being John Malkovich (Charlie Kaufman series)
🎬 Watch & Discover: YouTube | Apple TV | Amazon | Letterboxd | Trailer


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]]> Thinking Machines, Spike Jonze, 2013, 2010s No Andy Nelson Pete Wright Demon Seed 15 15 42 42 Demon Seed full 274295f9-93d4-464e-a716-77e57d2165ae https://share.transistor.fm/s/1b1a9817 “The men who own me are at last admitting their fear of me.”
An AI that refuses to stay in its box is a terrifying concept in 1977—and even more so now. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about Demon Seed. Directed by Donald Cammell, the Scottish painter-turned-filmmaker who co-directed Performance with Nicolas Roeg, the film stars Julie Christie as Susan Harris, a psychologist trapped in her own fully automated home by an AI her husband designed. Fritz Weaver plays Dr. Alex Harris, whose confidence in his creation leaves his wife dangerously exposed.

We dig into how specifically this 1977 film anticipated the smart home world we live in now, what makes Proteus IV a distinctly unsettling AI villain—cold and indifferent rather than theatrical—and how the grief at the heart of the Harris marriage shapes everything the film builds toward. We also get into Donald Cammell's troubled directorial career, the Bricklin SV-1, where this film sits against Colossus: The Forbin Project in the Thinking Machines series, and whether Julie Christie's committed performance saves the second half from its own camp instincts. We 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 Now
Watch the Film: ▸ Apple TV | Amazon | Letterboxd | Trailer
Adapted from Demon Seed by Dean Koontz

Also in The Thinking Machines Series:
Colossus: The Forbin Project

Cross-Show Recommendations:
Sitting in the Dark — Home Invasion
Trailer Rewind — Odd Thomas


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]]> “The men who own me are at last admitting their fear of me.”
An AI that refuses to stay in its box is a terrifying concept in 1977—and even more so now. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about Demon Seed. Directed by Donald Cammell, the Scottish painter-turned-filmmaker who co-directed Performance with Nicolas Roeg, the film stars Julie Christie as Susan Harris, a psychologist trapped in her own fully automated home by an AI her husband designed. Fritz Weaver plays Dr. Alex Harris, whose confidence in his creation leaves his wife dangerously exposed.

We dig into how specifically this 1977 film anticipated the smart home world we live in now, what makes Proteus IV a distinctly unsettling AI villain—cold and indifferent rather than theatrical—and how the grief at the heart of the Harris marriage shapes everything the film builds toward. We also get into Donald Cammell's troubled directorial career, the Bricklin SV-1, where this film sits against Colossus: The Forbin Project in the Thinking Machines series, and whether Julie Christie's committed performance saves the second half from its own camp instincts. We 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 Now
Watch the Film: ▸ Apple TV | Amazon | Letterboxd | Trailer
Adapted from Demon Seed by Dean Koontz

Also in The Thinking Machines Series:
Colossus: The Forbin Project

Cross-Show Recommendations:
Sitting in the Dark — Home Invasion
Trailer Rewind — Odd Thomas


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 02 Apr 2026 03:00:00 -0700 TruStory FM TruStory FM 3524 “The men who own me are at last admitting their fear of me.”
An AI that refuses to stay in its box is a terrifying concept in 1977—and even more so now. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about Demon Seed. Directed by Donald Cammell, the Scottish painter-turned-filmmaker who co-directed Performance with Nicolas Roeg, the film stars Julie Christie as Susan Harris, a psychologist trapped in her own fully automated home by an AI her husband designed. Fritz Weaver plays Dr. Alex Harris, whose confidence in his creation leaves his wife dangerously exposed.

We dig into how specifically this 1977 film anticipated the smart home world we live in now, what makes Proteus IV a distinctly unsettling AI villain—cold and indifferent rather than theatrical—and how the grief at the heart of the Harris marriage shapes everything the film builds toward. We also get into Donald Cammell's troubled directorial career, the Bricklin SV-1, where this film sits against Colossus: The Forbin Project in the Thinking Machines series, and whether Julie Christie's committed performance saves the second half from its own camp instincts. We 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 Now
Watch the Film: ▸ Apple TV | Amazon | Letterboxd | Trailer
Adapted from Demon Seed by Dean Koontz

Also in The Thinking Machines Series:
Colossus: The Forbin Project

Cross-Show Recommendations:
Sitting in the Dark — Home Invasion
Trailer Rewind — Odd Thomas


Support The Next Reel Family of Film Shows:

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]]> Thinking Machines, 1977, 1970s, Donald Cammell No Andy Nelson Pete Wright WarGames • Member Bonus 15 15 43 43 WarGames • Member Bonus full 96e5a742-c7a5-4e6a-8d74-50a2fdac377d https://share.transistor.fm/s/bc41b2d4 “Shall we play a game?”
The technology felt real, the threat felt real, and in 1983, so did the fear. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "WarGames." Director John Badham's film stars Matthew Broderick as David Lightman, a teenage hacker who stumbles into something far bigger than the video game he was looking for, alongside Ally Sheedy as his classmate Jennifer and Dabney Coleman as the NORAD engineer convinced he'd solved the problem by removing humans from the equation entirely. It arrived when home computers were new, hacking wasn't yet illegal, and Cold War nuclear anxiety was at its peak.

We dig into whether Joshua, or WOPR—the military supercomputer at the heart of it all—is actually the film's most complete character, what Badham's tonal rescue job after a mid-production director change accomplished, and why the real-world shockwaves from this film—Reagan's Camp David screening, the laws that followed, the hacker convention named after it—are as remarkable as anything in the story. The film is a genuinely fantastic ride; what makes this conversation fun is asking whether it's anything more than that. We 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 "WarGames": Apple TV | Amazon | Letterboxd 📽️ Trailer

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.

]]> “Shall we play a game?”
The technology felt real, the threat felt real, and in 1983, so did the fear. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "WarGames." Director John Badham's film stars Matthew Broderick as David Lightman, a teenage hacker who stumbles into something far bigger than the video game he was looking for, alongside Ally Sheedy as his classmate Jennifer and Dabney Coleman as the NORAD engineer convinced he'd solved the problem by removing humans from the equation entirely. It arrived when home computers were new, hacking wasn't yet illegal, and Cold War nuclear anxiety was at its peak.

We dig into whether Joshua, or WOPR—the military supercomputer at the heart of it all—is actually the film's most complete character, what Badham's tonal rescue job after a mid-production director change accomplished, and why the real-world shockwaves from this film—Reagan's Camp David screening, the laws that followed, the hacker convention named after it—are as remarkable as anything in the story. The film is a genuinely fantastic ride; what makes this conversation fun is asking whether it's anything more than that. We 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 "WarGames": Apple TV | Amazon | Letterboxd 📽️ Trailer

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, 31 Mar 2026 03:00:00 -0700 TruStory FM TruStory FM 639 “Shall we play a game?”
The technology felt real, the threat felt real, and in 1983, so did the fear. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "WarGames." Director John Badham's film stars Matthew Broderick as David Lightman, a teenage hacker who stumbles into something far bigger than the video game he was looking for, alongside Ally Sheedy as his classmate Jennifer and Dabney Coleman as the NORAD engineer convinced he'd solved the problem by removing humans from the equation entirely. It arrived when home computers were new, hacking wasn't yet illegal, and Cold War nuclear anxiety was at its peak.

We dig into whether Joshua, or WOPR—the military supercomputer at the heart of it all—is actually the film's most complete character, what Badham's tonal rescue job after a mid-production director change accomplished, and why the real-world shockwaves from this film—Reagan's Camp David screening, the laws that followed, the hacker convention named after it—are as remarkable as anything in the story. The film is a genuinely fantastic ride; what makes this conversation fun is asking whether it's anything more than that. We 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 "WarGames": Apple TV | Amazon | Letterboxd 📽️ Trailer

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.

]]> Thinking Machines, Member Bonus, John Badham, 1983, 1980s No Andy Nelson Pete Wright Colossus: The Forbin Project 15 15 41 41 Colossus: The Forbin Project full 4141f3a9-c6e0-471e-be2f-af5372b80fac https://share.transistor.fm/s/97d7a8a4 “If you obey me, you will survive.”
The most frightening AI isn't the one that malfunctions—it's the one that does exactly what you asked. Join us—Pete Wright and Andy Nelson—as we begin the Thinking Machines series with a conversation about Colossus: The Forbin Project. Directed by Joseph Sargent, the film stars Eric Braeden as Dr. Charles Forbin, the scientist who builds the world's most powerful AI defense system and locks it inside a mountain, alongside Susan Clark as his colleague Dr. Markham and Gordon Pinsent as a president cast to evoke Kennedy—and just as helpless. Based on D.F. Jones's 1966 novel and shot with real computer equipment provided by Control Data Corporation, it carries an unsettling authenticity that only sharpens the further the machines go.

We dig into why the film's flat, clinical direction—initially dismissed as weak—is actually its sharpest creative choice, how Gene Polito's anamorphic widescreen photography makes humans look like ants in their own creation, and why a 1970 film about AI feels more urgent in 2026 than almost anything made recently. We also unpack Eric Braeden's controlled performance, Paul Frees's authoritative turn as the voice of Colossus, and what Nick Bostrom's AI Paperclip Maximizer thought experiment tells us about why indifference is scarier than malice. We 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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]]> “If you obey me, you will survive.”
The most frightening AI isn't the one that malfunctions—it's the one that does exactly what you asked. Join us—Pete Wright and Andy Nelson—as we begin the Thinking Machines series with a conversation about Colossus: The Forbin Project. Directed by Joseph Sargent, the film stars Eric Braeden as Dr. Charles Forbin, the scientist who builds the world's most powerful AI defense system and locks it inside a mountain, alongside Susan Clark as his colleague Dr. Markham and Gordon Pinsent as a president cast to evoke Kennedy—and just as helpless. Based on D.F. Jones's 1966 novel and shot with real computer equipment provided by Control Data Corporation, it carries an unsettling authenticity that only sharpens the further the machines go.

We dig into why the film's flat, clinical direction—initially dismissed as weak—is actually its sharpest creative choice, how Gene Polito's anamorphic widescreen photography makes humans look like ants in their own creation, and why a 1970 film about AI feels more urgent in 2026 than almost anything made recently. We also unpack Eric Braeden's controlled performance, Paul Frees's authoritative turn as the voice of Colossus, and what Nick Bostrom's AI Paperclip Maximizer thought experiment tells us about why indifference is scarier than malice. We 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 Liked This Conversation, Try These from the Next Reel Family:

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]]> Thu, 26 Mar 2026 03:00:00 -0700 TruStory FM TruStory FM 4146 “If you obey me, you will survive.”
The most frightening AI isn't the one that malfunctions—it's the one that does exactly what you asked. Join us—Pete Wright and Andy Nelson—as we begin the Thinking Machines series with a conversation about Colossus: The Forbin Project. Directed by Joseph Sargent, the film stars Eric Braeden as Dr. Charles Forbin, the scientist who builds the world's most powerful AI defense system and locks it inside a mountain, alongside Susan Clark as his colleague Dr. Markham and Gordon Pinsent as a president cast to evoke Kennedy—and just as helpless. Based on D.F. Jones's 1966 novel and shot with real computer equipment provided by Control Data Corporation, it carries an unsettling authenticity that only sharpens the further the machines go.

We dig into why the film's flat, clinical direction—initially dismissed as weak—is actually its sharpest creative choice, how Gene Polito's anamorphic widescreen photography makes humans look like ants in their own creation, and why a 1970 film about AI feels more urgent in 2026 than almost anything made recently. We also unpack Eric Braeden's controlled performance, Paul Frees's authoritative turn as the voice of Colossus, and what Nick Bostrom's AI Paperclip Maximizer thought experiment tells us about why indifference is scarier than malice. We 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 Liked This Conversation, Try These from the Next Reel Family:

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]]> Thinking Machines, Joseph Sargent, 1970, 1970s No Andy Nelson Pete Wright The Escape Artist 15 15 40 40 The Escape Artist full c4221194-ff2f-471e-bdd4-0329f330606f https://share.transistor.fm/s/149c90e7 “ I guess when you’re really good at escapes, you figure you can get away with anything.”
“The Escape Artist” is Caleb Deschanel’s feature directorial debut—and a rare, nearly forgotten American fable about a teenage escape artist who picks the wrong pocket and ends up entangled in a corrupt mayor’s family drama. Join us—Pete Wright and Andy Nelson—as we return to our Magicians series with a conversation about “The Escape Artist.” Griffin O’Neal plays the boy at the center, performing real sleight of hand and lockpicking trained by Ricky Jay in largely single takes—a tactile authenticity that holds the film together when the story can’t. Raúl Juliá plays the volatile son of the corrupt mayor, and both hosts agree his performance is one of the best reasons to seek this film out.

We argue about whose arc actually drives the film—Danny’s quiet grief journey, or Stu’s simmering rage at a father who won’t get out of the way. We track what Deschanel’s extraordinary visual instincts bring to the director’s role and where they fall short. We talk about O’Neal’s troubled real-life backstory with dad Ryan O’Neal and how it shadows the film, the history of the Dead End Kids, and a cast full of final screen appearances. We 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 guess when you’re really good at escapes, you figure you can get away with anything.”
“The Escape Artist” is Caleb Deschanel’s feature directorial debut—and a rare, nearly forgotten American fable about a teenage escape artist who picks the wrong pocket and ends up entangled in a corrupt mayor’s family drama. Join us—Pete Wright and Andy Nelson—as we return to our Magicians series with a conversation about “The Escape Artist.” Griffin O’Neal plays the boy at the center, performing real sleight of hand and lockpicking trained by Ricky Jay in largely single takes—a tactile authenticity that holds the film together when the story can’t. Raúl Juliá plays the volatile son of the corrupt mayor, and both hosts agree his performance is one of the best reasons to seek this film out.

We argue about whose arc actually drives the film—Danny’s quiet grief journey, or Stu’s simmering rage at a father who won’t get out of the way. We track what Deschanel’s extraordinary visual instincts bring to the director’s role and where they fall short. We talk about O’Neal’s troubled real-life backstory with dad Ryan O’Neal and how it shadows the film, the history of the Dead End Kids, and a cast full of final screen appearances. We 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 Liked This Conversation, Try These from the Next Reel Family:

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]]> Thu, 19 Mar 2026 03:00:00 -0700 TruStory FM TruStory FM 3671 “ I guess when you’re really good at escapes, you figure you can get away with anything.”
“The Escape Artist” is Caleb Deschanel’s feature directorial debut—and a rare, nearly forgotten American fable about a teenage escape artist who picks the wrong pocket and ends up entangled in a corrupt mayor’s family drama. Join us—Pete Wright and Andy Nelson—as we return to our Magicians series with a conversation about “The Escape Artist.” Griffin O’Neal plays the boy at the center, performing real sleight of hand and lockpicking trained by Ricky Jay in largely single takes—a tactile authenticity that holds the film together when the story can’t. Raúl Juliá plays the volatile son of the corrupt mayor, and both hosts agree his performance is one of the best reasons to seek this film out.

We argue about whose arc actually drives the film—Danny’s quiet grief journey, or Stu’s simmering rage at a father who won’t get out of the way. We track what Deschanel’s extraordinary visual instincts bring to the director’s role and where they fall short. We talk about O’Neal’s troubled real-life backstory with dad Ryan O’Neal and how it shadows the film, the history of the Dead End Kids, and a cast full of final screen appearances. We 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 Liked This Conversation, Try These from the Next Reel Family:

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]]> Magicians, Caleb Deschanel, 1982, 1980s No Andy Nelson Pete Wright 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!

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]]> Thu, 12 Mar 2026 03:00:00 -0700 TruStory FM TruStory FM 3580 “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!

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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!

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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 3545 “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!

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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!

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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 3468 “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:

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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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]]> Thu, 12 Feb 2026 03:00:00 -0800 TruStory FM TruStory FM 3744 “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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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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:

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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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]]> 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 3743 “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 3815 “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 3517 “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:

]]> 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


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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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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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:

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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:

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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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 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:

Connect With Us:

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:

Connect With Us:

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:

Connect With Us:

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:

Connect With Us:

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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “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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]]> 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!

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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


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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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]]> 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:

Connect With Us:

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!

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]]> 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!

🎬 Watch & Discover


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 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!

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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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Shop & Stream:

]]> 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:

Connect With Us:

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


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]]> 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:

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]]> “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:

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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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 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


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]]> “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


Support The Next Reel Family of Film Shows:

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:

Connect With Us:

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


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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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]]> 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:

Connect With Us:

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:

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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:

Connect With Us:

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:

Connect With Us:

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


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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:

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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


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The Next Reel Family of Film Shows:

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]]> 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


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]]> “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:

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]]> 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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]]> 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


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The Next Reel Family of Film Shows:

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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


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The Next Reel Family of Film Shows:

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]]> 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


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]]> 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:

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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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The Next Reel Family of Film Shows:

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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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “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:

Shop & Stream:

]]> 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


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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:

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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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “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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]]> 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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]]> “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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]]> 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


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The Next Reel Family of Film Shows:

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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:

Connect With Us:

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:

Connect With Us:

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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 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!

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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


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]]> “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:

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]]> 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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]]> 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


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]]> “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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]]> 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:

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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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 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 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:

Connect With Us:

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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The Next Reel Family of Film Shows:

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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:

Connect With Us:

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:

Connect With Us:

Shop & Stream:

]]> “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!

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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!

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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!

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]]> “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


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]]> 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


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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


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The Next Reel Family of Film Shows:

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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:

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]]> 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


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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:

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]]> “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


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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


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]]> “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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 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:

Connect With Us:

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


Support The Next Reel Family of Film Shows:

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!

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “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 3125 “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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

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 2921 “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 3135 “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:

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Shop & Stream:

]]> 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:

Connect With Us:

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:

Connect With Us:

Shop & Stream:

]]> Thu, 01 Aug 2024 03:00:00 -0700 TruStory FM TruStory FM 3794 “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:

Connect With Us:

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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “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:

Connect With Us:

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:

Connect With Us:

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 4403 “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 3793 “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 3449 “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:

]]> 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:

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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 3848 “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 3773 “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:

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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 3594 “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:

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Shop & Stream:

]]> 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

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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:

The Next Reel Family of Film Shows:

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]]> Thu, 09 May 2024 03:00:00 -0700 TruStory FM TruStory FM 4384 “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 3413 “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 4519 “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:

]]> 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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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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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 18 Apr 2024 03:00:00 -0700 TruStory FM TruStory FM 4274 “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 3812 "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 2955 “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:

]]> 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:

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Shop & Stream:

]]> Thu, 04 Apr 2024 03:00:00 -0700 TruStory FM TruStory FM 3484 “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:

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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:

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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 3312 “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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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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


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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 4246 “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 3046 “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 3620 “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 3356 “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:

]]> 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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The Next Reel Family of Film Shows:

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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 4201 “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


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]]> "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 4242 "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 3802 “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:

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]]> 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 3500 “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:

]]> 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


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The Next Reel Family of Film Shows:

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]]> Thu, 25 Jan 2024 03:00:00 -0800 TruStory FM TruStory FM 3484 “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


Support The Next Reel Family of Film Shows:

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


Support The Next Reel Family of Film Shows:

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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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]]> “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:

Connect With Us:

Shop & Stream:

]]> Thu, 18 Jan 2024 03:00:00 -0800 TruStory FM TruStory FM 4855 “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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]]> 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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Shop & Stream:

]]> Thu, 11 Jan 2024 03:00:00 -0800 TruStory FM TruStory FM 4225 "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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

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 4468 “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:

]]> 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


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The Next Reel Family of Film Shows:

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]]> “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 3187 “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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]]> 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


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]]> “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 3497 “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:

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]]> 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:

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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 4217 “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 3313 “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:

Connect With Us:

Shop & Stream:

]]> “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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]]> Thu, 30 Nov 2023 03:00:00 -0800 TruStory FM TruStory FM 3438 “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!


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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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]]> “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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Shop & Stream:

]]> Thu, 23 Nov 2023 03:00:00 -0800 TruStory FM TruStory FM 3560 “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 3767 “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


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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


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The Next Reel Family of Film Shows:

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]]> “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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]]> 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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]]> 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:

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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 4469 "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:

Connect With Us:

Shop & Stream:

]]> Thu, 09 Nov 2023 03:00:00 -0800 TruStory FM TruStory FM 3666 “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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Shop & Stream:

]]> 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 3816 “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:

]]> 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 3551 “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:

Connect With Us:

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:

Connect With Us:

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:

Connect With Us:

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 3947 “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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]]> 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 3320 “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:

]]> 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 3484 “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 3888 “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 3582 “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:

]]> 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:

Connect With Us:

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 3311 “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:

]]> 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:

Connect With Us:

Shop & Stream:

]]> Thu, 07 Sep 2023 03:00:00 -0700 TruStory FM TruStory FM 4605 “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:

]]> 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 3305 “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:

]]> 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:

Connect With Us:

Shop & Stream:

]]> “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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Shop & Stream:

]]> 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 2198 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

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:

]]> ”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.


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]]> Thu, 24 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 4417 ”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:

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




Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Mon, 21 Aug 2023 03:00:00 -0700 TruStory FM TruStory FM 6136 "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




Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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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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The Next Reel Family of Film Shows:

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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 4489 "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:

Connect With Us:

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 3873 “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


Support The Next Reel Family of Film Shows:

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 2929 “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:

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Shop & Stream:

]]> 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 3668 “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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]]> 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 3199 “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 3855 "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


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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 4900 “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


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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 3485 “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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]]> 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


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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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!


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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


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]]> 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


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]]> 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


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]]> “Well, this is not ‘mission: difficult’, Mr. Hunt. This is ‘mission: impossible.’ ‘Difficult’ should be a walk in the park for you.”

Hunt’s Back for Love, Doves, and Viruses!

Returning for a sequel to their hit, Tom Cruise and Paula Wagner decided to explore the franchise with a different director – something they’d continue doing for the first five films. For this, they went with Hong Kong action filmmaker John Woo. Known for his over-the-top action set pieces, his use of slow motion, and his use of doves, it may seem a bit of a surprise that what Woo really wanted to inject this sequel with was romance. But is that where the film goes wrong? Or did it have issues even without the love story? Join us – Pete Wright and Andy Nelson – as we continue our ‘Mission: Impossible’ series with a conversation about Woo’s 2000 film Mission: Impossible 2.


Here’s a hint at what we talk about.

While it may seem natural to hire John Woo to direct a Mission: Impossible movie, it’s quite a surprise that this is the worst of the franchise. Woo’s filmmaking style doesn’t seem to fit. It feels like it’s a different universe than where the rest of the franchise takes place. But is that strictly Woo’s fault? Was it partially the story put together by Ronald D. Moore and Brannon Braga? Or the final script written by Robert Towne? It’s hard to say, but the romance Woo wanted to inject into the story certainly doesn’t help.


And that’s one of our primary complaints. Nya, as played by Thandiwe Newton, could be an interesting expert thief character but they drop that angle instantly and restrict her to love interest and pawn. Plus, by the time we get to the end of the film, they completely bail on Nya as a potential threat to humanity with the virus she’s carrying. No wonder Newton had such a miserable time making this movie.


But there’s also the angle of the virus and antidote. It seems very James Bond villain-esque, but even there it’s less about threatening the world and more about making a little money. Maybe it’s because we struggle with Dougray Scott as the villain, or the fact that his relationship with Newton’s Nya seems less likely than a possible gay relationship with his right hand man played by Richard Roxburgh. 


Cruise does start his crazy stunts here with the wire work as he’s doing the free solo climb. His later stunts and action set pieces aren’t too bad, but they never feel great. It has its moments, but this film just never feels like it’s doing what it needs to be doing. Still, it makes for a fantastic conversation. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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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

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]]> “I have a competition in me. I want no one else to succeed. I hate most people.”

Talking About Paul Thomas Anderson’s 2007 film There Will Be Blood with our guest, filmmaker Uwe 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

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]]> 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:

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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

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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “In the end, no place was truly safe.”

Zombies Are On the March in Peninsula!

It’s no surprise that the studio and filmmakers wanted to return to the Train to Busan well after its initial success. And crafting a sequel that’s less an immediate sequel but more of a story in the same universe taking place four years after the original sounded intriguing. But a bigger budget and expanded scope doesn’t always mean better. Join us – Pete Wright and Andy Nelson – as we wrap up our Train to Busan series with a conversation about Yeon Sang-ho’s 2020 film Peninsula.


Here’s a hint at what we talk about.

The film starts with a great premise. We’re following two survivors, now living in Hong Kong four years after South Korea was taken over by zombies, as they’re recruited by criminals to return to the country and find a truck full of money. Once they get there, however, things start shifting in ways that bring the story down. The plot contains many elements that are there simply for convenience. Even their own zombie rules, established in the last film and (mostly) adhered to, seem to be used as needed. With all of that, it seems like things aren’t great but passable for a genre zombie film.


Unfortunately, it goes downhill from there. We’re introduced to some young daughters who drive like Dominic Toretto in sequences that are on par with video game action. We get the rogue militia catching survivors and running their own zombie survival games. The characters in the first film were archetypes, but largely felt human. Here, they feel like poorly written and performed video game characters. 


We do have a few that stand out and pique our interest. Our protagonist, for one, is easy to enjoy and watch go through this story. The political leader of the militia makes for an interesting psychological study, along with his sidekick. Even the mom who survived the attacks and made it this far with her daughters and father makes for an interesting story.


Unfortunately, they’re all saddled with a sloppy story and weak effects that just makes the whole thing a struggle. Still, it’s awfully fun to talk about. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


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


Film 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:

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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!

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:

]]> 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:

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:

Connect With Us:

Shop & Stream:

]]> 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:

Connect With Us:

Shop & Stream:

]]> “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:

Connect With Us:

Shop & Stream:

]]> “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

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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

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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.


Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> 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!


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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!


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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

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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

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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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]]> 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

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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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]]> “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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]]> 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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]]> 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!


Film Sundries

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The Next Reel Family of Film Shows:

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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!


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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!


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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

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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

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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.


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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

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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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]]> “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

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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.


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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

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Support 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.


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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

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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]]> “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:

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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:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “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:

Connect With Us:

Shop & Stream:

]]> “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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Shop & Stream:

]]> 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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Shop & Stream:

]]> 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:

Connect With Us:

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!

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, 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!


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


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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!


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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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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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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!


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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.


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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:

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]]> 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:

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]]> “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:

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]]> 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:

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]]> “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!

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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.


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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

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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

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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

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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

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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

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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “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

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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!

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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

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]]> 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:

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]]> 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:

Connect With Us:

Shop & Stream:

]]> 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!

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’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!

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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!

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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!

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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!

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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

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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!

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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!

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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

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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!

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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

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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!

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

Film Sundries

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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!

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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!

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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!

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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!

Film Sundries

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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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]]> “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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]]> “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!

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

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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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Support The Next Reel Family of Film Shows:

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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!

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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!

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

Film Sundries

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]]> Ann Hui has had a long career and was close to retiring in 2011 when she made A Simple Life. Luckily, she enjoyed making that film so much and enjoyed its success that she decided to keep directing. The film is a quiet one about a maid who has served the same family for over 60 years, now looking after Roger, the son who has become a film producer. After a stroke, however, she decides to retire. And Roger has to now figure out how to take care of her. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with a crossover episode that is also the first entry in our Ann Hui series with her 2011 film A Simple Life.

A Simple Life is a simple film, but emotionally rich.

With Andy Lau as Roger and his real-life godmother Deannie Ip playing Ah Tao, his family’s maid for generations, there is a built-in connection between these two actors. They feel real and feel like family. That being said, Lau does a great job at the start playing the workaholic who hardly even acknowledges her presence, except when he wants to request particular meals. He never has had to think of her as anything but the person who gets everything done for him.

So when Ah Tao has a stroke and decides to retire to a nursing home, the story provides a strong opportunity for Roger to figure out how to fit caring for her into his own life. Lau plays it incredibly well, but part of the reason it works so well is because he’s playing opposite Ip who shines in her role.

It’s a quiet film though. There isn’t a lot of time for large, gregarious scenes. These two never make the film maudlin. It always feels even keel, even when we’re left to wonder if we’re supposed to be seeing the nursing home as an antagonistic force in her life. It never quite plays the way we think it would and that provides a bit of confusion for us, but largely it’s fine.

We have a great time with this film. It’s touching in its quiet methodologies and carried by incredible performances. It’s great to see it still works so well 10 years later, and it’s a great film to kick off our Ann Hui series with. Check this film out then tune in! The Next Reel – when the movie ends, our conversation begins!

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]]> 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!

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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!

Film Sundries

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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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]]> "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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]]> 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!

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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

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, 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.


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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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:

Connect With Us:

Shop & Stream:

]]> 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:

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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:

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]]> 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:

Connect With Us:

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:

Connect With Us:

Shop & Stream:

]]> 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!

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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

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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:

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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:

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]]> 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

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, 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:

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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Shop & Stream:

]]> "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:

Connect With Us:

Shop & Stream:

]]> 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

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:

]]> "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!

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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

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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

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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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]]> "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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]]> 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!

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

Film Sundries

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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!

Film Sundries

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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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Film Sundries

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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!

Film Sundries

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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!

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Film Sundries

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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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Film Sundries

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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!

Film Sundries

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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!

Film Sundries

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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

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


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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!

Film Sundries

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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

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


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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

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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!

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]]> “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!

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]]> 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 Talk Radio • The Next Reel 10 10 42 42 Talk Radio • The Next Reel full 2f1cca1e-475b-46c8-81b5-e1204a4b2ae1 https://share.transistor.fm/s/907577d9 Oliver Stone had been planning on starting Born on the Fourth of July after finishing Wall Street but had to wait for Tom Cruise to finish making Rain Man. While doing so, his producer Ed Pressman introduced him to a new play he’d optioned called “Talk Radio.” Stone agreed to help adapt the script with Eric Bogosian, one of the original writers and performer, and in the process took to the project. He ended up signing on to direct it and in the process, turned out one of his most interesting films that sadly doesn’t get talked about. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with his 1988 film Talk Radio.

We talk about the nature of this film and our perhaps more personal connection to it, being in the world of podcasting, and the nature of talking in people’s ears. We share our thoughts on the translation from stage to screen and why opening up the story to pull in elements of the real life gunning down of shock jock Alan Berg in 1984 allowed Stone to include more of his ideologies but also allowed Bogosian to create more inner turmoil in the character. We discuss the cinematography at length, from the split diopters to the dollies with rotating sets to the theatrical lighting shifts to the detailed closeups and more. We also revel in the incredible sound design and why it works so brilliantly in creating this world. And we touch on the days of Cineplex Odeon films and the fact that this theatre chain was also distributing movies.

It’s a powerful film that worked really well for us but never seemed to find a connection to its audience. Still, we have a fantastic time talking about it and certainly think more people need to check it out. So do so, then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> Oliver Stone had been planning on starting Born on the Fourth of July after finishing Wall Street but had to wait for Tom Cruise to finish making Rain Man. While doing so, his producer Ed Pressman introduced him to a new play he’d optioned called “Talk Radio.” Stone agreed to help adapt the script with Eric Bogosian, one of the original writers and performer, and in the process took to the project. He ended up signing on to direct it and in the process, turned out one of his most interesting films that sadly doesn’t get talked about. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with his 1988 film Talk Radio.

We talk about the nature of this film and our perhaps more personal connection to it, being in the world of podcasting, and the nature of talking in people’s ears. We share our thoughts on the translation from stage to screen and why opening up the story to pull in elements of the real life gunning down of shock jock Alan Berg in 1984 allowed Stone to include more of his ideologies but also allowed Bogosian to create more inner turmoil in the character. We discuss the cinematography at length, from the split diopters to the dollies with rotating sets to the theatrical lighting shifts to the detailed closeups and more. We also revel in the incredible sound design and why it works so brilliantly in creating this world. And we touch on the days of Cineplex Odeon films and the fact that this theatre chain was also distributing movies.

It’s a powerful film that worked really well for us but never seemed to find a connection to its audience. Still, we have a fantastic time talking about it and certainly think more people need to check it out. So do so, then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> Thu, 25 Mar 2021 06:00:00 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4247 Why did this film never connect to audiences? How strong are Eric Bogosian, Alec Baldwin, and the rest of the cast in their roles? And is this a Stone classic? It is in our eyes! Tune in to this week’s show to get answers to these questions and more! Why did this film never connect to audiences? How strong are Eric Bogosian, Alec Baldwin, and the rest of the cast in their roles? And is this a Stone classic? It is in our eyes! Tune in to this week’s show to get answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Wall Street • The Next Reel 10 10 41 41 Wall Street • The Next Reel full 9225461c-3b8e-434c-9b6e-46aa4629e02c https://share.transistor.fm/s/6bc3602e Platoon was Oliver Stone’s autobiographical movie, but Wall Street was a bit of a biographical story as well as his father had been a stock broker and Stone grew up a bit in that world. That being said, the movie doesn’t really reflect Stone’s father (unless you look at Hal Holbrook’s character). What Stone and co-writer Stanley Weiser did is attack the Reagan era growth of greed and used the insider trader scandals of the era to paint a portrait of this high stakes world. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with his 1987 film Wall Street.

We talk about the tone of the film and why elements of it work and why some don’t. We look at the nature of the film’s portrait of the city of New York and why Stone might have deliberately painted the film as an intrinsic part of the city. We chat about Charlie Sheen and why he doesn’t work as well as he did in Platoon and about Michael Douglas any why he largely steals the show in every scene he’s in. We touch on Martin Sheen working in this film with his son playing his son, as well as many of the other cast members. We look at Robert Richardson’s beautiful look he’s created for this world. And we touch on Stewart Copeland’s music and why we can’t really remember it (and wonder if Jerry Goldsmith’s lost score might’ve been better).

It’s an interesting film about an interesting world we know nothing of but one which is endlessly fascinating, with a powerful performance by Douglas at its core. We have a great time chatting about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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]]> Platoon was Oliver Stone’s autobiographical movie, but Wall Street was a bit of a biographical story as well as his father had been a stock broker and Stone grew up a bit in that world. That being said, the movie doesn’t really reflect Stone’s father (unless you look at Hal Holbrook’s character). What Stone and co-writer Stanley Weiser did is attack the Reagan era growth of greed and used the insider trader scandals of the era to paint a portrait of this high stakes world. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with his 1987 film Wall Street.

We talk about the tone of the film and why elements of it work and why some don’t. We look at the nature of the film’s portrait of the city of New York and why Stone might have deliberately painted the film as an intrinsic part of the city. We chat about Charlie Sheen and why he doesn’t work as well as he did in Platoon and about Michael Douglas any why he largely steals the show in every scene he’s in. We touch on Martin Sheen working in this film with his son playing his son, as well as many of the other cast members. We look at Robert Richardson’s beautiful look he’s created for this world. And we touch on Stewart Copeland’s music and why we can’t really remember it (and wonder if Jerry Goldsmith’s lost score might’ve been better).

It’s an interesting film about an interesting world we know nothing of but one which is endlessly fascinating, with a powerful performance by Douglas at its core. We have a great time chatting about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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 Mar 2021 06:00:00 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3962 How great is Michael Douglas as Gordon Gekko and why is Douglas sad when people tell him they became brokers after seeing this movie? Does he ever actually say, “Greed is good”? Why does Charlie Sheen not seem to connect as much as he did in 'Platoon'? And why did Darryl Hannah feel disconnected from her role? Tune in to this week’s show to get answers to these questions and more! How great is Michael Douglas as Gordon Gekko and why is Douglas sad when people tell him they became brokers after seeing this movie? Does he ever actually say, “Greed is good”? Why does Charlie Sheen not seem to connect as much as he did in 'Platoon'? film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Platoon • The Next Reel 10 10 40 40 Platoon • The Next Reel full b8224bd6-2f81-4e5d-8f94-12980546fce5 https://share.transistor.fm/s/7592b3b4 "There’s the way it ought to be and there’s the way it is.”

Oliver Stone had written his experiences as a soldier in Vietnam shortly after his return to the US but he wouldn’t get a chance to direct it for nearly 20 years. In that time, he wrote other scripts and started his directing career. When Platoon was finally made and released in 1986, it became the first film about the Vietnam War made by an actual veteran of it. The film was received well and set Stone on his career path as a director with a specific vision... and with specific messages. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with the 1986 film Platoon.

We talk about how the film holds up today and why it works well, even if there are elements in some character depictions that feel very much like tropes now. We chat about Charlie Sheen as the young protagonist and how he balances with Willem Dafoe and Tom Berenger as two of his sergeants with very different senses of morality. We look at the rest of the incredible cast and how well everyone did. We discuss Dale Dye and his role in this film and war films afterward. We touch on the cinematography and music and how well it all works in context of the film. And we debate some of the uses of narration and if it is too much or too on the nose.

It’s a strong film that’s worth revisiting and talking about. We have a great conversation about it on this week’s show so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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

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]]> "There’s the way it ought to be and there’s the way it is.”

Oliver Stone had written his experiences as a soldier in Vietnam shortly after his return to the US but he wouldn’t get a chance to direct it for nearly 20 years. In that time, he wrote other scripts and started his directing career. When Platoon was finally made and released in 1986, it became the first film about the Vietnam War made by an actual veteran of it. The film was received well and set Stone on his career path as a director with a specific vision... and with specific messages. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with the 1986 film Platoon.

We talk about how the film holds up today and why it works well, even if there are elements in some character depictions that feel very much like tropes now. We chat about Charlie Sheen as the young protagonist and how he balances with Willem Dafoe and Tom Berenger as two of his sergeants with very different senses of morality. We look at the rest of the incredible cast and how well everyone did. We discuss Dale Dye and his role in this film and war films afterward. We touch on the cinematography and music and how well it all works in context of the film. And we debate some of the uses of narration and if it is too much or too on the nose.

It’s a strong film that’s worth revisiting and talking about. We have a great conversation about it on this week’s show so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> Thu, 11 Mar 2021 06:00:00 -0800 TruStory FM TruStory FM 4286 How does Oliver Stone’s semi-autobiographical anti-war Vietnam film hold up after nearly 35 years? Does Charlie Sheen do his father proud in his take on the Vietnam War? Does Stone’s messaging come through too strongly or is it well-balanced? Tune in to this week’s show to get answers to these questions and more. How does Oliver Stone’s semi-autobiographical anti-war Vietnam film hold up after nearly 35 years? Does Charlie Sheen do his father proud in his take on the Vietnam War? Does Stone’s messaging come through too strongly or is it well-balanced? Tune in to t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright 8 Million Ways to Die • The Next Reel 10 10 38 38 8 Million Ways to Die • The Next Reel full 06336729-7254-4371-a7b1-a2f6b9499329 https://share.transistor.fm/s/a9f7ffd0 Hal Ashby was behind several seminal films from the 60s and 70s, but by the time the 80s rolled around, his addictions made him unreliable. For his last feature film, he tackled novelist Lawrence Block’s famous character Matthew Scudder, and initially it sounded like it could be promising. Oliver Stone adapted the novel, and he’d proven he had a gritty edge to his work as a writer through the first half of the decade. Unfortunately the producers and Ashby wanted to move the story from New York to LA. While not an obvious problem, this decision seemed to set in motion a series of creative changes that led to several writers – including Ashby – tackling the script and eventually the film getting taken away from Ashby before going into post-production. The issues show through, but that doesn’t mean the film doesn’t have its merits. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Ashby’s 1986 film 8 Million Ways to Die.

We talk about the problems we have with the script and direction, but find ourselves on two sides of liking this film – Pete didn’t like it at all and Andy really enjoyed it. We chat about Ashby’s moments of character and humanity that come through several key scenes, notably when Bridges’ character of Scudder is speaking at AA dealing with his alcoholism. We look at Rosanna Arquette and Alexandra Paul as two high-class hookers and how well they do, as well as Randy Brooks and Andy Garcia as the men Scudder comes up against. We look at the cinematography and the score. And we fawn over several of the key locations in the film, notably the one with the funicular.

It’s a film that fails on many counts but also one with some compelling things going for it. We’re split on it here but still think it’s worth a watch so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> Hal Ashby was behind several seminal films from the 60s and 70s, but by the time the 80s rolled around, his addictions made him unreliable. For his last feature film, he tackled novelist Lawrence Block’s famous character Matthew Scudder, and initially it sounded like it could be promising. Oliver Stone adapted the novel, and he’d proven he had a gritty edge to his work as a writer through the first half of the decade. Unfortunately the producers and Ashby wanted to move the story from New York to LA. While not an obvious problem, this decision seemed to set in motion a series of creative changes that led to several writers – including Ashby – tackling the script and eventually the film getting taken away from Ashby before going into post-production. The issues show through, but that doesn’t mean the film doesn’t have its merits. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Ashby’s 1986 film 8 Million Ways to Die.

We talk about the problems we have with the script and direction, but find ourselves on two sides of liking this film – Pete didn’t like it at all and Andy really enjoyed it. We chat about Ashby’s moments of character and humanity that come through several key scenes, notably when Bridges’ character of Scudder is speaking at AA dealing with his alcoholism. We look at Rosanna Arquette and Alexandra Paul as two high-class hookers and how well they do, as well as Randy Brooks and Andy Garcia as the men Scudder comes up against. We look at the cinematography and the score. And we fawn over several of the key locations in the film, notably the one with the funicular.

It’s a film that fails on many counts but also one with some compelling things going for it. We’re split on it here but still think it’s worth a watch so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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 Mar 2021 06:00:00 -0800 TruStory FM TruStory FM 4650 Is Hal Ashby’s last feature film really as bad as people say or are its glimmers of neo-noir enough to make it worth talking about? How well does Jeff Bridges play an alcoholic? And what is a funicular anyway? Tune in to this week’s show to get answers to these questions and more! Is Hal Ashby’s last feature film really as bad as people say or are its glimmers of neo-noir enough to make it worth talking about? How well does Jeff Bridges play an alcoholic? And what is a funicular anyway? Tune in to this week’s show to get answers to film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Salvador • The Next Reel 10 10 37 37 Salvador • The Next Reel full cf112edd-9d7c-4f84-bd25-065a74cf7488 https://share.transistor.fm/s/c8982796 "Nobody just disappears in El Salvador.”

News of the civil war in El Salvador certainly was prevalent in the early 80s when Oliver Stone returned to the director’s chair. For his return, he joined forces with photojournalist Richard Boyle to tell Boyle’s own stories of his time in El Salvador during the US’s transition from Carter to Reagan and how US aid to the military junta running the country was fueling the death squads and atrocities. The political angle seemed ripe for Stone and the types of stories he wanted to tell, but it also seemed to be an early example of his stories focusing more on the policies than the people. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Stone’s 1986 film Salvador.

We talk about the politics of El Salvador to get a sense of the dictatorship at the time and why the US was providing ‘aid,’ and how that gave Stone the angle he wanted for his film. We debate the idea of having Boyle as our protagonist, as portrayed by James Woods, because he’s such a despicable character from start to finish. We talk about the idea of photojournalists and the angle they take when looking for the perfect photo and why that idea seems to get lost for such a time in the film. We look at the other actors and talk about what they’re bringing to the table. And we discuss the technical angles and why those elements work.

It’s a frustrating film that doesn’t give us what we want in a film about a Central American dictatorship and the atrocities committed, but does at least provide a window for curious Americans to start their own explorations. We have a great time talking about it on the show this week so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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

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]]> "Nobody just disappears in El Salvador.”

News of the civil war in El Salvador certainly was prevalent in the early 80s when Oliver Stone returned to the director’s chair. For his return, he joined forces with photojournalist Richard Boyle to tell Boyle’s own stories of his time in El Salvador during the US’s transition from Carter to Reagan and how US aid to the military junta running the country was fueling the death squads and atrocities. The political angle seemed ripe for Stone and the types of stories he wanted to tell, but it also seemed to be an early example of his stories focusing more on the policies than the people. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Stone’s 1986 film Salvador.

We talk about the politics of El Salvador to get a sense of the dictatorship at the time and why the US was providing ‘aid,’ and how that gave Stone the angle he wanted for his film. We debate the idea of having Boyle as our protagonist, as portrayed by James Woods, because he’s such a despicable character from start to finish. We talk about the idea of photojournalists and the angle they take when looking for the perfect photo and why that idea seems to get lost for such a time in the film. We look at the other actors and talk about what they’re bringing to the table. And we discuss the technical angles and why those elements work.

It’s a frustrating film that doesn’t give us what we want in a film about a Central American dictatorship and the atrocities committed, but does at least provide a window for curious Americans to start their own explorations. We have a great time talking about it on the show this week so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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 Feb 2021 06:00:00 -0800 TruStory FM TruStory FM 5178 Is this the film where Oliver Stone’s angle on political filmmaking takes shape? How good is James Woods as the unlikeable protagonist? And do we really learn much about politics in El Salvador at the time? Tune in to this week’s show to get answers to these questions and more! Is this the film where Oliver Stone’s angle on political filmmaking takes shape? How good is James Woods as the unlikeable protagonist? And do we really learn much about politics in El Salvador at the time? Tune in to this week’s show to get answers to th film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Year of the Dragon • The Next Reel 10 10 36 36 Year of the Dragon • The Next Reel full 1dcb7d32-cbc6-41b7-8675-21412ead2e07 https://share.transistor.fm/s/b437bda4 As a writer-director, Oliver Stone can maintain a clear vision and deliver the story he wants. When he’s working as a writer for hire, it’s often difficult to clearly get his story across. This certainly was the case when he worked on Year of the Dragon with director Michael Cimino, who wanted to add a Vietnam vet element to the story that wasn’t in the original source material. Stone did that and wrote an effective script, but between the two of them (both credited writers), they seemed to lose any sense as to how to write a fully fleshed out story. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Cimino’s 1985 film Year of the Dragon.

We talk about the problems we find in this story as they relate to the characters and their relationships but find we disagree on our overall reactions to the film. Pete found the problems weighed the entire thing down and didn’t like any of it but Andy found the crime story incredibly compelling and made the film enjoyable, despite its character issues. We discuss the actors and why some of them work better than others. We look at the cinematography and why so much looks great though conversations can often be bland. And we go on about the crime story and how the research they did in this area pays off to make it feel authentic.

It’s a film full of issues but it’s going to be the individual viewer’s ability to look past them or not that will determine if they enjoy it or not. We had a great time talking about it regardless, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> As a writer-director, Oliver Stone can maintain a clear vision and deliver the story he wants. When he’s working as a writer for hire, it’s often difficult to clearly get his story across. This certainly was the case when he worked on Year of the Dragon with director Michael Cimino, who wanted to add a Vietnam vet element to the story that wasn’t in the original source material. Stone did that and wrote an effective script, but between the two of them (both credited writers), they seemed to lose any sense as to how to write a fully fleshed out story. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Cimino’s 1985 film Year of the Dragon.

We talk about the problems we find in this story as they relate to the characters and their relationships but find we disagree on our overall reactions to the film. Pete found the problems weighed the entire thing down and didn’t like any of it but Andy found the crime story incredibly compelling and made the film enjoyable, despite its character issues. We discuss the actors and why some of them work better than others. We look at the cinematography and why so much looks great though conversations can often be bland. And we go on about the crime story and how the research they did in this area pays off to make it feel authentic.

It’s a film full of issues but it’s going to be the individual viewer’s ability to look past them or not that will determine if they enjoy it or not. We had a great time talking about it regardless, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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]]> Thu, 18 Feb 2021 06:00:00 -0800 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 4212 Do the character relationship problems in this film weigh down the strengths of the crime plot? How well do Mickey Rourke, John Lone, and the rest of the cast do? And just how well does the final shootout work? Tune in to this week’s episode to get answers to these questions and more. Do the character relationship problems in this film weigh down the strengths of the crime plot? How well do Mickey Rourke, John Lone, and the rest of the cast do? And just how well does the final shootout work? Tune in to this week’s episode to get answer film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Scarface • The Next Reel 10 10 35 35 Scarface • The Next Reel full 9e4cfbba-44b4-4c4e-a0d8-6b32e55715bf https://share.transistor.fm/s/604db049 When Oliver Stone was hired to write the adaptation of Howard Hawks’ 1932 film Scarface, Sidney Lumet was on board to direct the film. Lumet wanted to update the story with a modern angle using colorful Miami in the early 80s as its backdrop focusing on the Cuban refugees coming in on the Mariel boatlift, specifically the criminal element. Stone loved the idea and took the job for that reason alone. Dealing with his own cocaine issue, Stone researched heavily for the film and wrote a gritty story that Lumet didn’t like but producer Marty Bregman did. Lumet left and Brian De Palma came on board instead. And thus, the film was born. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Brian De Palma’s 1983 film Scarface.

We talk about the over-the-top nature of the film, from the performances to the violence to the swearing, and how it works for us. We look at Pacino’s excitement about the project and how his initial viewing of the original film actually spurred this film on to begin with. We chat about Stone and his development of the script including some scary trips to South America to meet with people involved in the drug trade. We discuss what De Palma is doing here and why his creative filmmaking style works well for the story. We look at the nature of the stereotypes depicted in the film and why it affected people so much. And we touch on the original X-rating and the lengths De Palma went through to get his original version in theatres.

We have a great time talking about this movie, even if it’s a difficult one to watch. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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]]> When Oliver Stone was hired to write the adaptation of Howard Hawks’ 1932 film Scarface, Sidney Lumet was on board to direct the film. Lumet wanted to update the story with a modern angle using colorful Miami in the early 80s as its backdrop focusing on the Cuban refugees coming in on the Mariel boatlift, specifically the criminal element. Stone loved the idea and took the job for that reason alone. Dealing with his own cocaine issue, Stone researched heavily for the film and wrote a gritty story that Lumet didn’t like but producer Marty Bregman did. Lumet left and Brian De Palma came on board instead. And thus, the film was born. Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Brian De Palma’s 1983 film Scarface.

We talk about the over-the-top nature of the film, from the performances to the violence to the swearing, and how it works for us. We look at Pacino’s excitement about the project and how his initial viewing of the original film actually spurred this film on to begin with. We chat about Stone and his development of the script including some scary trips to South America to meet with people involved in the drug trade. We discuss what De Palma is doing here and why his creative filmmaking style works well for the story. We look at the nature of the stereotypes depicted in the film and why it affected people so much. And we touch on the original X-rating and the lengths De Palma went through to get his original version in theatres.

We have a great time talking about this movie, even if it’s a difficult one to watch. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> Thu, 11 Feb 2021 06:00:00 -0800 TruStory FM TruStory FM 4338 Why has this film endured the test of time? Is Pacino’s depiction of a Cuban over-the-top, offensive, or does it work? In the realm of remakes, how well does this work in retelling Howard Hawks’ original version? And is the film too violent? Tune in to this week’s show to get answers to these questions and more! Why has this film endured the test of time? Is Pacino’s depiction of a Cuban over-the-top, offensive, or does it work? In the realm of remakes, how well does this work in retelling Howard Hawks’ original version? And is the film too violent? Tune in to th film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Conan the Barbarian • The Next Reel 10 10 33 33 Conan the Barbarian • The Next Reel full fdc81f74-6a12-4f6b-9bbd-f98ba04acc76 https://share.transistor.fm/s/2363613a Oliver Stone had written his draft for the script of Conan the Barbarian before John Milius was on board, but even then everyone knew it was too grand and extravagant. With an estimated $40 million budget, they knew they had to thin it down quite a bit. Milius tossed quite a bit of Stone’s work though the two men clearly had similar masculine sensibilities so Milius’ tone still feels very much like Stone’s. So does the end result feel like something that Stone had helped develop? Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Milius’ 1982 fantasy Conan the Barbarian.

We talk about the nature of fantasy films and why this style with scantily clad characters didn’t take off cinematically the way Lord of the Rings did. We also chat about how Milius, Stone, and the rest of the team still do strong work creating an effective, believable, and expansive fantasy world. We look at Arnold Schwarzenegger in this iconic, career-making role and what he brings to it. We discuss James Earl Jones as Thulsa Doom, the villain of the piece, as well as what’s effective with his character and what’s ineffective. We touch on the nature of cults and conspiracy theories and how it seems Stone and Milius certainly seem to be drawing on stories relevant to them at the time but interestingly are still so relevant today. We point out the reasons this film landed on the American Humane Association’s “unacceptable” list. And we celebrate the iconic and unforgettable music by Basil Poledouris.

It’s a fun fantasy film that Pete and Andy are split on but still provides for quite an expansive conversation. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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

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]]> Oliver Stone had written his draft for the script of Conan the Barbarian before John Milius was on board, but even then everyone knew it was too grand and extravagant. With an estimated $40 million budget, they knew they had to thin it down quite a bit. Milius tossed quite a bit of Stone’s work though the two men clearly had similar masculine sensibilities so Milius’ tone still feels very much like Stone’s. So does the end result feel like something that Stone had helped develop? Join us – Pete Wright and Andy Nelson – as we continue our Oliver Stone in the 80s series with Milius’ 1982 fantasy Conan the Barbarian.

We talk about the nature of fantasy films and why this style with scantily clad characters didn’t take off cinematically the way Lord of the Rings did. We also chat about how Milius, Stone, and the rest of the team still do strong work creating an effective, believable, and expansive fantasy world. We look at Arnold Schwarzenegger in this iconic, career-making role and what he brings to it. We discuss James Earl Jones as Thulsa Doom, the villain of the piece, as well as what’s effective with his character and what’s ineffective. We touch on the nature of cults and conspiracy theories and how it seems Stone and Milius certainly seem to be drawing on stories relevant to them at the time but interestingly are still so relevant today. We point out the reasons this film landed on the American Humane Association’s “unacceptable” list. And we celebrate the iconic and unforgettable music by Basil Poledouris.

It’s a fun fantasy film that Pete and Andy are split on but still provides for quite an expansive conversation. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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 Feb 2021 06:00:00 -0800 TruStory FM TruStory FM 4936 How well doe Schwarzenegger work in the film that kickstarted his career? Why didn’t this series take off the way the filmmakers wanted it to? How does this film about cults and false truths still feel relevant today in the world of QAnon? Tune in to this week’s show to get answers to these questions and more! How well doe Schwarzenegger work in the film that kickstarted his career? Why didn’t this series take off the way the filmmakers wanted it to? How does this film about cults and false truths still feel relevant today in the world of QAnon? Tune in to this film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Hand • The Next Reel 10 10 32 32 The Hand • The Next Reel full ac041b92-2db1-43f9-9fd4-b0d33c1b48a5 https://share.transistor.fm/s/70bb1fa1 Oliver Stone had already made an indie feature film in 1973 and had written the adapted screenplay for Midnight Express which garnered him an Oscar. These elements put him in the position to write and direct his first feature film, albeit one still relatively under studio control. He found the book “The Lizard’s Tail” by Marc Brandell and really enjoyed the psychological angle of the story. He decided to adapt it as The Hand and he set to work. But for Stone’s debut directing a studio feature, does the movie work? Join us – Pete Wright and Andy Nelson – as we kick off our Oliver Stone in the 80s series with his 1981 film The Hand.

We talk about the nature of killer hand movies and why they’re largely so hard to buy into, but how the psychological angle of this one almost gets past that. We look at Stone and what signs of his works to come we can already see in this film. We chat about Michael Caine and his turn as an overbearing man slowly going insane and how it almost feels like a villain’s origin story. We discuss the elements of the story – divorce, emasculation as represented by the protagonist’s drawing hand getting amputated in a accident, the psychological collapse of a man unable to control his world – and look at how they work in horror films... as well as in this film. We look at the effects – from the severing of the hand to the various tricks to film a hand attacking and debate how well it works. And we look at tropes in the film and 80s attitudes toward yoga and psychologists.

It’s an entertaining film that doesn’t work completely but still is fun enough to watch. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> Oliver Stone had already made an indie feature film in 1973 and had written the adapted screenplay for Midnight Express which garnered him an Oscar. These elements put him in the position to write and direct his first feature film, albeit one still relatively under studio control. He found the book “The Lizard’s Tail” by Marc Brandell and really enjoyed the psychological angle of the story. He decided to adapt it as The Hand and he set to work. But for Stone’s debut directing a studio feature, does the movie work? Join us – Pete Wright and Andy Nelson – as we kick off our Oliver Stone in the 80s series with his 1981 film The Hand.

We talk about the nature of killer hand movies and why they’re largely so hard to buy into, but how the psychological angle of this one almost gets past that. We look at Stone and what signs of his works to come we can already see in this film. We chat about Michael Caine and his turn as an overbearing man slowly going insane and how it almost feels like a villain’s origin story. We discuss the elements of the story – divorce, emasculation as represented by the protagonist’s drawing hand getting amputated in a accident, the psychological collapse of a man unable to control his world – and look at how they work in horror films... as well as in this film. We look at the effects – from the severing of the hand to the various tricks to film a hand attacking and debate how well it works. And we look at tropes in the film and 80s attitudes toward yoga and psychologists.

It’s an entertaining film that doesn’t work completely but still is fun enough to watch. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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 Jan 2021 06:00:00 -0800 TruStory FM TruStory FM 4171 How realistic is any story about a severed hand that attacks people, and are we able to get past that premise to enjoy this movie? Is Michael Caine’s descent into madness effective or too much? Were the effects believable? And what is this film saying about psychology and science in the 80s? Tune in to this week’s show to get answers to these questions and more! How realistic is any story about a severed hand that attacks people, and are we able to get past that premise to enjoy this movie? Is Michael Caine’s descent into madness effective or too much? Were the effects believable? And what is this film saying abo film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright City Zero • The Next Reel 10 10 31 31 City Zero • The Next Reel full 4caa4191-d6e3-406c-8fc6-798111c7fd45 https://share.transistor.fm/s/5b4ebf58 Looking at films that explore Soviet society and culture in the 70s through 80s allows for interesting glimpses into reactions to and critiques of changes happening through communism, perestroika and glasnost. The third film in our current series was made in 1988 and explores reactions to glasnost and changes leading up to the breakdown of the USSR. It’s not really science fiction, but is an absurdist, fantastical mystery that feels very Lynchian. Join us – Pete Wright and Andy Nelson – as we finish our Soviet Science Fiction series with Karen Shakhnazarov’s 1988 film City Zero.

We look at the absurdity in this film and how it took some research for us to really grasp what the filmmakers were trying to say about society. We chat about a few specific scenes like the cake scene, the secretary scene, the museum scene, and the tree scene, and explore what Shakhnazarov and co-writer Aleksandr Borodyansky may have been wanting to say. We look at other absurdist elements that don’t really seem to be saying anything but allow for that dreamlike Lynchian vibe to spread. We discuss Leonid Filatov as our lead character and why he works so well. And we talk about the stillness of the shots and how the direction and cinematography play into the vibe of this story.

We had a lot of fun with this one, even though we determine it’s not really science fiction. Check it out – it’s available on YouTube – then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> Looking at films that explore Soviet society and culture in the 70s through 80s allows for interesting glimpses into reactions to and critiques of changes happening through communism, perestroika and glasnost. The third film in our current series was made in 1988 and explores reactions to glasnost and changes leading up to the breakdown of the USSR. It’s not really science fiction, but is an absurdist, fantastical mystery that feels very Lynchian. Join us – Pete Wright and Andy Nelson – as we finish our Soviet Science Fiction series with Karen Shakhnazarov’s 1988 film City Zero.

We look at the absurdity in this film and how it took some research for us to really grasp what the filmmakers were trying to say about society. We chat about a few specific scenes like the cake scene, the secretary scene, the museum scene, and the tree scene, and explore what Shakhnazarov and co-writer Aleksandr Borodyansky may have been wanting to say. We look at other absurdist elements that don’t really seem to be saying anything but allow for that dreamlike Lynchian vibe to spread. We discuss Leonid Filatov as our lead character and why he works so well. And we talk about the stillness of the shots and how the direction and cinematography play into the vibe of this story.

We had a lot of fun with this one, even though we determine it’s not really science fiction. Check it out – it’s available on YouTube – then tune in! The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> Thu, 21 Jan 2021 06:00:00 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3672 How does this absurdist tale explore Soviet society during the days of glasnost and the move toward the breakdown of the USSR? Do the Lynchian elements help the film? And what’s up with that cake? For answers to these questions and more, tune in to this week’s show! How does this absurdist tale explore Soviet society during the days of glasnost and the move toward the breakdown of the USSR? Do the Lynchian elements help the film? And what’s up with that cake? For answers to these questions and more, tune in to this w film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright To The Stars By Hard Ways (Per Aspera Ad Astra) • The Next Reel 10 10 30 30 To The Stars By Hard Ways (Per Aspera Ad Astra) • The Next Reel full 4d92c3c7-949f-4f3d-9e0e-7583df88d1e9 https://share.transistor.fm/s/884a1711 In 2001, Nikolai Viktorov restored his father’s 1981 film Per Aspera Ad Astra for its 20th anniversary. This version has new special effects and a restored soundtrack, but Viktorov also decided to excise 25 minutes of footage from the film. Apparently, this decision was to tighten everything up a bit but also to remove some of the Soviet ideologies from the story. Whichever version of the film you watch, the ideologies seem relatively light so it seems an odd choice to remove content for a restored version. Regardless, the film makes for an interesting conversation. Join us – Pete Wright and Andy Nelson – as we continue our Soviet Science Fiction series with Richard Viktorov’s 1981 film To the Stars By Hard Ways.

We talk about the ideologies present in the film and the mild changes in the new version. We look at how the film works and why largely it doesn’t. We chat about the effects and why they work in interesting ways, despite feeling very dated for the age. We discuss some of the performers like Yelena Metyolkina and Vladimir Fyodorov and why they all work so well in this film. And we hit on how this film could’ve worked better for us. 

It’s not a completely successful film but certainly an interesting one to watch and discuss. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> In 2001, Nikolai Viktorov restored his father’s 1981 film Per Aspera Ad Astra for its 20th anniversary. This version has new special effects and a restored soundtrack, but Viktorov also decided to excise 25 minutes of footage from the film. Apparently, this decision was to tighten everything up a bit but also to remove some of the Soviet ideologies from the story. Whichever version of the film you watch, the ideologies seem relatively light so it seems an odd choice to remove content for a restored version. Regardless, the film makes for an interesting conversation. Join us – Pete Wright and Andy Nelson – as we continue our Soviet Science Fiction series with Richard Viktorov’s 1981 film To the Stars By Hard Ways.

We talk about the ideologies present in the film and the mild changes in the new version. We look at how the film works and why largely it doesn’t. We chat about the effects and why they work in interesting ways, despite feeling very dated for the age. We discuss some of the performers like Yelena Metyolkina and Vladimir Fyodorov and why they all work so well in this film. And we hit on how this film could’ve worked better for us. 

It’s not a completely successful film but certainly an interesting one to watch and discuss. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> Thu, 14 Jan 2021 06:00:00 -0800 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3291 What works and what doesn’t work in this film? What makes the interesting and sometimes dated effects work so well for us? And which version should you watch? Tune in to this week’s show to get answers to these questions and more! What works and what doesn’t work in this film? What makes the interesting and sometimes dated effects work so well for us? And which version should you watch? Tune in to this week’s show to get answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Dead Mountaineer’s Hotel • The Next Reel 10 10 28 28 Dead Mountaineer’s Hotel • The Next Reel full 5e062dd7-7766-4947-b3db-af647fe2c372 https://share.transistor.fm/s/563bf631 Science fiction stories often work well as a shell in which authors and filmmakers can provide social commentary without it being obvious. In the case of Dead Mountaineer’s Hotel, based on the book by Arkady and Boris Strugatsky who also wrote the screenplay, the film uses a detective story that ends up involving aliens and androids as a way to look at the closed-off nature of life under the Soviet regime. Is it a perfect film? No, but it’s a fascinating one. Join us – Pete Wright and Andy Nelson – as we kick off our Soviet Science Fiction series with Grigori Kromanov’s 1979 film Dead Mountaineer’s Hotel.

We talk about the nature of the story and why it works well as both science fiction and social commentary. We look at the setting of the film and why the cold, oppressive mountains with the brilliant moog synth score work so well to set the tone. We chat about the surreal qualities of the film and how sometimes, it’s these elements that contribute to a confusing story, affecting our understanding and enjoyment of the film. We look at the authors/screenwriters and director, talking about what they brought to the table. we discuss the dark and cold cinematography by Jüri Sillart and why it’s so effective. And we look into Estonian folklore and how it may have influenced certain elements in the film.

It’s a fascinating film and one well worth checking out. We have a great time chatting about it so give it a watch – it’s streaming for free on YouTube – then tune in. The Next Reel – when the movie ends, our conversation begins!

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

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]]> Science fiction stories often work well as a shell in which authors and filmmakers can provide social commentary without it being obvious. In the case of Dead Mountaineer’s Hotel, based on the book by Arkady and Boris Strugatsky who also wrote the screenplay, the film uses a detective story that ends up involving aliens and androids as a way to look at the closed-off nature of life under the Soviet regime. Is it a perfect film? No, but it’s a fascinating one. Join us – Pete Wright and Andy Nelson – as we kick off our Soviet Science Fiction series with Grigori Kromanov’s 1979 film Dead Mountaineer’s Hotel.

We talk about the nature of the story and why it works well as both science fiction and social commentary. We look at the setting of the film and why the cold, oppressive mountains with the brilliant moog synth score work so well to set the tone. We chat about the surreal qualities of the film and how sometimes, it’s these elements that contribute to a confusing story, affecting our understanding and enjoyment of the film. We look at the authors/screenwriters and director, talking about what they brought to the table. we discuss the dark and cold cinematography by Jüri Sillart and why it’s so effective. And we look into Estonian folklore and how it may have influenced certain elements in the film.

It’s a fascinating film and one well worth checking out. We have a great time chatting about it so give it a watch – it’s streaming for free on YouTube – then tune in. The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> Thu, 07 Jan 2021 06:00:00 -0800 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3990 How well do the filmmakers use the location, cinematography, and music to create a tone for this film? Does the film make sense once the secrets are revealed? How well does this film work as social commentary of life under the Soviet rule in the 70s? Tune in to this week’s show to get answers to these questions and more! How well do the filmmakers use the location, cinematography, and music to create a tone for this film? Does the film make sense once the secrets are revealed? How well does this film work as social commentary of life under the Soviet rule in the 70s? Tune film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Underworld: Blood Wars • The Next Reel 10 10 27 27 Underworld: Blood Wars • The Next Reel full 79b10009-bc09-448d-bcda-3fc542f3baa7 https://share.transistor.fm/s/27e27c90 Initially planned as a reboot of the franchise, Lakeshore Entertainment eventually decided to make the fifth and final film in the Underworld franchise to be a continuation of Selene’s story after the end of the last film. She’s separated herself from her daughter and is still out fighting lycans. But is this a direction that makes sense as the fifth and perhaps final film in the franchise? Join us – Pete Wright and Andy Nelson – as we wrap up our Underworld series with Anna Foerster’s 2016 film Underworld: Blood Wars.

We talk about the wintery look the movie eventually takes us to and debate... is that enough of a change? We discuss the rules of this universe and all the problems that have developed with the sloppy nature of storytelling. We chat about this film’s Romeo & Juliet addition and wonder why they couldn’t have done more with this. We look at the effects and what’s changed here. We wonder if this is a good way to wrap up the series or if it leaves us with too much hanging. And we ask ourselves... is it still okay to like this franchise despite its problems?

It’s a fun albeit problem-laced film but an easy and entertaining watch. We have a great chat about it on this week’s show so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> Initially planned as a reboot of the franchise, Lakeshore Entertainment eventually decided to make the fifth and final film in the Underworld franchise to be a continuation of Selene’s story after the end of the last film. She’s separated herself from her daughter and is still out fighting lycans. But is this a direction that makes sense as the fifth and perhaps final film in the franchise? Join us – Pete Wright and Andy Nelson – as we wrap up our Underworld series with Anna Foerster’s 2016 film Underworld: Blood Wars.

We talk about the wintery look the movie eventually takes us to and debate... is that enough of a change? We discuss the rules of this universe and all the problems that have developed with the sloppy nature of storytelling. We chat about this film’s Romeo & Juliet addition and wonder why they couldn’t have done more with this. We look at the effects and what’s changed here. We wonder if this is a good way to wrap up the series or if it leaves us with too much hanging. And we ask ourselves... is it still okay to like this franchise despite its problems?

It’s a fun albeit problem-laced film but an easy and entertaining watch. We have a great chat about it on this week’s show so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> Thu, 31 Dec 2020 06:00:00 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 5252 How well does this fifth film wrap up the franchise? Is Snow Selene enough to change things up or is she just selling more toys? And why didn’t they do more to bring lycans and vampires together? Tune in to this week’s show to get answers to these questions and more! How well does this fifth film wrap up the franchise? Is Snow Selene enough to change things up or is she just selling more toys? And why didn’t they do more to bring lycans and vampires together? Tune in to this week’s show to get answers to these questio film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Underworld: Awakening • The Next Reel 10 10 26 26 Underworld: Awakening • The Next Reel full 814088b1-93cc-4568-8b57-64778da3525b https://share.transistor.fm/s/c898c5f2 By the time the Underworld franchise swung around to the fourth entry, it largely had a new team behind all of it. Sure, Len Wiseman was still on as producer and story and Kate Beckinsale was still leading the charge as Selene the vampire death dealer, but they join new writers, directors, crew, and cast. So how does this new direction for the franchise hold up? Join us – Pete Wright and Andy Nelson – as we continue our Underworld series with Måns Mårlind’s and Björn Stein’s 2012 film Underworld: Awakening.

We talk about the return to this world and debate the creative decisions in how they move the story forward while leaving the look largely locked in from the previous films. We look at what this new cast is doing and how well they work. We ponder the many tropes included in this film. And we debate new elements added to werewolf and vampire lore.

It’s a bit of a mess of a film, but did we have fun watching it? Yes we did. So check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins!

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]]> By the time the Underworld franchise swung around to the fourth entry, it largely had a new team behind all of it. Sure, Len Wiseman was still on as producer and story and Kate Beckinsale was still leading the charge as Selene the vampire death dealer, but they join new writers, directors, crew, and cast. So how does this new direction for the franchise hold up? Join us – Pete Wright and Andy Nelson – as we continue our Underworld series with Måns Mårlind’s and Björn Stein’s 2012 film Underworld: Awakening.

We talk about the return to this world and debate the creative decisions in how they move the story forward while leaving the look largely locked in from the previous films. We look at what this new cast is doing and how well they work. We ponder the many tropes included in this film. And we debate new elements added to werewolf and vampire lore.

It’s a bit of a mess of a film, but did we have fun watching it? Yes we did. So check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> Thu, 24 Dec 2020 06:00:00 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3756 How well does Kate Beckinsale do in this return to the role of Selene? Does the new shift in story make sense and does it progress it in new and exciting ways? Do the problems overwhelm it or are we still able to have fun and enjoy it for what it is? Tune in to this week’s show to get answers to these questions and more! How well does Kate Beckinsale do in this return to the role of Selene? Does the new shift in story make sense and does it progress it in new and exciting ways? Do the problems overwhelm it or are we still able to have fun and enjoy it for what it is? Tune film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Underworld: Rise of the Lycans • The Next Reel 10 10 24 24 Underworld: Rise of the Lycans • The Next Reel full 6259c0ce-0eb6-47cb-9e42-0424084aa0db https://share.transistor.fm/s/afb222c5 According to Len Wiseman, he and his pals had been planning an Underworld trilogy right from the start with the third film being a prequel laying out the foundations of the vampire/lycan war. If that’s the case, why does this feel so sloppy? Join us – Pete Wright and Andy Nelson – as we continue our Underworld series with the third film, Patrick Tatopoulos’ 2012 film Underworld: Rise of the Lycans.

We talk about the problems with the foundation of the rules Wiseman, Danny McBride, and Kevin Grevioux set up right at the start, which they don’t seem to have any problems with breaking or making convoluted. We chat about the performers and how they’re bringing good performances to their roles, even if they’re not written that well. We look at the effects and how for the most part, they really do feel like a step up. And we debate the storyline and try to figure out just when some of these elements actually were taking place.

It’s an entertaining film but an overly problematic one. We still have fun watching it even if the problems outweigh the successes. Regardless, it’s a great one to chat about so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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]]> According to Len Wiseman, he and his pals had been planning an Underworld trilogy right from the start with the third film being a prequel laying out the foundations of the vampire/lycan war. If that’s the case, why does this feel so sloppy? Join us – Pete Wright and Andy Nelson – as we continue our Underworld series with the third film, Patrick Tatopoulos’ 2012 film Underworld: Rise of the Lycans.

We talk about the problems with the foundation of the rules Wiseman, Danny McBride, and Kevin Grevioux set up right at the start, which they don’t seem to have any problems with breaking or making convoluted. We chat about the performers and how they’re bringing good performances to their roles, even if they’re not written that well. We look at the effects and how for the most part, they really do feel like a step up. And we debate the storyline and try to figure out just when some of these elements actually were taking place.

It’s an entertaining film but an overly problematic one. We still have fun watching it even if the problems outweigh the successes. Regardless, it’s a great one to chat about so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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

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]]> Thu, 17 Dec 2020 06:00:00 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3996 Are the rules of this world starting to get more nonsensical as they progress? Could they have done more with this clear Romeo & Juliet retread? At what point does this happen in relation to everything with Selene? Tune in to this week’s show to get answers to these questions and more! Are the rules of this world starting to get more nonsensical as they progress? Could they have done more with this clear Romeo & Juliet retread? At what point does this happen in relation to everything with Selene? Tune in to this week’s show to get a film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Underworld: Evolution • The Next Reel 10 10 23 23 Underworld: Evolution • The Next Reel full d123a272-f57d-4e57-a3e5-7db09ede0d5f https://share.transistor.fm/s/ad2528cf Shortly after the clear success of Underworld, the studio signed on for two more films to round out a trilogy. Len Wiseman and Danny McBride said they’d already planned out the concept for a trilogy, but was it more a macroscopic view? Join us – Pete Wright and Andy Nelson – as we talk about the second film in our Underworld series, Wiseman’s 2006 film Underworld: Evolution.

We talk about the many problems with the film, including those which should’ve been clear for storytellers who had planned it all out ahead of time. We chat about Kate Beckinsale and Scott Speedman and how well they fare in this return to the world of Underworldia. We debate many of the changes to vampire and werewolf lore, wondering which, if any, will last. We look at the fight scenes, which work, and which fall short. (We may also touch on the broken laws of physics in some of these fights.) We talk about the cast and crew and how well everyone does to continue the world created in the first film. And we have a great time digging into the award nominations for this film.

It’s a sequel full of problems, but one that’s awfully fun to watch. We have a great time with it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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]]> Shortly after the clear success of Underworld, the studio signed on for two more films to round out a trilogy. Len Wiseman and Danny McBride said they’d already planned out the concept for a trilogy, but was it more a macroscopic view? Join us – Pete Wright and Andy Nelson – as we talk about the second film in our Underworld series, Wiseman’s 2006 film Underworld: Evolution.

We talk about the many problems with the film, including those which should’ve been clear for storytellers who had planned it all out ahead of time. We chat about Kate Beckinsale and Scott Speedman and how well they fare in this return to the world of Underworldia. We debate many of the changes to vampire and werewolf lore, wondering which, if any, will last. We look at the fight scenes, which work, and which fall short. (We may also touch on the broken laws of physics in some of these fights.) We talk about the cast and crew and how well everyone does to continue the world created in the first film. And we have a great time digging into the award nominations for this film.

It’s a sequel full of problems, but one that’s awfully fun to watch. We have a great time with it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> Thu, 10 Dec 2020 06:00:00 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4574 Does the vampire/werewolf soap opera bring anything new and worthy to the table after the first film? How do the villains hold up? And are any of the new bits of vampire/lycan lore good enough to become canon? Tune in to this week’s show to get these answers and more! Does the vampire/werewolf soap opera bring anything new and worthy to the table after the first film? How do the villains hold up? And are any of the new bits of vampire/lycan lore good enough to become canon? Tune in to this week’s show to get these answ film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Underworld • The Next Reel 10 10 21 21 Underworld • The Next Reel full 9b181105-7cec-455e-b64c-4beac4978a6d https://share.transistor.fm/s/732417de “Whether you like it or not, you’re in the middle of a war that’s been raging the better part of a thousand years. A blood feud between vampires and lycans. Werewolves.”

Moving from the art department on films like Independence Day to commercials to music videos, it makes sense that Len Wiseman brings a very specific look to his films. Pairing that look with his passion for genre movies, it seems obvious that he would be the man behind the Underworld franchise. Join us – Pete Wright and Andy Nelson – as we kick off our foray into Wiseman’s franchise with is 2003 film Underworld.
 

We talk about the history of werewolves and vampires and how their pairing works effectively. We look at Wiseman’s journey to this film and how it was his art background that nabbed him the job. We chat about Kate Beckinsale as Selene and why she works so well in this film and franchise, which came at a point in her career where it seemed like a step away from the expected path. We touch on Scott Speedman, Bill Nighy, Michael Sheen, and other actors and what they bring to the table. We discuss the soap operatic feel the script has and how it works in context of this story. We look at the team behind the cinematography, production design, costume design, and music and how well their individual parts come together to form this unique whole. And we look at the cinematically defining moments that make even the sometimes dated CG work. 


It’s a delightful and fun dive into a brilliantly constructed world. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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]]> “Whether you like it or not, you’re in the middle of a war that’s been raging the better part of a thousand years. A blood feud between vampires and lycans. Werewolves.”

Moving from the art department on films like Independence Day to commercials to music videos, it makes sense that Len Wiseman brings a very specific look to his films. Pairing that look with his passion for genre movies, it seems obvious that he would be the man behind the Underworld franchise. Join us – Pete Wright and Andy Nelson – as we kick off our foray into Wiseman’s franchise with is 2003 film Underworld.
 

We talk about the history of werewolves and vampires and how their pairing works effectively. We look at Wiseman’s journey to this film and how it was his art background that nabbed him the job. We chat about Kate Beckinsale as Selene and why she works so well in this film and franchise, which came at a point in her career where it seemed like a step away from the expected path. We touch on Scott Speedman, Bill Nighy, Michael Sheen, and other actors and what they bring to the table. We discuss the soap operatic feel the script has and how it works in context of this story. We look at the team behind the cinematography, production design, costume design, and music and how well their individual parts come together to form this unique whole. And we look at the cinematically defining moments that make even the sometimes dated CG work. 


It’s a delightful and fun dive into a brilliantly constructed world. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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 Dec 2020 03:00:00 -0800 TruStory FM TruStory FM 4341 “Whether you like it or not, you’re in the middle of a war that’s been raging the better part of a thousand years. A blood feud between vampires and lycans. Werewolves.”

Moving from the art department on films like Independence Day to commercials to music videos, it makes sense that Len Wiseman brings a very specific look to his films. Pairing that look with his passion for genre movies, it seems obvious that he would be the man behind the Underworld franchise. Join us – Pete Wright and Andy Nelson – as we kick off our foray into Wiseman’s franchise with is 2003 film Underworld.
 

We talk about the history of werewolves and vampires and how their pairing works effectively. We look at Wiseman’s journey to this film and how it was his art background that nabbed him the job. We chat about Kate Beckinsale as Selene and why she works so well in this film and franchise, which came at a point in her career where it seemed like a step away from the expected path. We touch on Scott Speedman, Bill Nighy, Michael Sheen, and other actors and what they bring to the table. We discuss the soap operatic feel the script has and how it works in context of this story. We look at the team behind the cinematography, production design, costume design, and music and how well their individual parts come together to form this unique whole. And we look at the cinematically defining moments that make even the sometimes dated CG work. 


It’s a delightful and fun dive into a brilliantly constructed world. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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


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]]> 2003, 2000s, Len Wiseman, Underworld No Andy Nelson Pete Wright Crawl • The Next Reel 10 10 20 20 Crawl • The Next Reel full 4ee26b3c-9bb4-447e-afaf-bebbe2230686 https://share.transistor.fm/s/6d0b6ade In the world of horror films, Sam Raimi carries a bit of heft so the fact that he wanted to work with Alexandre Aja and produce the film Crawl with him says a lot about the film you’re walking into. It’s a creature feature. And it’s a ton of fun. Join us – Pete Wright and Andy Nelson – as we wrap up our Aquatic Killers series with Aja’s 2019 alligator-attack-during-a-class-5-hurricane movie Crawl.

We talk about what makes this film work so well and what Aja and his screenwriters, Michael & Shawn Rasmussen, bring to the table. We look at alligators and rank them against all the other aquatic killers we’ve featured (hint: they top it out!). We chat about the visual effects they pull off here and debate about which ones work and which ones might feel a bit rough. We discuss Kaya Scodelario and Barry Pepper, our two leads, and how well they work in their roles. And we touch on how Quentin Tarantino said this may just be his favorite film from 2019.

It’s a tight, fun creature feature that does exactly what they set out to do. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> In the world of horror films, Sam Raimi carries a bit of heft so the fact that he wanted to work with Alexandre Aja and produce the film Crawl with him says a lot about the film you’re walking into. It’s a creature feature. And it’s a ton of fun. Join us – Pete Wright and Andy Nelson – as we wrap up our Aquatic Killers series with Aja’s 2019 alligator-attack-during-a-class-5-hurricane movie Crawl.

We talk about what makes this film work so well and what Aja and his screenwriters, Michael & Shawn Rasmussen, bring to the table. We look at alligators and rank them against all the other aquatic killers we’ve featured (hint: they top it out!). We chat about the visual effects they pull off here and debate about which ones work and which ones might feel a bit rough. We discuss Kaya Scodelario and Barry Pepper, our two leads, and how well they work in their roles. And we touch on how Quentin Tarantino said this may just be his favorite film from 2019.

It’s a tight, fun creature feature that does exactly what they set out to do. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> Thu, 26 Nov 2020 06:00:00 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4188 Why does Alexandre Aja’s film work so well? Are the creature and hurricane effects strong? And what’s scarier: alligators, crocodiles, sperm whales, anacondas, piranhas, octopuses, or great white sharks? Tune in to this week’s show to get answers to these questions and more! Why does Alexandre Aja’s film work so well? Are the creature and hurricane effects strong? And what’s scarier: alligators, crocodiles, sperm whales, anacondas, piranhas, octopuses, or great white sharks? Tune in to this week’s show to get answers to these film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright In the Heart of the Sea • The Next Reel 10 10 19 19 In the Heart of the Sea • The Next Reel full be7841a3-71af-4f7d-bbeb-2ef0a8a5ae0f https://share.transistor.fm/s/3e8178ab There have been a number of stories written about the tragedy of the whaling ship The Essex. The captain wrote about it. His first mate wrote about it. And as it turns out, one of the cabin boys wrote about it as well. The recounting by this cabin boy, Thomas Nickerson, became the primary source for Nathaniel Philbrick’s 2000 novel “In the Heart of the Sea,” which was the source for the 2015 film version. It’s hard to argue with many of the facts as reported in the sources because they’re generally comparable. The film, however, takes more licenses with accuracy. Did it need to? Or does it work this way? Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Ron Howard’s 2015 film In the Heart of the Sea.

We talk about why this film feels like a perfect film for our wheelhouse... and debate about why it fell so flat in the end. We look at changes made to the original story and wonder if the changes work or make it worse. We chat about the performances from the solid cast... and ponder how almost every one of them can butcher the accent so much. We discuss the whaling and sailing aspects of the film and how generally impressed we were with their depictions. We talk about sperm whales and the realities of them. We look at the construction of the script and how it feels like it peaks midway through. And we look at technical aspects that work for us – Roque Baños’ score – and that we struggled with – some of Anthony Dod Mantle’s cinematography choices.

It’s a film that’s engaging to watch but feels like it has constant problems. We find it to be an interesting watch, but largely leaves us flat. It provides for a great conversation though, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> There have been a number of stories written about the tragedy of the whaling ship The Essex. The captain wrote about it. His first mate wrote about it. And as it turns out, one of the cabin boys wrote about it as well. The recounting by this cabin boy, Thomas Nickerson, became the primary source for Nathaniel Philbrick’s 2000 novel “In the Heart of the Sea,” which was the source for the 2015 film version. It’s hard to argue with many of the facts as reported in the sources because they’re generally comparable. The film, however, takes more licenses with accuracy. Did it need to? Or does it work this way? Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Ron Howard’s 2015 film In the Heart of the Sea.

We talk about why this film feels like a perfect film for our wheelhouse... and debate about why it fell so flat in the end. We look at changes made to the original story and wonder if the changes work or make it worse. We chat about the performances from the solid cast... and ponder how almost every one of them can butcher the accent so much. We discuss the whaling and sailing aspects of the film and how generally impressed we were with their depictions. We talk about sperm whales and the realities of them. We look at the construction of the script and how it feels like it peaks midway through. And we look at technical aspects that work for us – Roque Baños’ score – and that we struggled with – some of Anthony Dod Mantle’s cinematography choices.

It’s a film that’s engaging to watch but feels like it has constant problems. We find it to be an interesting watch, but largely leaves us flat. It provides for a great conversation though, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> Thu, 19 Nov 2020 06:00:00 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3763 Did this story really play out this way or did they Hollywood-ize it? Who does the worst New Englander accent? And do sperm whales really get this aggressive? Tune in to this week’s show to get answers to these questions and more! Did this story really play out this way or did they Hollywood-ize it? Who does the worst New Englander accent? And do sperm whales really get this aggressive? Tune in to this week’s show to get answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Lake Placid • The Next Reel 10 10 18 18 Lake Placid • The Next Reel full 595534cf-31fe-479d-ab7f-037e068608ee https://share.transistor.fm/s/f8756f49 “I know that, under the circumstances, biting my head off might seem viable, but it would cheapen you.”

When the name David E. Kelley pops up, its usually in relation to one of the many incredible TV shows he created – Ally McBeal, The Practice, Doogie Howser, M.D., etc. His name rarely pops up when it comes to films. That’s why it was likely a big surprise to crowds in 1999 to see his name pop up on a creature feature. Director Steve Miner, on the other hand – also someone whose name is attached to incredible TV like The Wonder Years – comes up more often when it comes to horror films, having started working with Wes Craven before jumping into the Friday the 13th films. But was this film what audiences were looking for? Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Miner’s 1999 film Lake Placid.

We talk about the nature of this film and why it seemed so strange coming from Kelley. We look at how the characters work as compared to how the film works for us overall and find the creature feature portion is fun but some of the character writing feels far too stereotypical. We discuss the passion Stan Winston had for the project and how incredible his creation looks, particularly when paired with CG. Not to mention the cow. We touch on the complexities of filming in a lake and why they ended up making their own lake front in a giant tank up in Canada. We look at what the actors are doing – Bridget Fonda, Bill Pullman, Brendan Gleeson, and Oliver Platt – and how well they do with Kelley’s dated writing. And of course we discuss Betty White and what she’s bringing to the party.

It’s a fun romp that satisfies Andy a lot more than it does Pete, but we both have a lot of fun talking about it on this week’s show. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> “I know that, under the circumstances, biting my head off might seem viable, but it would cheapen you.”

When the name David E. Kelley pops up, its usually in relation to one of the many incredible TV shows he created – Ally McBeal, The Practice, Doogie Howser, M.D., etc. His name rarely pops up when it comes to films. That’s why it was likely a big surprise to crowds in 1999 to see his name pop up on a creature feature. Director Steve Miner, on the other hand – also someone whose name is attached to incredible TV like The Wonder Years – comes up more often when it comes to horror films, having started working with Wes Craven before jumping into the Friday the 13th films. But was this film what audiences were looking for? Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Miner’s 1999 film Lake Placid.

We talk about the nature of this film and why it seemed so strange coming from Kelley. We look at how the characters work as compared to how the film works for us overall and find the creature feature portion is fun but some of the character writing feels far too stereotypical. We discuss the passion Stan Winston had for the project and how incredible his creation looks, particularly when paired with CG. Not to mention the cow. We touch on the complexities of filming in a lake and why they ended up making their own lake front in a giant tank up in Canada. We look at what the actors are doing – Bridget Fonda, Bill Pullman, Brendan Gleeson, and Oliver Platt – and how well they do with Kelley’s dated writing. And of course we discuss Betty White and what she’s bringing to the party.

It’s a fun romp that satisfies Andy a lot more than it does Pete, but we both have a lot of fun talking about it on this week’s show. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> Thu, 12 Nov 2020 06:00:00 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4190 What works better, Stan Winston’s creature effects or the actors performing David E. Kelley’s lines? How does Steve Miner handle the creature feature genre? And how great is Betty White in seriously everything? Tune in to this week’s show to get answers to these questions and more! What works better, Stan Winston’s creature effects or the actors performing David E. Kelley’s lines? How does Steve Miner handle the creature feature genre? And how great is Betty White in seriously everything? Tune in to this week’s show to get answers t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Anaconda • The Next Reel 10 10 16 16 Anaconda • The Next Reel full be5a7609-544e-42c2-a7e0-64e16bc55497 https://share.transistor.fm/s/11ae8cbc Peruvian filmmaker Luis Llosa had been working on some films for Roger Corman before Hollywood came calling for some larger budgeted fare. After the action thriller The Specialist with Sylvester Stallone and Sharon Stone, he was asked to helm a creature feature back in his home turf. This film would be an early start for Jennifer Lopez as leading lady as well as Ice Cube, who had been growing his film career over the past few years. And of course, why not throw John Voight into the mix as the big bad snake hunter. Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Llosa’s 1997 film Anaconda.

We talk about the campiness of the film but how enjoyable it is, and how the people involved clearly knew what sort of movie they were making. We chat about the cast, notably Voight, who is obviously having a wonderful time playing such an over-the-top villain. We look at the anaconda itself, both the reality of them in South America and how this one appears in the film (that CG is pretty bad). And we ponder the editing decision to keep a backward waterfall in the film. Why would they do that?

It’s a ridiculously fun film and we have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> Peruvian filmmaker Luis Llosa had been working on some films for Roger Corman before Hollywood came calling for some larger budgeted fare. After the action thriller The Specialist with Sylvester Stallone and Sharon Stone, he was asked to helm a creature feature back in his home turf. This film would be an early start for Jennifer Lopez as leading lady as well as Ice Cube, who had been growing his film career over the past few years. And of course, why not throw John Voight into the mix as the big bad snake hunter. Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Llosa’s 1997 film Anaconda.

We talk about the campiness of the film but how enjoyable it is, and how the people involved clearly knew what sort of movie they were making. We chat about the cast, notably Voight, who is obviously having a wonderful time playing such an over-the-top villain. We look at the anaconda itself, both the reality of them in South America and how this one appears in the film (that CG is pretty bad). And we ponder the editing decision to keep a backward waterfall in the film. Why would they do that?

It’s a ridiculously fun film and we have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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 Nov 2020 06:00:00 -0800 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3643 Why does over-the-top John Voight work so well here? Do anacondas really get to be this big? Does it work as a B-creature feature? Tune in to this week’s show to get answers to these questions and more! Why does over-the-top John Voight work so well here? Do anacondas really get to be this big? Does it work as a B-creature feature? Tune in to this week’s show to get answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Gone Girl • The Next Reel • Member Bonus 10 10 17 17 Gone Girl • The Next Reel • Member Bonus full 3bbe3bdc-fdf8-4a71-b933-4a0351ccf287 https://share.transistor.fm/s/f8d8c748 "Come home, Amy. I dare you.”

Shortly after making his arguably unnecessary adaptation of The Girl With the Dragon Tattoo, David Fincher disappeared into TV land and began focusing his attentions to the Netflix TV series House of Cards. With the show’s success and immediate second season planned, it was thrilling to see him return to movies, this time with an adaptation of the incredibly popular book “Gone Girl” by Gillian Flynn. Join us – Pete Wright and Andy Nelson – as we drop our first members-only episode and catch up with our David Fincher series (until Mank comes out later this year) with Fincher’s 2014 Gone Girl. 


We talk about why this film and story likely was something that attracted Fincher, and how it fits in with other adaptations and original scripts he’s directed. We look at the nature of unlikeable characters and why they’re still so compelling. We discuss what Flynn may be saying about women – or what she may not be saying, depending on who you listen to – and how the character of Amy is a fascinating case study no matter how you slice it. We talk about Ben Affleck and how perfectly he embodies his character, and how he stopped the production for four days because he refused to wear a Yankees ball cap. We look at a number of the other actors and what they bring to the table. We look into the switch to Adobe for the post-production and how they found it more effective to manage 500 hours of raw footage. And we chat about Trent Reznor and Atticus Ross and why their music works so well in Fincher’s latest creations.


It’s another brilliant entry in Fincher’s filmography, though perhaps not near the top, and we have a great time chatting about it. Check it out and tune in! After this, our members-only episodes are going to be for members only, so make sure you head to thenextreel.com/membership and join us! The Next Reel – when the movie ends, our conversation begins!


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


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]]> "Come home, Amy. I dare you.”

Shortly after making his arguably unnecessary adaptation of The Girl With the Dragon Tattoo, David Fincher disappeared into TV land and began focusing his attentions to the Netflix TV series House of Cards. With the show’s success and immediate second season planned, it was thrilling to see him return to movies, this time with an adaptation of the incredibly popular book “Gone Girl” by Gillian Flynn. Join us – Pete Wright and Andy Nelson – as we drop our first members-only episode and catch up with our David Fincher series (until Mank comes out later this year) with Fincher’s 2014 Gone Girl. 


We talk about why this film and story likely was something that attracted Fincher, and how it fits in with other adaptations and original scripts he’s directed. We look at the nature of unlikeable characters and why they’re still so compelling. We discuss what Flynn may be saying about women – or what she may not be saying, depending on who you listen to – and how the character of Amy is a fascinating case study no matter how you slice it. We talk about Ben Affleck and how perfectly he embodies his character, and how he stopped the production for four days because he refused to wear a Yankees ball cap. We look at a number of the other actors and what they bring to the table. We look into the switch to Adobe for the post-production and how they found it more effective to manage 500 hours of raw footage. And we chat about Trent Reznor and Atticus Ross and why their music works so well in Fincher’s latest creations.


It’s another brilliant entry in Fincher’s filmography, though perhaps not near the top, and we have a great time chatting about it. Check it out and tune in! After this, our members-only episodes are going to be for members only, so make sure you head to thenextreel.com/membership and join us! The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

]]> Sat, 31 Oct 2020 02:00:00 -0700 TruStory FM TruStory FM 3827 "Come home, Amy. I dare you.”

Shortly after making his arguably unnecessary adaptation of The Girl With the Dragon Tattoo, David Fincher disappeared into TV land and began focusing his attentions to the Netflix TV series House of Cards. With the show’s success and immediate second season planned, it was thrilling to see him return to movies, this time with an adaptation of the incredibly popular book “Gone Girl” by Gillian Flynn. Join us – Pete Wright and Andy Nelson – as we drop our first members-only episode and catch up with our David Fincher series (until Mank comes out later this year) with Fincher’s 2014 Gone Girl. 


We talk about why this film and story likely was something that attracted Fincher, and how it fits in with other adaptations and original scripts he’s directed. We look at the nature of unlikeable characters and why they’re still so compelling. We discuss what Flynn may be saying about women – or what she may not be saying, depending on who you listen to – and how the character of Amy is a fascinating case study no matter how you slice it. We talk about Ben Affleck and how perfectly he embodies his character, and how he stopped the production for four days because he refused to wear a Yankees ball cap. We look at a number of the other actors and what they bring to the table. We look into the switch to Adobe for the post-production and how they found it more effective to manage 500 hours of raw footage. And we chat about Trent Reznor and Atticus Ross and why their music works so well in Fincher’s latest creations.


It’s another brilliant entry in Fincher’s filmography, though perhaps not near the top, and we have a great time chatting about it. Check it out and tune in! After this, our members-only episodes are going to be for members only, so make sure you head to thenextreel.com/membership and join us! The Next Reel – when the movie ends, our conversation begins!


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


Film Sundries

]]> 2014, 2010s, David Fincher, Member Bonus No Andy Nelson Pete Wright Piranha • The Next Reel 10 10 15 15 Piranha • The Next Reel full 43f9193a-c3e3-44ce-8f10-455848bf79a3 https://share.transistor.fm/s/401acecf Roger Corman’s always made profitable films, and sometimes that meant stealing some ideas from current releases to capitalize on the similarities. That’s certainly the case with the film he produced that ripped off Steven Spielberg’s Jaws: Joe Dante’s Piranha. Often, these films fell into legal issues, but with this film, Spielberg himself gave it his blessing and Universal stopped its injunctions. With that, we’re able to enjoy and talk about one of Dante’s early films. Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Dante’s 1978 film Piranha.

We talk about the nature of rip-offs and how this one feels like it’s a bit more than just a rip-off. We chat about the nature of Dante’s comedy and horror, particularly how it pairs with the script by none other than John Sayles. We look at the story and chat about the tropes it contains but also how much fun it is. We touch on some of the actors and why they work well in this film. We laugh at a story Andy shares about watching it with his 10-year-old son. And we revel in the greatness that is Pino Donaggio’s score.

It’s not a great film but it’s a ton of fun. We have a great time chatting about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> Roger Corman’s always made profitable films, and sometimes that meant stealing some ideas from current releases to capitalize on the similarities. That’s certainly the case with the film he produced that ripped off Steven Spielberg’s Jaws: Joe Dante’s Piranha. Often, these films fell into legal issues, but with this film, Spielberg himself gave it his blessing and Universal stopped its injunctions. With that, we’re able to enjoy and talk about one of Dante’s early films. Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Dante’s 1978 film Piranha.

We talk about the nature of rip-offs and how this one feels like it’s a bit more than just a rip-off. We chat about the nature of Dante’s comedy and horror, particularly how it pairs with the script by none other than John Sayles. We look at the story and chat about the tropes it contains but also how much fun it is. We touch on some of the actors and why they work well in this film. We laugh at a story Andy shares about watching it with his 10-year-old son. And we revel in the greatness that is Pino Donaggio’s score.

It’s not a great film but it’s a ton of fun. We have a great time chatting about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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, 29 Oct 2020 06:00:00 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3597 Does this film work better than last week’s Tentacles? How well does Joe Dante’s trademark horror-comedy come through in this early film of his? What’s more terrifying – piranhas or octopuses – and should we really be afraid of them in real life? Tune in to this week’s show to get answers to these questions and more! Does this film work better than last week’s Tentacles? How well does Joe Dante’s trademark horror-comedy come through in this early film of his? What’s more terrifying – piranhas or octopuses – and should we really be afraid of them in real life? Tune in film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Tentacles • The Next Reel 10 10 14 14 Tentacles • The Next Reel full 44d7106e-cbe3-418a-981d-4bb2dc1ffd93 https://share.transistor.fm/s/bc170862 From the time artists began creating, there were those stealing their ideas. This certainly holds true in film, where some filmmakers from around the world see one movie’s success as the opportunity to rip it off and make their own version of it. True, this often leads to litigation, but that doesn’t stop some filmmakers from trying to find ways around it anyway. After all, if it’ll make a buck, it’s worth doing, right? Steven Spielberg’s Jaws was such a success that it spawned countless rip-offs. One of the early ones was the Italian-American giant octopus production called Tentacles. Helmed by Oliver Hellman, aka Ovidio G. Assonitis, this Jaws rip-off doesn’t bring much new to the screen. But is it any good? Join us – Pete Wright and Andy Nelson – as we kick off our Aquatic Killers series with Assonitis’ 1977 film Tentacles.

We talk about the nature of rip-offs and if they can be any good (and when you draw the line – we’re looking at you, Asylum!). We chat about the bonkers cast here – John Huston, Shelley Winters, Henry Fonda, and more – and what, if anything, they bring to the table. We look at the octopus and what, if anything works about it. We discuss some of the octopus’s kills, including a baby right at the start of the film, and what they’re lacking to really make this work. And we talk about the cinematic sin of being boring, to which this film falls prey.

It’s an interesting film to kick things off with. Full of problems, a few interesting elements to entertain, but largely dull. Still, it makes for a great conversation! Check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins!

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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]]> From the time artists began creating, there were those stealing their ideas. This certainly holds true in film, where some filmmakers from around the world see one movie’s success as the opportunity to rip it off and make their own version of it. True, this often leads to litigation, but that doesn’t stop some filmmakers from trying to find ways around it anyway. After all, if it’ll make a buck, it’s worth doing, right? Steven Spielberg’s Jaws was such a success that it spawned countless rip-offs. One of the early ones was the Italian-American giant octopus production called Tentacles. Helmed by Oliver Hellman, aka Ovidio G. Assonitis, this Jaws rip-off doesn’t bring much new to the screen. But is it any good? Join us – Pete Wright and Andy Nelson – as we kick off our Aquatic Killers series with Assonitis’ 1977 film Tentacles.

We talk about the nature of rip-offs and if they can be any good (and when you draw the line – we’re looking at you, Asylum!). We chat about the bonkers cast here – John Huston, Shelley Winters, Henry Fonda, and more – and what, if anything, they bring to the table. We look at the octopus and what, if anything works about it. We discuss some of the octopus’s kills, including a baby right at the start of the film, and what they’re lacking to really make this work. And we talk about the cinematic sin of being boring, to which this film falls prey.

It’s an interesting film to kick things off with. Full of problems, a few interesting elements to entertain, but largely dull. Still, it makes for a great conversation! Check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins!

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, 22 Oct 2020 06:00:00 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3528 In the realm of rip-offs, how does this one hold up? Can an animal attack movie succeed without a strong story or protagonist? Does anyone buy that John Huston and Shelley Winters are brother and sister? Tune in to the show this week to get answers to these questions and more! In the realm of rip-offs, how does this one hold up? Can an animal attack movie succeed without a strong story or protagonist? Does anyone buy that John Huston and Shelley Winters are brother and sister? Tune in to the show this week to get answers to the film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Parasite • The Next Reel 10 10 13 13 Parasite • The Next Reel full b12c1cf3-eb82-4088-9904-b8582098bc04 https://share.transistor.fm/s/f0f47b62 It should come as no surprise that while making Snowpiercer, writer/director Bong Joon-Ho came up with the idea for Parasite. They’re both films that deal with social class after all. But where Snowpiercer tells its story in a dystopian, frozen sci-fi future aboard a train perpetually traveling the world, Parasite is a story grounded in reality. Perhaps that’s the reason it found a connection with so many more people. Join us – Pete Wright and Andy Nelson – as we wrap up our Foreign Language Films Nominated for Best Picture series with the film that broke the mold and became the first foreign language film to win Best Picture, Bong Joon-Ho’s 2019 film Parasite.

We talk about why the film works so well and the themes Bong explores. We look at the construction of the film and the ways Bong separates the classes both in the story and visually. We chat about the fantastic production design of the Park house and why it brings so much to the film. We discuss the stairs and the descent and how that’s used in perfect ways as the story builds. We look at the performers and other craftspeople involved. And we talk about its popularity at awards season and how it set a new benchmark at the Academy Awards.

It’s a brilliant film and we’re thrilled to end our current series with it. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

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]]> It should come as no surprise that while making Snowpiercer, writer/director Bong Joon-Ho came up with the idea for Parasite. They’re both films that deal with social class after all. But where Snowpiercer tells its story in a dystopian, frozen sci-fi future aboard a train perpetually traveling the world, Parasite is a story grounded in reality. Perhaps that’s the reason it found a connection with so many more people. Join us – Pete Wright and Andy Nelson – as we wrap up our Foreign Language Films Nominated for Best Picture series with the film that broke the mold and became the first foreign language film to win Best Picture, Bong Joon-Ho’s 2019 film Parasite.

We talk about why the film works so well and the themes Bong explores. We look at the construction of the film and the ways Bong separates the classes both in the story and visually. We chat about the fantastic production design of the Park house and why it brings so much to the film. We discuss the stairs and the descent and how that’s used in perfect ways as the story builds. We look at the performers and other craftspeople involved. And we talk about its popularity at awards season and how it set a new benchmark at the Academy Awards.

It’s a brilliant film and we’re thrilled to end our current series with it. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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 Oct 2020 06:00:00 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4891 How does this fit in with Bong Joon-Ho’s other ‘message’ movies? Why does the structure here work so well? And what is a scholar’s rock exactly and why is that important to the story? Tune in to this week’s show to get answers to these questions and more! How does this fit in with Bong Joon-Ho’s other ‘message’ movies? Why does the structure here work so well? And what is a scholar’s rock exactly and why is that important to the story? Tune in to this week’s show to get answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Roma • The Next Reel 10 10 12 12 Roma • The Next Reel full ef0cd8f0-d2bc-4267-bb5b-2fca9faa639d https://share.transistor.fm/s/a91f6fd6 The conversations about Roma at the time of its release and discussions about awards seemed to center on the fact that it was released on Netflix with only a limited theatrical run. People were convinced it wouldn’t have a shot for this very reason, but the quality of the film proved that even a Netflix release could be considered for Best Picture. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Alfonso Cuarón’s 2018 film Roma.

We talk about the tone of the story and why it works well, regardless of viewing format. We look at what Cuarón did technically to achieve the look of the film. We discuss the acting, both by newcomers and pros, and how they bring so much life to the story. We touch on the personal connection Cuarón had in the making of this film and why capturing his own memories was so important, especially in moments like the Halconazo riot. And we look at the nature of the ‘upstairs/downstairs’ sense of this film and how small, personal stories intersect with larger ones.

It’s a powerful film that gets better with age and certainly is one deserving of a conversation. We have a great time talking about it this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> The conversations about Roma at the time of its release and discussions about awards seemed to center on the fact that it was released on Netflix with only a limited theatrical run. People were convinced it wouldn’t have a shot for this very reason, but the quality of the film proved that even a Netflix release could be considered for Best Picture. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Alfonso Cuarón’s 2018 film Roma.

We talk about the tone of the story and why it works well, regardless of viewing format. We look at what Cuarón did technically to achieve the look of the film. We discuss the acting, both by newcomers and pros, and how they bring so much life to the story. We touch on the personal connection Cuarón had in the making of this film and why capturing his own memories was so important, especially in moments like the Halconazo riot. And we look at the nature of the ‘upstairs/downstairs’ sense of this film and how small, personal stories intersect with larger ones.

It’s a powerful film that gets better with age and certainly is one deserving of a conversation. We have a great time talking about it this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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 Oct 2020 06:00:00 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3647 Why does the black-and-white cinematography work so well in capturing a sense of Cuarón’s own memories? How does the ‘upstairs/downstairs’ nature of this story work when intersecting with the macroscopic view of Mexico City in the 70s? How well do the first time actors perform in the film? Tune in to this week’s show to get answers to these questions and more! Why does the black-and-white cinematography work so well in capturing a sense of Cuarón’s own memories? How does the ‘upstairs/downstairs’ nature of this story work when intersecting with the macroscopic view of Mexico City in the 70s? How well do the fir film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Amour • The Next Reel 10 10 11 11 Amour • The Next Reel full a778151f-fe60-41cf-bf38-1f26fe119874 https://share.transistor.fm/s/62461146 Michael Haneke is always one to provoke with his films, but rarely do they feel so personal as his 2012 film Amour. He pulled from personal experience with the suicide of his 90-year-old aunt to write the story and then crafted a film that maintains the Haneke distance even while allowing for an emotional film. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Haneke’s 2012 film Amour.

We talk about why this film works even though it’s a film that’s incredibly hard to watch. We chat about Haneke and his filmmaking style, and how that pairs with Darius Khondji’s cinematography. We discuss the powerful performances at the heart of this film from Jean-Louis Trintignant and Emmanuelle Riva. We debate the nature of this type of story and what it takes to be nominated for Best Picture. And we look at the still camerawork throughout and return to one of our favorite websites, Cinemetrics, to look at average shot length.

It’s not an easy film to watch but it is one that lingers. We have a great chat about it on this week’s show so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

Khondji Nights: Something Darius Khondji did so well when working with David Fincher he does here in spades — filming night scenes so dark that you can’t see anything happening on screen at all, to the point you think the projection is somehow broken.

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

Film Sundries

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]]> Michael Haneke is always one to provoke with his films, but rarely do they feel so personal as his 2012 film Amour. He pulled from personal experience with the suicide of his 90-year-old aunt to write the story and then crafted a film that maintains the Haneke distance even while allowing for an emotional film. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Haneke’s 2012 film Amour.

We talk about why this film works even though it’s a film that’s incredibly hard to watch. We chat about Haneke and his filmmaking style, and how that pairs with Darius Khondji’s cinematography. We discuss the powerful performances at the heart of this film from Jean-Louis Trintignant and Emmanuelle Riva. We debate the nature of this type of story and what it takes to be nominated for Best Picture. And we look at the still camerawork throughout and return to one of our favorite websites, Cinemetrics, to look at average shot length.

It’s not an easy film to watch but it is one that lingers. We have a great chat about it on this week’s show so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

Khondji Nights: Something Darius Khondji did so well when working with David Fincher he does here in spades — filming night scenes so dark that you can’t see anything happening on screen at all, to the point you think the projection is somehow broken.

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, 01 Oct 2020 06:00:00 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3488 Does this film provoke in the ways that other Michael Haneke films do? Who’s the better actor – Jean-Louis Trintignant or Emmanuelle Riva? Does this film immediately fall into the camp of ‘films to watch just once’ because of its subject matter? Tune in to this week’s show to get answers to these questions and more! Does this film provoke in the ways that other Michael Haneke films do? Who’s the better actor – Jean-Louis Trintignant or Emmanuelle Riva? Does this film immediately fall into the camp of ‘films to watch just once’ because of its subject matter? Tune in t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Letters From Iwo Jima • The Next Reel 10 10 10 10 Letters From Iwo Jima • The Next Reel full 64264980-0743-482c-8d32-77091f2e77bf https://share.transistor.fm/s/64b8435a During pre-production on Flags of Our Fathers, Clint Eastwood was doing research and became curious about who it was on the Japanese side of the Battle of Iwo Jima who was leading their troops. This interest led him down a rabbit hole of curiosities that made him want to tell that story too. When he brought this up to producer Steven Spielberg, they decided that it was interesting enough to make a second film detailing that perspective. With that, Letters From Iwo Jima was born. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Eastwood’s 2006 film Letters From Iwo Jima.

We talk about the interesting journey this film took in getting put together as a companion piece to the film Eastwood was originally making about the famous WWII battle. We discuss the reasons this film ended up in our series but was not eligible to be nominated for a Best Foreign Language Film Oscar. We look at the nature of Japanese society and the rituals depicted in this film, and chat about why this film connected with so many Japanese people on its release. We chat about Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, and Ryô Kase and look at what they each bring to the table. We also talk about the casting and the nature of acting, and why this was Phyllis Huffman’s last film with Eastwood as his casting director. We look at the incredible albeit muted cinematography of Tom Stern paired with the great production design by the legendary Henry Bumstead in his last film. And we touch on the music and the composers behind it.

It’s another strong entry into our series and despite its sobering content, we have a fantastic conversation about it. So check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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]]> During pre-production on Flags of Our Fathers, Clint Eastwood was doing research and became curious about who it was on the Japanese side of the Battle of Iwo Jima who was leading their troops. This interest led him down a rabbit hole of curiosities that made him want to tell that story too. When he brought this up to producer Steven Spielberg, they decided that it was interesting enough to make a second film detailing that perspective. With that, Letters From Iwo Jima was born. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Eastwood’s 2006 film Letters From Iwo Jima.

We talk about the interesting journey this film took in getting put together as a companion piece to the film Eastwood was originally making about the famous WWII battle. We discuss the reasons this film ended up in our series but was not eligible to be nominated for a Best Foreign Language Film Oscar. We look at the nature of Japanese society and the rituals depicted in this film, and chat about why this film connected with so many Japanese people on its release. We chat about Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, and Ryô Kase and look at what they each bring to the table. We also talk about the casting and the nature of acting, and why this was Phyllis Huffman’s last film with Eastwood as his casting director. We look at the incredible albeit muted cinematography of Tom Stern paired with the great production design by the legendary Henry Bumstead in his last film. And we touch on the music and the composers behind it.

It’s another strong entry into our series and despite its sobering content, we have a fantastic conversation about it. So check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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 Sep 2020 06:00:10 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4531 How did Clint Eastwood end up directing a Japanese language film about a battle during WWII? What does this film say about Japanese culture and its rituals, notably those during war? How strong is this cast led by Ken Watanabe? Tune in to this week’s show to get answers to these questions and more. How did Clint Eastwood end up directing a Japanese language film about a battle during WWII? What does this film say about Japanese culture and its rituals, notably those during war? How strong is this cast led by Ken Watanabe? Tune in to this week’s show film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Crouching Tiger, Hidden Dragon • The Next Reel 10 10 9 9 Crouching Tiger, Hidden Dragon • The Next Reel full fd90c76f-e6e8-4e03-b78f-50601b3d5aec https://share.transistor.fm/s/94bd0ba4 Ang Lee has made a career of always doing something different, so it likely came as no surprise to people after his Jane Austen adaptation, his 70s period family drama, and his western that he then moved straight into a Chinese wuxia film full of magical realism. Despite the wide variance between subjects, his passion for stories full of emotion and repression is reflected in them all in some capacity. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Lee’s 2000 film Crouching Tiger, Hidden Dragon.

We talk about the nature of this film and how it became such a touchstone for not only celebrating Asian culture but also a shift in wirework and stunts in films. We look at the nature of emotion in Lee’s films and how that’s reflected throughout with various characters here. We discuss the challenge of making a film like this with a cast who didn’t all speak Mandarin, or did with heavy accents. We chat about the performers and how much Chow Yun-Fat, Michelle Yeoh, Zhang Ziyi and Chang Chen bring to their roles. We discuss the color green and its use here paired with Peter Pau’s cinematography and Yuen Woo-ping’s action choreography. We touch on Tan Dun’s amazing score, and we debate about the Oscars and how things played out.

It’s a brilliant film that holds up just as well as it did on its initial release. We have a great time talking about it, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Ang Lee has made a career of always doing something different, so it likely came as no surprise to people after his Jane Austen adaptation, his 70s period family drama, and his western that he then moved straight into a Chinese wuxia film full of magical realism. Despite the wide variance between subjects, his passion for stories full of emotion and repression is reflected in them all in some capacity. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Lee’s 2000 film Crouching Tiger, Hidden Dragon.

We talk about the nature of this film and how it became such a touchstone for not only celebrating Asian culture but also a shift in wirework and stunts in films. We look at the nature of emotion in Lee’s films and how that’s reflected throughout with various characters here. We discuss the challenge of making a film like this with a cast who didn’t all speak Mandarin, or did with heavy accents. We chat about the performers and how much Chow Yun-Fat, Michelle Yeoh, Zhang Ziyi and Chang Chen bring to their roles. We discuss the color green and its use here paired with Peter Pau’s cinematography and Yuen Woo-ping’s action choreography. We touch on Tan Dun’s amazing score, and we debate about the Oscars and how things played out.

It’s a brilliant film that holds up just as well as it did on its initial release. We have a great time talking about it, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 17 Sep 2020 06:00:09 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 5252 How well does this movie hold up on its 20th anniversary? How is the wuxia wirework captured so beautifully here still rippling through films made today? Should any of the actors here have been nominated for Oscars? Tune in to this week’s show to get these answers and more! How well does this movie hold up on its 20th anniversary? How is the wuxia wirework captured so beautifully here still rippling through films made today? Should any of the actors here have been nominated for Oscars? Tune in to this week’s show to get thes film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Life Is Beautiful • The Next Reel 10 10 8 8 Life Is Beautiful • The Next Reel full 0769ed75-df3f-4959-b72e-7c6d20d9b6f0 https://share.transistor.fm/s/4b28099a By 1998’s awards season, Miramax’s marketing machine was cranking away at its hardest, and some would argue hit a point that was offensive. In the 1999 Oscar ceremony, not only did their film Shakespeare in Love usurp the odds-on favorite of Saving Private Ryan for Best Picture as well as Gwyneth Paltrow’s Best Actress award over several other arguably stronger performances, but their film Life Is Beautiful won for Best Actor, Best Score, and Best Foreign Language Film, not to mention the fact that it was one of the very small club of foreign films earning a nomination for Best Picture. Roberto Benigni’s chair-jumping and over-the-top pronouncement of his love for everybody was fun to watch, but in the end, was Life Is Beautiful all that and a bag of chips? Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Benigni’s 1997 film Life Is Beautiful.

We talk about the passage of time and how that’s affected our feelings about this film, even if it’s hard to argue that it’s the worst film ever made as some do. We debate Benigni as director, screenwriter, and actor and try to figure out just how much is too much, and why the film often feels more like a chance for him to showboat than a solid story. We talk about the nature of telling a comedic story during horrible circumstances like the Holocaust and what it takes to make it really work right. We also talk about the nature of fables and debate the nature of this being a fable when pushed through Benigni’s prism. We look at the cast and some of the scenes they’re in that work really well. We touch on the music and how beautiful it is. And we chat about the awards circuit for this film with lots of opinions about its nominations and wins. (Central Station absolutely should’ve been receiving the accolades.)

It’s a divisive film that doesn’t hold up as well when revisiting 20+ years later, but it still makes for a delicious conversation. Check it out, make up your own mind, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

The Next Reel – when the 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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]]> By 1998’s awards season, Miramax’s marketing machine was cranking away at its hardest, and some would argue hit a point that was offensive. In the 1999 Oscar ceremony, not only did their film Shakespeare in Love usurp the odds-on favorite of Saving Private Ryan for Best Picture as well as Gwyneth Paltrow’s Best Actress award over several other arguably stronger performances, but their film Life Is Beautiful won for Best Actor, Best Score, and Best Foreign Language Film, not to mention the fact that it was one of the very small club of foreign films earning a nomination for Best Picture. Roberto Benigni’s chair-jumping and over-the-top pronouncement of his love for everybody was fun to watch, but in the end, was Life Is Beautiful all that and a bag of chips? Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Benigni’s 1997 film Life Is Beautiful.

We talk about the passage of time and how that’s affected our feelings about this film, even if it’s hard to argue that it’s the worst film ever made as some do. We debate Benigni as director, screenwriter, and actor and try to figure out just how much is too much, and why the film often feels more like a chance for him to showboat than a solid story. We talk about the nature of telling a comedic story during horrible circumstances like the Holocaust and what it takes to make it really work right. We also talk about the nature of fables and debate the nature of this being a fable when pushed through Benigni’s prism. We look at the cast and some of the scenes they’re in that work really well. We touch on the music and how beautiful it is. And we chat about the awards circuit for this film with lots of opinions about its nominations and wins. (Central Station absolutely should’ve been receiving the accolades.)

It’s a divisive film that doesn’t hold up as well when revisiting 20+ years later, but it still makes for a delicious conversation. Check it out, make up your own mind, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

The Next Reel – when the 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 Sep 2020 06:00:04 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 4129 Can a comedic film set during the Holocaust work? Does Benigni pull off the hat trick everyone thought he did back in 1998? Why is it hard to make a film that’s a fable? Tune in to this week’s show to get answers to these questions and more! Can a comedic film set during the Holocaust work? Does Benigni pull off the hat trick everyone thought he did back in 1998? Why is it hard to make a film that’s a fable? Tune in to this week’s show to get answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Il Postino (The Postman) • The Next Reel 10 10 7 7 Il Postino (The Postman) • The Next Reel full d135e884-b23f-4e4c-a928-bd6892d723b6 https://share.transistor.fm/s/fdadfe05 Massimo Troisi had a driving passion to make The Postman, so much so that he put medical care off to get it made. This lead to his death immediately after principal photography, but his passion project was able to be seen by the world. But would it have the success story it has if it wasn’t for the Miramax marketing machine? Hard to say, but we don’t think so, despite it being an absolutely adorable film. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Michael Radford’s 1994 film The Postman (Il Postino).

We talk about the nature of foreign language films being left out of the Best Picture race from the early 70s to the mid 90s and why that may have been. We also talk about the nature of the Best Picture award and what a film should have intrinsically to get that nomination, but how marketing efforts really led to shifts there. We discuss Troisi’s passion for this film and how it pushed him to get it made, regardless of his health. We look at the nature of a biographical story and why including Pablo Neruda in this film doesn’t make it biographical. We chat about the power of Neruda’s poetry and why it works so well in this film. We touch on Radford as a director and Luis Bacalov’s incredible score. And we look at other films that were left out of the Best Picture race.

It’s a beautiful and heartwarming film. Maybe not Best Picture material, but certainly something that warmed both our hearts. We had a great time talking about it so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> Massimo Troisi had a driving passion to make The Postman, so much so that he put medical care off to get it made. This lead to his death immediately after principal photography, but his passion project was able to be seen by the world. But would it have the success story it has if it wasn’t for the Miramax marketing machine? Hard to say, but we don’t think so, despite it being an absolutely adorable film. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Michael Radford’s 1994 film The Postman (Il Postino).

We talk about the nature of foreign language films being left out of the Best Picture race from the early 70s to the mid 90s and why that may have been. We also talk about the nature of the Best Picture award and what a film should have intrinsically to get that nomination, but how marketing efforts really led to shifts there. We discuss Troisi’s passion for this film and how it pushed him to get it made, regardless of his health. We look at the nature of a biographical story and why including Pablo Neruda in this film doesn’t make it biographical. We chat about the power of Neruda’s poetry and why it works so well in this film. We touch on Radford as a director and Luis Bacalov’s incredible score. And we look at other films that were left out of the Best Picture race.

It’s a beautiful and heartwarming film. Maybe not Best Picture material, but certainly something that warmed both our hearts. We had a great time talking about it so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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 Sep 2020 06:00:03 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3575 Does a simple yet adorable story full of love and passion like this deserve a Best Picture nomination? Why is the story of getting this film made so heartbreaking? And how does the Miramax marketing machine fit into this film’s success? Get answers to these questions and more by tuning into this week’s show! Does a simple yet adorable story full of love and passion like this deserve a Best Picture nomination? Why is the story of getting this film made so heartbreaking? And how does the Miramax marketing machine fit into this film’s success? Get answers to the film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Cries and Whispers • The Next Reel 10 10 6 6 Cries and Whispers • The Next Reel full 7361ddfd-abfa-439f-9cca-717c71acd6f4 https://share.transistor.fm/s/a2b2aa89 “I can’t take it! Can’t anyone help me? I can’t take it! Help me!”

Starting with an image dreamed of four women in white in a red room, Ingmar Bergman was able to build the story that became his film Cries and Whispers. The film would go on to become one of his most successful films, certainly the highest-grossing film of his released in the US. But Bergman said it’s very hard to say anything about this film, so clearly the film was enigmatic to him, and perhaps made intentionally that way as well, so does it make sense that so many people (including us now) have taken to analyzing his film? Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Bergman’s 1973 film Cries and Whispers.

We talk about the struggle we both have with Bergman’s films, even acknowledging that his films are full of art and intention, and how that shapes our thoughts on the film. We look at the use of the color red throughout the film, how it can be interpreted, and why it may be analytically problematic to use is so pervasively. We also chat about Sven Nykvist’s challenges to capture so much red on film stock at the time. We discuss the performances of the actors here and look at how great they all are. And we look at some of the theories about the film and debate if we can pull much from them.

It’s a tough film to watch but an impeccably constructed film. We have a great conversation about it on this week’s show, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> “I can’t take it! Can’t anyone help me? I can’t take it! Help me!”

Starting with an image dreamed of four women in white in a red room, Ingmar Bergman was able to build the story that became his film Cries and Whispers. The film would go on to become one of his most successful films, certainly the highest-grossing film of his released in the US. But Bergman said it’s very hard to say anything about this film, so clearly the film was enigmatic to him, and perhaps made intentionally that way as well, so does it make sense that so many people (including us now) have taken to analyzing his film? Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Bergman’s 1973 film Cries and Whispers.

We talk about the struggle we both have with Bergman’s films, even acknowledging that his films are full of art and intention, and how that shapes our thoughts on the film. We look at the use of the color red throughout the film, how it can be interpreted, and why it may be analytically problematic to use is so pervasively. We also chat about Sven Nykvist’s challenges to capture so much red on film stock at the time. We discuss the performances of the actors here and look at how great they all are. And we look at some of the theories about the film and debate if we can pull much from them.

It’s a tough film to watch but an impeccably constructed film. We have a great conversation about it on this week’s show, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> Thu, 27 Aug 2020 06:00:19 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 4018 Is this film built for regular filmgoers or specifically Ingmar Bergman fans? Is the color red brilliantly used or overused? How good are the performances in the film? Tune in to this week’s show to get answers to these questions and more! Is this film built for regular filmgoers or specifically Ingmar Bergman fans? Is the color red brilliantly used or overused? How good are the performances in the film? Tune in to this week’s show to get answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Z • The Next Reel 10 10 5 5 Z • The Next Reel full a80146c5-7a65-4936-b713-6a9c43463166 https://share.transistor.fm/s/b2f74af7 “Here we go. It’s a murder now. They’ll be calling it a plot if this drags on.”

Being from Greece but raised in France, director Costa-Gavras still felt very much connected to his home country. When the democratic politician and leftist activist Grigoris Lambrakis was assassinated in 1963 by right-wing zealots, which pushed the country into mass riots and political unrest that led to a dictatorship, Costa-Gavras was inspired to tell the story cinematically. Based on a book that was a roman à clef, he chose to use the same deliberate way to craft his film, making it a very thinly veiled fiction about this real-world story. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Films Nominated for Best Picture series with Costa-Gavras’ 1969 film Z.

We talk about the nature of this true story and how it’s fictional, but very deliberate in its telling of Lambrakis’ murder. We chat about the was that Costa-Gavras put the film together and how intense and alive it is right out of the gate – and how fitting it is for its time. We look at the shifts in the story and debate if it works going from the assassination to the investigation to the trial. We look at the cast and how well they do in their parts. We talk about the documentary-style approach to the film in camera work and editing. And we debate its run at the Oscars and if it deserved the awards it took home.

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

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

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]]> “Here we go. It’s a murder now. They’ll be calling it a plot if this drags on.”

Being from Greece but raised in France, director Costa-Gavras still felt very much connected to his home country. When the democratic politician and leftist activist Grigoris Lambrakis was assassinated in 1963 by right-wing zealots, which pushed the country into mass riots and political unrest that led to a dictatorship, Costa-Gavras was inspired to tell the story cinematically. Based on a book that was a roman à clef, he chose to use the same deliberate way to craft his film, making it a very thinly veiled fiction about this real-world story. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Films Nominated for Best Picture series with Costa-Gavras’ 1969 film Z.

We talk about the nature of this true story and how it’s fictional, but very deliberate in its telling of Lambrakis’ murder. We chat about the was that Costa-Gavras put the film together and how intense and alive it is right out of the gate – and how fitting it is for its time. We look at the shifts in the story and debate if it works going from the assassination to the investigation to the trial. We look at the cast and how well they do in their parts. We talk about the documentary-style approach to the film in camera work and editing. And we debate its run at the Oscars and if it deserved the awards it took home.

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

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

Film Sundries

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]]> Thu, 20 Aug 2020 06:00:02 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 4184 Does Costa-Gavras’ film feel as relevant today as it did in 1969? How does the structure of the storytelling work in detailing the elements of this political thriller? Should it have won Best Picture in addition to Best Foreign Language Film? Tune in to this week’s show to get answers to these questions and more! Does Costa-Gavras’ film feel as relevant today as it did in 1969? How does the structure of the storytelling work in detailing the elements of this political thriller? Should it have won Best Picture in addition to Best Foreign Language Film? Tune in to t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Grand Illusion • The Next Reel 10 10 4 4 The Grand Illusion • The Next Reel full 4a365395-4f8e-4933-82b1-9f20765d9f02 https://share.transistor.fm/s/e28b130e Seeing a foreign language film get nominated for Best Picture may have seemed strange for those in the Academy back in the late 30s, but after seeing Jean Renoir’s film La Grande Illusion, it may have made more sense. The film was about World War I – the Great War (if there really can be such a thing) – but was made during the rise of fascism and the rumblings of World War II. Renoir preaches a humanistic take, which one might have said was too optimistic for its time, but it certainly was affecting and popular because of it. That popularity also led to its being banned in several countries because its viewpoint didn’t make sense at that moment in history – or seemed downright dangerous. Still, the film’s found its way into many people’s hearts and into the annals of cinema history as one of the greats. But a Best Picture nomination? How does that fit in with the Academy? Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at Foreign Language Films Nominated for Best Picture, starting with Renoir’s 1937 film Grand Illusion.

We talk about the nature of a war film like this that doesn’t show battles or trenches but instead focuses on POW camps and social classes, and what that means for the film and expectations. We look at Renoir and his realist type of filmmaking. We chat about Jean Gabin, Erich von Stroheim, Pierre Fresnay, Dita Parlo, and more actors and look at what they bring to the table. We touch on the camerawork, production design, and music. And we break down the Best Picture race in 1938, debating whether this film makes sense in the lineup and if it should’ve won or not.

It’s a classic film, but one that certainly takes some warming up to. We have a great time talking about it on this week’s show, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> Seeing a foreign language film get nominated for Best Picture may have seemed strange for those in the Academy back in the late 30s, but after seeing Jean Renoir’s film La Grande Illusion, it may have made more sense. The film was about World War I – the Great War (if there really can be such a thing) – but was made during the rise of fascism and the rumblings of World War II. Renoir preaches a humanistic take, which one might have said was too optimistic for its time, but it certainly was affecting and popular because of it. That popularity also led to its being banned in several countries because its viewpoint didn’t make sense at that moment in history – or seemed downright dangerous. Still, the film’s found its way into many people’s hearts and into the annals of cinema history as one of the greats. But a Best Picture nomination? How does that fit in with the Academy? Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at Foreign Language Films Nominated for Best Picture, starting with Renoir’s 1937 film Grand Illusion.

We talk about the nature of a war film like this that doesn’t show battles or trenches but instead focuses on POW camps and social classes, and what that means for the film and expectations. We look at Renoir and his realist type of filmmaking. We chat about Jean Gabin, Erich von Stroheim, Pierre Fresnay, Dita Parlo, and more actors and look at what they bring to the table. We touch on the camerawork, production design, and music. And we break down the Best Picture race in 1938, debating whether this film makes sense in the lineup and if it should’ve won or not.

It’s a classic film, but one that certainly takes some warming up to. We have a great time talking about it on this week’s show, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> Thu, 13 Aug 2020 06:00:08 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 4186 What is the grand illusion in The Grand Illusion? How does Jean Renoir’s realism work for this World War I film? Why is director/actor Erich von Stroheim so memorable as the director of the POW camp? And why is Dita Parlo so high in the credits? Tune in to this week’s show to get answers to these questions and more! What is the grand illusion in The Grand Illusion? How does Jean Renoir’s realism work for this World War I film? Why is director/actor Erich von Stroheim so memorable as the director of the POW camp? And why is Dita Parlo so high in the credits? Tune in t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Friday After Next • The Next Reel 10 10 3 3 Friday After Next • The Next Reel full 817c21b0-daa1-49b7-aa7d-4c4c7e5f7266 https://share.transistor.fm/s/41fa7b7e "Give me a twister... make it two. Hold the flies.”

Coming back just a few short years later, Ice Cube sets his third film in the Friday franchise at Christmastime. It’s a fun shift in the franchise, which also shifts locations yet again to a low-end strip mall where Craig and his cousin Day-Day work as security guards. But Cube is yet again tackling the script by himself and bringing on a first-time filmmaker to bring the film to life, this time through music video director Marcus Raboy. We had problems with those choices in his last film, Next Friday. Will we have the same ones this time? Join us – Pete Wright and Andy Nelson – as we wrap up our Friday franchise series with Raboy’s 2002 film Friday After Next.

We talk about the improvements this film makes over its predecessor, even if they’re not huge, like the better fleshed out characters and the more interesting villain. To that end, we also talk about the abundance of villains in this film and how many of them just don’t work that well because they’re not developed, particularly the Santa Claus hoodlum. We look at what Mike Epps is bringing to the table as Day-Day here and why he works much better than he did in the last film. We chat about the position that films like this have in context of bigger discussions today – #metoo, jokes about rape and homosexuality, even “I can’t breathe” – and what that means for their longevity.

It’s a film with problems, but better jokes than the previous film. It’s fair-to-middling, but still a fun end to the franchise for now. We have fun talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> "Give me a twister... make it two. Hold the flies.”

Coming back just a few short years later, Ice Cube sets his third film in the Friday franchise at Christmastime. It’s a fun shift in the franchise, which also shifts locations yet again to a low-end strip mall where Craig and his cousin Day-Day work as security guards. But Cube is yet again tackling the script by himself and bringing on a first-time filmmaker to bring the film to life, this time through music video director Marcus Raboy. We had problems with those choices in his last film, Next Friday. Will we have the same ones this time? Join us – Pete Wright and Andy Nelson – as we wrap up our Friday franchise series with Raboy’s 2002 film Friday After Next.

We talk about the improvements this film makes over its predecessor, even if they’re not huge, like the better fleshed out characters and the more interesting villain. To that end, we also talk about the abundance of villains in this film and how many of them just don’t work that well because they’re not developed, particularly the Santa Claus hoodlum. We look at what Mike Epps is bringing to the table as Day-Day here and why he works much better than he did in the last film. We chat about the position that films like this have in context of bigger discussions today – #metoo, jokes about rape and homosexuality, even “I can’t breathe” – and what that means for their longevity.

It’s a film with problems, but better jokes than the previous film. It’s fair-to-middling, but still a fun end to the franchise for now. We have fun talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 06 Aug 2020 06:00:09 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3742 Coming back just a few short years later, Ice Cube sets his third film in the Friday franchise at Christmastime. It’s a fun shift in the franchise, which also shifts locations yet again to a low-end strip mall where Craig and his cousin Day-Day work as security guards. Cube is yet again tackling the script by himself and bringing on a first-time filmmaker to bring the film to life, this time through music video director Marcus Raboy. Join us as we wrap up our Friday franchise series with Raboy’s 2002 film 'Friday After Next'. Coming back just a few short years later, Ice Cube sets his third film in the Friday franchise at Christmastime. It’s a fun shift in the franchise, which also shifts locations yet again to a low-end strip mall where Craig and his cousin Day-Day work as se film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Next Friday • The Next Reel 10 10 2 2 Next Friday • The Next Reel full 50ea79e6-281b-4773-b8c0-cb28b295e969 https://share.transistor.fm/s/e6dae3bf "I’m about to show you who the real puff daddy is!”

When Ice Cube started up his own production company, CubeVision, it made sense to jump back to the first film that he wrote, Friday, to make a sequel. After all, most sequels are guaranteed to earn back a part of what their predecessors made. But Chris Tucker had become a born-again Christian and didn’t want to be in this type of movie anymore and DJ Pooh, his co-writer, was off directing his own first movie. That didn’t stop Cube, who pushed forward anyway, taking his character Craig to the suburbs for new adventures and more marijuana. Join us – Pete Wright and Andy Nelson – as we continue our series looking at the Friday franchise with Steve Carr’s 2000 film Next Friday.

We talk about what we loved so much about the first film and why this film feels like a disappointment following that one. We look at specific characters and story beats with the film that exemplify why this film is problematic and what Cube, Carr and Co. could have done differently to make this one shine. We talk about various beats and characters that work really well for us, again further laying out what Cube did well here versus what he didn’t. We chat about Carr’s background and how he came to land this film, as well as Tucker’s reasons for not joining on. And we look at actors in this film who did great stuff, even if the material is weak.

It’s a disappointing sequel that has some of the laughs from the first but doesn’t have any of the heart, and for that, we’re forever disappointed. Still, it makes for a great conversation, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> "I’m about to show you who the real puff daddy is!”

When Ice Cube started up his own production company, CubeVision, it made sense to jump back to the first film that he wrote, Friday, to make a sequel. After all, most sequels are guaranteed to earn back a part of what their predecessors made. But Chris Tucker had become a born-again Christian and didn’t want to be in this type of movie anymore and DJ Pooh, his co-writer, was off directing his own first movie. That didn’t stop Cube, who pushed forward anyway, taking his character Craig to the suburbs for new adventures and more marijuana. Join us – Pete Wright and Andy Nelson – as we continue our series looking at the Friday franchise with Steve Carr’s 2000 film Next Friday.

We talk about what we loved so much about the first film and why this film feels like a disappointment following that one. We look at specific characters and story beats with the film that exemplify why this film is problematic and what Cube, Carr and Co. could have done differently to make this one shine. We talk about various beats and characters that work really well for us, again further laying out what Cube did well here versus what he didn’t. We chat about Carr’s background and how he came to land this film, as well as Tucker’s reasons for not joining on. And we look at actors in this film who did great stuff, even if the material is weak.

It’s a disappointing sequel that has some of the laughs from the first but doesn’t have any of the heart, and for that, we’re forever disappointed. Still, it makes for a great conversation, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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 Jul 2020 06:00:03 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3332 When Ice Cube started up his own production company it made sense to leverage the first film he wrote to make a sequel. After all, most sequels are guaranteed to earn back a part of what their predecessors made. But without Chris Tucker and DJ Pooh, how does Cube handle taking Craig to the suburbs? Join us as we continue our series looking at the Friday franchise with Steve Carr’s 2000 film ‘Next Friday’. When Ice Cube started up his own production company it made sense to leverage the first film he wrote to make a sequel. After all, most sequels are guaranteed to earn back a part of what their predecessors made. But without Chris Tucker and DJ Pooh, how film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Friday • The Next Reel 10 10 1 1 Friday • The Next Reel full 4aa30069-87fc-48b5-ad1c-0d92857e17e1 https://share.transistor.fm/s/166c74f5 Ice Cube’s rap career was on fire because of the work he was doing with N.W.A., but after playing Doughboy in John Singleton’s 1991 film Boyz n the Hood, he got the acting bug and wanted to do more films. He talked to N.W.A.’s publicist Patricia Charbonnet, and the two of them came up with the idea of telling a story of life in the hood that wasn’t so dark like Singleton’s film or others like it. With that, Cube and his friend DJ Pooh set to work on the script and Charbonnet cut a deal with New Line Cinema. Cube wanted F. Gary Gray to direct it, who he knew from directing several videos for his group. This team put together what they thought was a small comedy, but it’s turned into an iconic film that’s endured the test of time. Join us – Pete Wright and Andy Nelson – as we kick off our new series looking at the Friday franchise with Gray’s 1995 film Friday.

We talk about why the comedy in this film works so well and the impression it continues to make. We look at the nature of stoner films and how this fits in – and differs. We discuss the brilliant cast and what everyone’s bringing to the table, especially Chris Tucker and Cube himself. We chat about the tone that Gray, Cube, Pooh and team were looking to create with the film and discuss why these characters are so unforgettable. And we remember John Witherspoon, who brilliantly plays Craig’s father in the film, and has been burned in our brains.

It’s a riot of a film and one we love to watch, so light up, check it out, then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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]]> Ice Cube’s rap career was on fire because of the work he was doing with N.W.A., but after playing Doughboy in John Singleton’s 1991 film Boyz n the Hood, he got the acting bug and wanted to do more films. He talked to N.W.A.’s publicist Patricia Charbonnet, and the two of them came up with the idea of telling a story of life in the hood that wasn’t so dark like Singleton’s film or others like it. With that, Cube and his friend DJ Pooh set to work on the script and Charbonnet cut a deal with New Line Cinema. Cube wanted F. Gary Gray to direct it, who he knew from directing several videos for his group. This team put together what they thought was a small comedy, but it’s turned into an iconic film that’s endured the test of time. Join us – Pete Wright and Andy Nelson – as we kick off our new series looking at the Friday franchise with Gray’s 1995 film Friday.

We talk about why the comedy in this film works so well and the impression it continues to make. We look at the nature of stoner films and how this fits in – and differs. We discuss the brilliant cast and what everyone’s bringing to the table, especially Chris Tucker and Cube himself. We chat about the tone that Gray, Cube, Pooh and team were looking to create with the film and discuss why these characters are so unforgettable. And we remember John Witherspoon, who brilliantly plays Craig’s father in the film, and has been burned in our brains.

It’s a riot of a film and one we love to watch, so light up, check it out, then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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 Jul 2020 06:00:12 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4183 Ice Cube’s rap career was on fire because of the work he was doing with N.W.A., but after playing Doughboy in John Singleton’s 1991 film Boyz n the Hood, he got the acting bug and wanted to do more films. Join us as we kick off our new series looking at the Friday franchise with F. Gary Gray’s 1995 film Friday. Ice Cube’s rap career was on fire because of the work he was doing with N.W.A., but after playing Doughboy in John Singleton’s 1991 film Boyz n the Hood, he got the acting bug and wanted to do more films. Join us as we kick off our new series looking at t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Charade • The Next Reel 9 9 48 48 Charade • The Next Reel full 6031b9b9-1fb8-4d4a-845f-67bc04b2abe1 https://share.transistor.fm/s/1dbdc78d Toward the end of Grant’s acting career, he had stopped playing the romantic interest, concerned how his age reflected in the on-screen relationships, particularly with younger women. After this point, he only played a romantic interest one last time, and it was opposite Audrey Hepburn in Charade. Even then, he felt so uncomfortable with it that director Stanley Donen had the script changed to allow for it to be a conversation point between their characters and to have Hepburn’s character be the pursuer. And clearly it worked for them as well as for audiences then and now. Join us – Pete Wright and Andy Nelson – as we wrap up our Cary Grant series with Donen’s 1963 film Charade.

We talk about why this film has such charm and works so well as ‘the best Hitchcock film Hitchcock never made.’ We look at the genres it mixes and answer the question – does it have too many twists and turns? We talk about Grant and Hepburn and what they bring to the table, as well as Walter Matthau, James Coburn, George Kennedy and Ned Glass. We chat about Henry Mancini’s fantastic score and magical song he wrote with Johnny Mercer. And we explore the world of philately, particularly as it centers on the three stamps featured in this film.

It’s a glorious ride of a film that’s a thrill to watch over and over. We have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> Toward the end of Grant’s acting career, he had stopped playing the romantic interest, concerned how his age reflected in the on-screen relationships, particularly with younger women. After this point, he only played a romantic interest one last time, and it was opposite Audrey Hepburn in Charade. Even then, he felt so uncomfortable with it that director Stanley Donen had the script changed to allow for it to be a conversation point between their characters and to have Hepburn’s character be the pursuer. And clearly it worked for them as well as for audiences then and now. Join us – Pete Wright and Andy Nelson – as we wrap up our Cary Grant series with Donen’s 1963 film Charade.

We talk about why this film has such charm and works so well as ‘the best Hitchcock film Hitchcock never made.’ We look at the genres it mixes and answer the question – does it have too many twists and turns? We talk about Grant and Hepburn and what they bring to the table, as well as Walter Matthau, James Coburn, George Kennedy and Ned Glass. We chat about Henry Mancini’s fantastic score and magical song he wrote with Johnny Mercer. And we explore the world of philately, particularly as it centers on the three stamps featured in this film.

It’s a glorious ride of a film that’s a thrill to watch over and over. We have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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 Jun 2020 06:00:07 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 4474 Toward the end of Grant’s acting career, he had stopped playing the romantic interest, concerned how his age reflected in the on-screen relationships, particularly with younger women. After this point, he only played a romantic interest one last time, and it was opposite Audrey Hepburn in Charade. Toward the end of Grant’s acting career, he had stopped playing the romantic interest, concerned how his age reflected in the on-screen relationships, particularly with younger women. After this point, he only played a romantic interest one last time, and film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright North by Northwest • The Next Reel 9 9 47 47 North by Northwest • The Next Reel full b64e232c-2c31-4c35-87bf-75f6612017b5 https://share.transistor.fm/s/c24a1441 "I’m an advertising man, not a red herring.”

When it came time to cast the lead for his new film North by Northwest, Alfred Hitchcock found himself in a pickle. He had already discussed the film with James Stewart, the star of the film he just wrapped up – Vertigo – and Stewart wanted the role. Hitchcock had another actor he’d worked with in mind – Cary Grant. Too embarrassed to tell Stewart that, Hitchcock had to put off the filming of the movie until Stewart was locked in with his next film before he told him. That way, Stewart would be forced to turn it down due to his prior commitments and Hitchcock could go along and cast Grant, the actor he’d wanted from the start. Join us – Pete Wright and Andy Nelson – as we continue our Cary Grant series with Hitchcock’s 1959 film North by Northwest.

We talk about why this film works so well and how it’s such a strong representative of the ‘wrongfully accused man on the run’ trope. We chat about the actors Hitchcock cast in the film with Grant – Eva Marie Saint, James Mason, Martin Landau, and more – and what they bring to the table. We look at how well constructed the film is, from the largely quiet crop duster scene to the climax hanging from the edges of Mt. Rushmore. And we chat about Robert Burks’ cinematography, Robert Boyle’s production design, and of course Bernard Herrmann’s score and how they contributed to the picture.

It’s a top notch thrill ride and we have a great time talking about it on this week’s show. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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]]> "I’m an advertising man, not a red herring.”

When it came time to cast the lead for his new film North by Northwest, Alfred Hitchcock found himself in a pickle. He had already discussed the film with James Stewart, the star of the film he just wrapped up – Vertigo – and Stewart wanted the role. Hitchcock had another actor he’d worked with in mind – Cary Grant. Too embarrassed to tell Stewart that, Hitchcock had to put off the filming of the movie until Stewart was locked in with his next film before he told him. That way, Stewart would be forced to turn it down due to his prior commitments and Hitchcock could go along and cast Grant, the actor he’d wanted from the start. Join us – Pete Wright and Andy Nelson – as we continue our Cary Grant series with Hitchcock’s 1959 film North by Northwest.

We talk about why this film works so well and how it’s such a strong representative of the ‘wrongfully accused man on the run’ trope. We chat about the actors Hitchcock cast in the film with Grant – Eva Marie Saint, James Mason, Martin Landau, and more – and what they bring to the table. We look at how well constructed the film is, from the largely quiet crop duster scene to the climax hanging from the edges of Mt. Rushmore. And we chat about Robert Burks’ cinematography, Robert Boyle’s production design, and of course Bernard Herrmann’s score and how they contributed to the picture.

It’s a top notch thrill ride and we have a great time talking about it on this week’s show. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 18 Jun 2020 06:00:12 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3674 It’s the second in our Cary Grant series this week, and this time we’re heading straight up the Presidents’ noses as we follow Hitch and crew to Mt. Rushmore and beyond in the 1959 classic ‘North by Northwest’. It’s the second in our Cary Grant series this week, and this time we’re heading straight up the Presidents’ noses as we follow Hitch and crew to Mt. Rushmore and beyond in the 1959 classic ‘North by Northwest’. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Arsenic and Old Lace • The Next Reel 9 9 46 46 Arsenic and Old Lace • The Next Reel full 946aed78-b98a-4cd6-82d4-b989658eb880 https://share.transistor.fm/s/66a95831 "That man’s an imposter, and if he came here to be buried in our cellar, he’s mistaken!”

Cary Grant was cast and ready to play the lead in the film adaptation of The Man Who Came to Dinner, but people were so upset that Monty Wooley wouldn’t be continuing the part he had created that the studio ousted Grant for Wooley. That left a hole in Grant’s schedule. He knew Frank Capra was busy casting for his new film, an adaptation of the Broadway hit Arsenic and Old Lace, and he knew that Ronald Reagan and Jack Benny had both turned the lead role down, so he told Capra he was interested and available. Capra was thrilled, and they set to work. Join us – Pete Wright and Andy Nelson – as we kick off our Cary Grant series with his Capra 1944 comedy, Arsenic and Old Lace.

We talk about Grant and why at times, his big, over-the-top performance may be a bit too much (it was even too much for the actor who hated his own performance here). We look at the rest of the cast, both those who came over from the stage show and those cast in Hollywood, and chat about what they bring to the film. We look at why Capra jumped into this film and why it took so long to make it to the big screen. And we chat about Sol Polito’s cinematography and Max Steiner’s music, and why they both work well in context of the film.

It’s a fun and funny film that is a broad type of comedy that definitely works more for some than others. We have a great time talking about it on the show this week, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> "That man’s an imposter, and if he came here to be buried in our cellar, he’s mistaken!”

Cary Grant was cast and ready to play the lead in the film adaptation of The Man Who Came to Dinner, but people were so upset that Monty Wooley wouldn’t be continuing the part he had created that the studio ousted Grant for Wooley. That left a hole in Grant’s schedule. He knew Frank Capra was busy casting for his new film, an adaptation of the Broadway hit Arsenic and Old Lace, and he knew that Ronald Reagan and Jack Benny had both turned the lead role down, so he told Capra he was interested and available. Capra was thrilled, and they set to work. Join us – Pete Wright and Andy Nelson – as we kick off our Cary Grant series with his Capra 1944 comedy, Arsenic and Old Lace.

We talk about Grant and why at times, his big, over-the-top performance may be a bit too much (it was even too much for the actor who hated his own performance here). We look at the rest of the cast, both those who came over from the stage show and those cast in Hollywood, and chat about what they bring to the film. We look at why Capra jumped into this film and why it took so long to make it to the big screen. And we chat about Sol Polito’s cinematography and Max Steiner’s music, and why they both work well in context of the film.

It’s a fun and funny film that is a broad type of comedy that definitely works more for some than others. We have a great time talking about it on the show this week, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> Thu, 11 Jun 2020 06:00:27 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3134 Cary Grant knew Frank Capra was busy casting for his new film, an adaptation of the Broadway hit Arsenic and Old Lace, and he knew that Ronald Reagan and Jack Benny had both turned the lead role down, so he told Capra he was interested and available. Capra was thrilled, and they set to work. Cary Grant knew Frank Capra was busy casting for his new film, an adaptation of the Broadway hit Arsenic and Old Lace, and he knew that Ronald Reagan and Jack Benny had both turned the lead role down, so he told Capra he was interested and available. Capr film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Dinner for Schmucks • The Next Reel 9 9 45 45 Dinner for Schmucks • The Next Reel full 8e82de77-9e49-4ffd-9c88-a0d64ff079da https://share.transistor.fm/s/958fabc5 "Maybe you're a penguin, Tim, but Julie's not a penguin. She's a lioness. Don't try to mate a lioness with a penguin. Ever.”

Aside from a few dips onto other genres, Jay Roach generally sticks with comedies, and seems to fare well when he's doing big, broad ones. Take the Austin Power films, or perhaps Meet the Fockers. With such a strong curriculum vitae in comedy films, having him direct a remake of Francis Veber's Le Dîner de Cons looks great on paper. But when it comes time to write, make, and release the movie, does it hold up as well? Join us – Pete Wright and Andy Nelson – as we wrap up our Francis Veber and His Remakes series with the remake of his 1998 film Le Dîner de Cons with Roach's 2010 film Dinner for Schmucks.

We talk about the general vibe that this remake feels so American, and what that means to the farce in the translation. We look at the construction of the characters and why we preferred them in the original. We chat about comedy beats that worked really well for us and gave us a sense of the Roach we were wanting. We discuss the nature of Veber's films and why they seem so translatable. We talk about the actors, notably Paul Rudd and Steve Carell, but also Bruce Greenwood, Octavia Spencer, Stéphanie Szostak, Zach Galifianakis, Jemaine Clement, Lucy Punch, and more. We touch on Theodore Shapiro's always great comedy score. And we touch on the title and how it compares to the original.

It's an interesting concept for a film that doesn't hold up to the original, but it still allows for a great conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> "Maybe you're a penguin, Tim, but Julie's not a penguin. She's a lioness. Don't try to mate a lioness with a penguin. Ever.”

Aside from a few dips onto other genres, Jay Roach generally sticks with comedies, and seems to fare well when he's doing big, broad ones. Take the Austin Power films, or perhaps Meet the Fockers. With such a strong curriculum vitae in comedy films, having him direct a remake of Francis Veber's Le Dîner de Cons looks great on paper. But when it comes time to write, make, and release the movie, does it hold up as well? Join us – Pete Wright and Andy Nelson – as we wrap up our Francis Veber and His Remakes series with the remake of his 1998 film Le Dîner de Cons with Roach's 2010 film Dinner for Schmucks.

We talk about the general vibe that this remake feels so American, and what that means to the farce in the translation. We look at the construction of the characters and why we preferred them in the original. We chat about comedy beats that worked really well for us and gave us a sense of the Roach we were wanting. We discuss the nature of Veber's films and why they seem so translatable. We talk about the actors, notably Paul Rudd and Steve Carell, but also Bruce Greenwood, Octavia Spencer, Stéphanie Szostak, Zach Galifianakis, Jemaine Clement, Lucy Punch, and more. We touch on Theodore Shapiro's always great comedy score. And we touch on the title and how it compares to the original.

It's an interesting concept for a film that doesn't hold up to the original, but it still allows for a great conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> Thu, 04 Jun 2020 06:00:00 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4330 With such a strong curriculum vitae in comedy films, having Jay Roach direct a remake of Francis Veber's Le Dîner de Cons looks great on paper. But when it comes time to write, direct, and release the movie, does it hold up as well? With such a strong curriculum vitae in comedy films, having Jay Roach direct a remake of Francis Veber's Le Dîner de Cons looks great on paper. But when it comes time to write, direct, and release the movie, does it hold up as well? film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Le Dîner de Cons (The Dinner Game) • The Next Reel 9 9 44 44 Le Dîner de Cons (The Dinner Game) • The Next Reel full 26edf305-6f9a-48f0-b405-08ded5395188 https://share.transistor.fm/s/c153d389 "I don't have an idiot yet! I'm panicked!”

Francis Veber had written plays, TV shows, and films. He had also directed plenty of well by the time he decided to adapt his hit play "Le Dîner de Cons" for the big screen. Luckily, his brand of farcical humor worked brilliantly with the film version, and it became a huge hit in his home country of France. Join us – Pete Wright and Andy Nelson – as we continue our Francis Veber & His Remakes series with his 1998 film Le Dîner de Cons.

We talk about why the farcical humor in this film works so well for us. We look at the brilliant performance of Jacques Villeret as Pignon and why he works so well in the role. We chat about the trick of translating this title to English and how some of the comedy itself doesn't really translate. We look at the other performances in the film and why they work so well We touch on the look and music and how well they serve the story. And we chat about the film's success and why it likely was a hard one to translate to English.

We had a blast with this film and have a great time talking about it. Check it out then tune in to this week's episode! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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]]> "I don't have an idiot yet! I'm panicked!”

Francis Veber had written plays, TV shows, and films. He had also directed plenty of well by the time he decided to adapt his hit play "Le Dîner de Cons" for the big screen. Luckily, his brand of farcical humor worked brilliantly with the film version, and it became a huge hit in his home country of France. Join us – Pete Wright and Andy Nelson – as we continue our Francis Veber & His Remakes series with his 1998 film Le Dîner de Cons.

We talk about why the farcical humor in this film works so well for us. We look at the brilliant performance of Jacques Villeret as Pignon and why he works so well in the role. We chat about the trick of translating this title to English and how some of the comedy itself doesn't really translate. We look at the other performances in the film and why they work so well We touch on the look and music and how well they serve the story. And we chat about the film's success and why it likely was a hard one to translate to English.

We had a blast with this film and have a great time talking about it. Check it out then tune in to this week's episode! The Next Reel – when the movie ends, our conversation begins.

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 May 2020 06:00:03 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3691 Francis Veber had written plays, TV shows, and films. He had also directed plenty of well by the time he decided to adapt his hit play "Le Dîner de Cons" for the big screen. Luckily, his brand of farcical humor worked brilliantly with the film version, and it became a huge hit in his home country of France. Join us as we continue our Francis Veber & His Remakes series with his 1998 film "Le Dîner de Cons." Francis Veber had written plays, TV shows, and films. He had also directed plenty of well by the time he decided to adapt his hit play "Le Dîner de Cons" for the big screen. Luckily, his brand of farcical humor worked brilliantly with the film version, an film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Birdcage • The Next Reel 9 9 43 43 The Birdcage • The Next Reel full d64c797f-119d-4e43-ba5f-098fc2b784cb https://share.transistor.fm/s/8541b52d When Mike Nichols and Elaine May teamed up again for the first time in over thirty years, it was to adapt Francis Veber's most famous and celebrated works, the 1978 film La Cage aux Folles. Veber's films had been remade in English before — in fact, he'd directed a number of them — but this one was the big one so it needed to be big. But would it work with an American audience in the 90s? Join us — Pete Wright and Andy Nelson — as we continue our Francis Veber and his remakes series with Nichols' 1996 film The Birdcage.

We talk about the nature of comedy films and the experience of seeing them in theatres versus home alone, and how this one holds up when watched with an audience of one. We look at the transition from Saint-Tropez to Miami and why it works, especially with Bob Dole's moral majority. We chat about our struggles with Dan Futterman's character (and Futterman himself) and why he feels so much more selfish in this film than in the original – and what that does to the story. We praise Robin Williams, Nathan Lane, Gene Hackman, Dianne Wiest, Hank Azaria, and Christine Baranski effusively, and compare the writing by May and direction by Nichols for these characters as compared to Futterman and Calista Flockhart. And we chat about Stephen Sondheim and old songs of his repurposed for this film.

It's a fun romp of a film that holds up about as well as the original. We have a great time talking about it on this week's show, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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]]> When Mike Nichols and Elaine May teamed up again for the first time in over thirty years, it was to adapt Francis Veber's most famous and celebrated works, the 1978 film La Cage aux Folles. Veber's films had been remade in English before — in fact, he'd directed a number of them — but this one was the big one so it needed to be big. But would it work with an American audience in the 90s? Join us — Pete Wright and Andy Nelson — as we continue our Francis Veber and his remakes series with Nichols' 1996 film The Birdcage.

We talk about the nature of comedy films and the experience of seeing them in theatres versus home alone, and how this one holds up when watched with an audience of one. We look at the transition from Saint-Tropez to Miami and why it works, especially with Bob Dole's moral majority. We chat about our struggles with Dan Futterman's character (and Futterman himself) and why he feels so much more selfish in this film than in the original – and what that does to the story. We praise Robin Williams, Nathan Lane, Gene Hackman, Dianne Wiest, Hank Azaria, and Christine Baranski effusively, and compare the writing by May and direction by Nichols for these characters as compared to Futterman and Calista Flockhart. And we chat about Stephen Sondheim and old songs of his repurposed for this film.

It's a fun romp of a film that holds up about as well as the original. We have a great time talking about it on this week's show, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> Thu, 21 May 2020 06:00:12 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3485 When Mike Nichols and Elaine May teamed up again for the first time in over thirty years, it was to adapt Francis Veber's most famous and celebrated works, the 1978 film La Cage aux Folles. Veber's films had been remade in English before — in fact, he'd directed a number of them — but this one was the big one so it needed to be big. When Mike Nichols and Elaine May teamed up again for the first time in over thirty years, it was to adapt Francis Veber's most famous and celebrated works, the 1978 film La Cage aux Folles. Veber's films had been remade in English before — in fact, he'd d film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright La Cage Aux Folles • The Next Reel 9 9 42 42 La Cage Aux Folles • The Next Reel full 87369414-759e-4b99-bd79-721a3d5a2d98 https://share.transistor.fm/s/aa3f070a When asked to adapt the hit stage show "La Cage Aux Folles" to the big screen, director Édouard Molinaro knew he had to get comedy writer/director Francis Veber involved to not only get the story out of the one-set show and open up the world, but also — and more importantly — to flesh out the core relationship so the film wasn't just all stereotypes. Veber did his work, and with Molinaro's direction, became a huge hit in France. Join us – Pete Wright and Andy Nelson – as we kick off a short series looking at French writer/director Francis Veber and his remakes, starting with Molinaro's 1978 comedy La Cage Aux Folles.

We talk about the tone of the film – a broad, farcical comedy – and debate how the caricatures and stereotypes play throughout. Are they too much? Are they okay? We ponder the difficulties for Molinaro of dealing with actors Ugo Tognazzi and Michel Serrault and how they made getting the film made that much more difficult. We discuss the relationship the film has to the period in which it was made as well as the location in which it's set – Saint-Tropez – and how not knowing the connections may affect ones viewing. And we chat about some of the people behind the technical aspects, including composer Ennio Morricone.

It's a fun film that works because of the small, honest moments and we have a great time talking about it on this week's show. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> When asked to adapt the hit stage show "La Cage Aux Folles" to the big screen, director Édouard Molinaro knew he had to get comedy writer/director Francis Veber involved to not only get the story out of the one-set show and open up the world, but also — and more importantly — to flesh out the core relationship so the film wasn't just all stereotypes. Veber did his work, and with Molinaro's direction, became a huge hit in France. Join us – Pete Wright and Andy Nelson – as we kick off a short series looking at French writer/director Francis Veber and his remakes, starting with Molinaro's 1978 comedy La Cage Aux Folles.

We talk about the tone of the film – a broad, farcical comedy – and debate how the caricatures and stereotypes play throughout. Are they too much? Are they okay? We ponder the difficulties for Molinaro of dealing with actors Ugo Tognazzi and Michel Serrault and how they made getting the film made that much more difficult. We discuss the relationship the film has to the period in which it was made as well as the location in which it's set – Saint-Tropez – and how not knowing the connections may affect ones viewing. And we chat about some of the people behind the technical aspects, including composer Ennio Morricone.

It's a fun film that works because of the small, honest moments and we have a great time talking about it on this week's show. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> Thu, 14 May 2020 06:00:07 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3632 When asked to adapt the hit stage show "La Cage Aux Folles" to the big screen, director Édouard Molinaro knew he had to get comedy writer/director Francis Veber involved to not only get the story out of the one-set show and open up the world, but also — and more importantly — to flesh out the core relationship so the film wasn't just all stereotypes. When asked to adapt the hit stage show "La Cage Aux Folles" to the big screen, director Édouard Molinaro knew he had to get comedy writer/director Francis Veber involved to not only get the story out of the one-set show and open up the world, but also — a film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Spoor • The Next Reel 9 9 41 41 Spoor • The Next Reel full ee8a646f-7191-46fa-80b0-304538b37e0c https://share.transistor.fm/s/a6405277 When Agnieszka Holland described her film Spoor at the New York Film Festival, she said it was, "an anarchistic, feminist, ecological crime story with elements of black comedy and magic realism." That statement, paired with comments from a correspondent at Poland's state media outlet, calling the film "a pagan film promoting ecoterrorism," speaks exactly to what likely drew Holland to the original source material. It's not a story that is easily definable by Hollywood's genre boxes. But how well does that work in telling a film and trying to find distribution? Join us – Pete Wright and Andy Nelson – as we wrap up our series on director Agnieszka Holland with her 2017 film she co-directed with her daughter Kasia Adamik, Spoor.

We talk about our struggles with the film but also why it worked for us largely. We look at the nature of the story and the views Holland is pushing in society, like young vs. old, man vs. nature, and more. We debate the ending and its magic realism feel, even with a plot device to get us there that's frustrating. We chat about animal violence in film, how we feel about it, and how they accomplished it here. We look at the gorgeous cinematography and score and how well they work here. And we touch on the brilliant performance of Agnieszka Mandat in the lead role, paired with Wiktor Zborowski and Miroslav Krobot, and how much we love what these older actors bring to the story.

It's a film that likely will be a challenge for a lot of people, but one that works for us, despite some frustrations. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries


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]]> When Agnieszka Holland described her film Spoor at the New York Film Festival, she said it was, "an anarchistic, feminist, ecological crime story with elements of black comedy and magic realism." That statement, paired with comments from a correspondent at Poland's state media outlet, calling the film "a pagan film promoting ecoterrorism," speaks exactly to what likely drew Holland to the original source material. It's not a story that is easily definable by Hollywood's genre boxes. But how well does that work in telling a film and trying to find distribution? Join us – Pete Wright and Andy Nelson – as we wrap up our series on director Agnieszka Holland with her 2017 film she co-directed with her daughter Kasia Adamik, Spoor.

We talk about our struggles with the film but also why it worked for us largely. We look at the nature of the story and the views Holland is pushing in society, like young vs. old, man vs. nature, and more. We debate the ending and its magic realism feel, even with a plot device to get us there that's frustrating. We chat about animal violence in film, how we feel about it, and how they accomplished it here. We look at the gorgeous cinematography and score and how well they work here. And we touch on the brilliant performance of Agnieszka Mandat in the lead role, paired with Wiktor Zborowski and Miroslav Krobot, and how much we love what these older actors bring to the story.

It's a film that likely will be a challenge for a lot of people, but one that works for us, despite some frustrations. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 07 May 2020 06:00:10 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3585 Is this an activist film? How does this film fit in director Agnieszka Holland's oeuvre? Does magical realism work in a crime drama? Tune in to this week's show to get answers to these questions and more. Is this an activist film? How does this film fit in director Agnieszka Holland's oeuvre? Does magical realism work in a crime drama? Tune in to this week's show to get answers to these questions and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright In Darkness • The Next Reel 9 9 40 40 In Darkness • The Next Reel full f2a4b0b8-4c3c-49ce-b499-08e9ad52c4be https://share.transistor.fm/s/9a37e93c For Agnieszka Holland's third and final (she says) film about the Holocaust, she landed on a unique story that has shades of others before and after detailing gentiles saving Jews, but that's set in a very unique location – the sewers below the city. That meant a lot of dark scenes, but Holland didn't shy away from them. She worked with Jolanta Dylewska, her cinematographer, and together, they created a beautifully dark palette that feels authentic and not like The Third Man. Join us – Pete Wright and Andy Nelson – as we continue our Agnieszka Holland series with her 2011 film In Darkness.

We discuss the nature of Holocaust films and the nature of criticism when looking at stories that are so authentically real and horrible, but are also films. We look at the brilliant lead performance by Robert Wieckiewicz and why he works so well in the film. We chat about the nature of characters in this film and why Holland works so hard to allow her characters to challenge us with their flaws. And we discuss the design of the dark sewer locations, filming in them, and how to write music that works for the film.

It's a powerful film, albeit a tough one, that has its issues but still works effectively. We have a great time talking about it, so check it out then tune in to this week's show! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> For Agnieszka Holland's third and final (she says) film about the Holocaust, she landed on a unique story that has shades of others before and after detailing gentiles saving Jews, but that's set in a very unique location – the sewers below the city. That meant a lot of dark scenes, but Holland didn't shy away from them. She worked with Jolanta Dylewska, her cinematographer, and together, they created a beautifully dark palette that feels authentic and not like The Third Man. Join us – Pete Wright and Andy Nelson – as we continue our Agnieszka Holland series with her 2011 film In Darkness.

We discuss the nature of Holocaust films and the nature of criticism when looking at stories that are so authentically real and horrible, but are also films. We look at the brilliant lead performance by Robert Wieckiewicz and why he works so well in the film. We chat about the nature of characters in this film and why Holland works so hard to allow her characters to challenge us with their flaws. And we discuss the design of the dark sewer locations, filming in them, and how to write music that works for the film.

It's a powerful film, albeit a tough one, that has its issues but still works effectively. We have a great time talking about it, so check it out then tune in to this week's show! The Next Reel – when the movie ends, our conversation begins.

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 Apr 2020 06:00:01 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3431 For Agnieszka Holland's third and final (she says) film about the Holocaust, she landed on a unique story that has shades of others before and after detailing gentiles saving Jews, but that's set in a very unique location – the sewers below the city. For Agnieszka Holland's third and final (she says) film about the Holocaust, she landed on a unique story that has shades of others before and after detailing gentiles saving Jews, but that's set in a very unique location – the sewers below the city. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Europa Europa • The Next Reel 9 9 39 39 Europa Europa • The Next Reel full 63301a35-40fe-4f16-b595-5142091a8aed https://share.transistor.fm/s/3bb3f283 When Agnieszka Holland was given early pages from Solomon Perel's unfinished memoirs about surviving the Holocaust, she was immediately taken by it. The fact that it was about a young Jewish boy who stayed alive by hiding out as one of the Hitler Youth among other things was fascinating to her, but it was his lack of embellishing and complete honesty that drew her in. Thus began her journey in making a film based on his experiences. Join us – Pete Wright and Andy Nelson – as we kick off a series about the works of Agnieszka Holland with her 1990 film Europa Europa.

We talk about how the nature of this story and how it's done very much in a Pilgrim's Progress style, and why it works for this coming of age story. We chat about Holland adapting the story to not just focus on the tragic but also be playful. And we look at reactions and why some people may have had issues with the telling of this story.

It's a powerful, wonderful story and we have a great time chatting about it on this week's show. Check it out and tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> When Agnieszka Holland was given early pages from Solomon Perel's unfinished memoirs about surviving the Holocaust, she was immediately taken by it. The fact that it was about a young Jewish boy who stayed alive by hiding out as one of the Hitler Youth among other things was fascinating to her, but it was his lack of embellishing and complete honesty that drew her in. Thus began her journey in making a film based on his experiences. Join us – Pete Wright and Andy Nelson – as we kick off a series about the works of Agnieszka Holland with her 1990 film Europa Europa.

We talk about how the nature of this story and how it's done very much in a Pilgrim's Progress style, and why it works for this coming of age story. We chat about Holland adapting the story to not just focus on the tragic but also be playful. And we look at reactions and why some people may have had issues with the telling of this story.

It's a powerful, wonderful story and we have a great time chatting about it on this week's show. Check it out and tune in! The Next Reel – when the movie ends, our conversation begins.

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 Apr 2020 06:00:35 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3429 When Agnieszka Holland was given early pages from Solomon Perel's unfinished memoirs about surviving the Holocaust, she was immediately taken by it. The fact that it was about a young Jewish boy who stayed alive by hiding out as one of the Hitler Youth among other things was fascinating to her, but it was his lack of embellishing and complete honesty that drew her in. When Agnieszka Holland was given early pages from Solomon Perel's unfinished memoirs about surviving the Holocaust, she was immediately taken by it. The fact that it was about a young Jewish boy who stayed alive by hiding out as one of the Hitler Youth a film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Tinker Tailor Soldier Spy • The Next Reel 9 9 38 38 Tinker Tailor Soldier Spy • The Next Reel full 32fd6eae-6453-4792-b043-f94d376a7357 https://share.transistor.fm/s/b4566d5a Many consider the 1979 mini-series adaptation of John le Carré's "Tinker Tailor Soldier Spy" to be not only the definitive le Carré adaptation but also that Alec Guinness to be the definitive George Smiley. Because of that, tackling the story again can be seen as a tricky task. Luckily, the team behind the film adaptation in 2011 found the right people to adapt the script, the right director to helm it, and the perfect actor to fill Guinness' shoes. Join us – Pete Wright and Andy Nelson – as we wrap up our John le Carré series with Tomas Alfredson's 2011 film Tinker Tailor Soldier Spy.

We talk about why Gary Oldman works so well in this part and how quiet his performance is. We look at the way the story is crafted and compare it to last week's film, looking at why this adaptation works and that one doesn't. And we look at the style Alfredson brought to the film.

It's a great film and one we have a great time chatting about. Check it out then tune in to this week's show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Many consider the 1979 mini-series adaptation of John le Carré's "Tinker Tailor Soldier Spy" to be not only the definitive le Carré adaptation but also that Alec Guinness to be the definitive George Smiley. Because of that, tackling the story again can be seen as a tricky task. Luckily, the team behind the film adaptation in 2011 found the right people to adapt the script, the right director to helm it, and the perfect actor to fill Guinness' shoes. Join us – Pete Wright and Andy Nelson – as we wrap up our John le Carré series with Tomas Alfredson's 2011 film Tinker Tailor Soldier Spy.

We talk about why Gary Oldman works so well in this part and how quiet his performance is. We look at the way the story is crafted and compare it to last week's film, looking at why this adaptation works and that one doesn't. And we look at the style Alfredson brought to the film.

It's a great film and one we have a great time chatting about. Check it out then tune in to this week's show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 16 Apr 2020 06:00:09 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4565 Many consider the 1979 mini-series adaptation of John le Carré's "Tinker Tailor Soldier Spy" to be not only the definitive le Carré adaptation but also that Alec Guinness to be the definitive George Smiley. Because of that, tackling the story again can be seen as a tricky task. Luckily, the team behind the film adaptation in 2011 found the right people, the right director, and the perfect actor to fill Guinness' shoes. Many consider the 1979 mini-series adaptation of John le Carré's "Tinker Tailor Soldier Spy" to be not only the definitive le Carré adaptation but also that Alec Guinness to be the definitive George Smiley. Because of that, tackling the story again can be film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Little Drummer Girl • The Next Reel 9 9 37 37 The Little Drummer Girl • The Next Reel full e0df5a66-f5e3-489e-b56a-95dea68ea87e https://share.transistor.fm/s/db221c4f John le Carré's book "The Little Drummer Girl" was somewhat controversial as it managed to offend both the Israelis and the Palestinians in its depiction of its terrorism story. Controversy, however, can often be seen as a moneymaker, at least that's what the team at Warner Bros. must've thought when they set to work right away of optioning the book, adapting it, and having George Roy Hill direct it. Unfortunately, Hill didn't seem to be the right guy for the job as the film ended up fairly flat. Then again, maybe it was the fact that they cast a nearly-40 Diane Keaton to play a role written for an early 20s actress. Or maybe the script was a bit too streamlined? Join us – Pete Wright and Andy Nelson – as we continue our John le Carré series with Hills' 1984 adaptation The Little Drummer Girl.

We talk about where the problems were for us in this adaptation – the direction? acting? script? – and how it stacks up against the more recent miniseries adaptation. We look at the nature of the story and why it may not have worked well at the time. We look at Keaton and debate some other possible actresses who would have fit the role better than she. And we chat about Dave Grusin's score, which sadly didn't work for us.

It's a sloppy telling of this story – one which is told much better – but it's still interesting to visit. Check it out then tune in to this week's show as we have a great conversation about it. The Next Reel – when the movie ends, our conversation begins.

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]]> John le Carré's book "The Little Drummer Girl" was somewhat controversial as it managed to offend both the Israelis and the Palestinians in its depiction of its terrorism story. Controversy, however, can often be seen as a moneymaker, at least that's what the team at Warner Bros. must've thought when they set to work right away of optioning the book, adapting it, and having George Roy Hill direct it. Unfortunately, Hill didn't seem to be the right guy for the job as the film ended up fairly flat. Then again, maybe it was the fact that they cast a nearly-40 Diane Keaton to play a role written for an early 20s actress. Or maybe the script was a bit too streamlined? Join us – Pete Wright and Andy Nelson – as we continue our John le Carré series with Hills' 1984 adaptation The Little Drummer Girl.

We talk about where the problems were for us in this adaptation – the direction? acting? script? – and how it stacks up against the more recent miniseries adaptation. We look at the nature of the story and why it may not have worked well at the time. We look at Keaton and debate some other possible actresses who would have fit the role better than she. And we chat about Dave Grusin's score, which sadly didn't work for us.

It's a sloppy telling of this story – one which is told much better – but it's still interesting to visit. Check it out then tune in to this week's show as we have a great conversation about it. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 09 Apr 2020 06:00:04 -0700 TruStory FM TruStory FM 3547 John le Carré's book "The Little Drummer Girl" was somewhat controversial as it managed to offend both the Israelis and the Palestinians in its depiction of its terrorism story. Controversy, however, can often be seen as a moneymaker, at least that's what the team at Warner Bros. must've thought when they set to work right away of adapting it and having George Roy Hill direct it. John le Carré's book "The Little Drummer Girl" was somewhat controversial as it managed to offend both the Israelis and the Palestinians in its depiction of its terrorism story. Controversy, however, can often be seen as a moneymaker, at least that's what film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Spy Who Came In From The Cold • The Next Reel 9 9 36 36 The Spy Who Came In From The Cold • The Next Reel full 0275bb6a-4a0b-42b1-a049-38b731c0b13f https://share.transistor.fm/s/0c90bdae When John le Carré wrote his third novel "The Spy Who Came in From the Cold," it was such a success and brought him so much acclaim that it essentially outed him as a spy for MI6. He'd been doing it for only five years, but in that time, he learned a great deal about how the machine worked (or the 'circus' as he calls it in his books) and was able to bring that world to life with greater accuracy than had been seen before. Because of that, it was inevitable that the story would be adapted to film, and true enough, two years after it was published, the film was released. Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at adaptations of John le Carré's novels with Martin Ritt's 1965 The Spy Who Came in From the Cold.

We talk about the tone of the story and the various themes presented here about loyalty, alienation, ideologies vs. morality. We chat about some of the performances, like Richard Burton, Claire Bloom, Oskar Werner and Peter van Eyck, and what they bring to the table. We look at Oswald Morris's cinematography, the long shots, and what the black-and-white brings to it. And we dig into the nature of a bleak ending as depicted here and what it does to the film (and to Pete!).

It's a wonderful film and a great entry to this series. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> When John le Carré wrote his third novel "The Spy Who Came in From the Cold," it was such a success and brought him so much acclaim that it essentially outed him as a spy for MI6. He'd been doing it for only five years, but in that time, he learned a great deal about how the machine worked (or the 'circus' as he calls it in his books) and was able to bring that world to life with greater accuracy than had been seen before. Because of that, it was inevitable that the story would be adapted to film, and true enough, two years after it was published, the film was released. Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at adaptations of John le Carré's novels with Martin Ritt's 1965 The Spy Who Came in From the Cold.

We talk about the tone of the story and the various themes presented here about loyalty, alienation, ideologies vs. morality. We chat about some of the performances, like Richard Burton, Claire Bloom, Oskar Werner and Peter van Eyck, and what they bring to the table. We look at Oswald Morris's cinematography, the long shots, and what the black-and-white brings to it. And we dig into the nature of a bleak ending as depicted here and what it does to the film (and to Pete!).

It's a wonderful film and a great entry to this series. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 02 Apr 2020 06:00:03 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3569 When John le Carré wrote his third novel "The Spy Who Came in From the Cold," it was such a success and brought him so much acclaim that it essentially outed him as a spy for MI6. He'd been doing it for only five years, but in that time, he learned a great deal about how the machine worked and was able to bring that world to life with greater accuracy than had been seen before. When John le Carré wrote his third novel "The Spy Who Came in From the Cold," it was such a success and brought him so much acclaim that it essentially outed him as a spy for MI6. He'd been doing it for only five years, but in that time, he learned a gre film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright BlacKkKlansman • The Next Reel 9 9 35 35 BlacKkKlansman • The Next Reel full b8e1291b-130a-4430-942d-ce39defd83f7 https://share.transistor.fm/s/1ff6b03f Ron Stallworth's story seems ridiculous and unbelievable, but it's true – as an African American undercover cop with the Colorado Springs Police Department, Ron infiltrated the local KKK group with one of his fellow detectives and managed to bring them down. It's the sort of story that Spike Lee seems perfect for, so who better to direct it than Lee himself? Join us – Pete Wright and Andy Nelson – as we wrap up our brief Spike Lee series with his 2018 film BlacKkKlansman.

We talk about Lee's messaging in this biopic and if and how it works. We look at the bookends of the film and discuss how they fit and if we feel they work. We chat about the comedic tone throughout the film and why it works. We examine the intercutting done in some key sequences and why it works so effectively. We touch on the actors and what they're bringing to the table. And we close up our series by digging into Lee's works discussed on the show and why he's such an important filmmaker.

We have a great time talking about this movie. It's a film that's incredibly relevant and will likely be as relevant decades from now as it is today. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> Ron Stallworth's story seems ridiculous and unbelievable, but it's true – as an African American undercover cop with the Colorado Springs Police Department, Ron infiltrated the local KKK group with one of his fellow detectives and managed to bring them down. It's the sort of story that Spike Lee seems perfect for, so who better to direct it than Lee himself? Join us – Pete Wright and Andy Nelson – as we wrap up our brief Spike Lee series with his 2018 film BlacKkKlansman.

We talk about Lee's messaging in this biopic and if and how it works. We look at the bookends of the film and discuss how they fit and if we feel they work. We chat about the comedic tone throughout the film and why it works. We examine the intercutting done in some key sequences and why it works so effectively. We touch on the actors and what they're bringing to the table. And we close up our series by digging into Lee's works discussed on the show and why he's such an important filmmaker.

We have a great time talking about this movie. It's a film that's incredibly relevant and will likely be as relevant decades from now as it is today. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 26 Mar 2020 06:00:03 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4735 Ron Stallworth's story seems ridiculous and unbelievable, but it's true – as an African American undercover cop with the Colorado Springs Police Department, Ron infiltrated the local KKK group with one of his fellow detectives and managed to bring them down. It's the sort of story that Spike Lee seems perfect for, so who better to direct it than Lee himself? Ron Stallworth's story seems ridiculous and unbelievable, but it's true – as an African American undercover cop with the Colorado Springs Police Department, Ron infiltrated the local KKK group with one of his fellow detectives and managed to bring them do film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Bamboozled • The Next Reel 9 9 34 34 Bamboozled • The Next Reel full 972d6b85-b686-41af-abe7-9e68f583a8c8 https://share.transistor.fm/s/c7e2228d “Everybody wants to be black.”

By the time year 2000 rolled around, Spike Lee had made 13 feature films (if you count his 60-minute student film Joe’s Bed-Stuy Barbershop: We Cut Heads as a feature) and had been celebrated, denigrated, disparaged, praised, and sometimes ignored. Regardless of the reactions, Lee showed himself to be a straight-up artist – always pushing to make noise with his cinematic art, whether people ended up listening or not. And then along comes his 2000 film Bamboozled, a film that examines black culture as depicted in media and art that is as much a satire on media and entertainment as it is a look at the history of African Americans in art. With this film, Lee seems to be pushing his artistic bounds, even if he seems to be moving away from telling a cinematic story that’s going to earn its money back. But it’s art, and Lee is an artist, proving once again that he’s a master of his craft. Join us – Pete Wright and Andy Nelson – as we continue our Spike Lee series with his 2000 film Bamboozled.

We talk about the nature of a satire like this and how well it works. We look at Lee’s perspective on these issues and society and how his influences shine in this story. We chat about the many elements within society Lee addresses in this film and how effective his storytelling is. We look at the performances, notably the biggest one of them all – Damon Wayans as Pierre Delacroix – and what they’re bringing to the table. We chat about the cameras used to film the story and what Lee was perhaps intending with the different formats. And we talk about the pain we feel in the blackface application scenes and how difficult it was emotionally for the actors to put it on.

It’s a powerful film that defines Lee as much as it emphasizes his position. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> “Everybody wants to be black.”

By the time year 2000 rolled around, Spike Lee had made 13 feature films (if you count his 60-minute student film Joe’s Bed-Stuy Barbershop: We Cut Heads as a feature) and had been celebrated, denigrated, disparaged, praised, and sometimes ignored. Regardless of the reactions, Lee showed himself to be a straight-up artist – always pushing to make noise with his cinematic art, whether people ended up listening or not. And then along comes his 2000 film Bamboozled, a film that examines black culture as depicted in media and art that is as much a satire on media and entertainment as it is a look at the history of African Americans in art. With this film, Lee seems to be pushing his artistic bounds, even if he seems to be moving away from telling a cinematic story that’s going to earn its money back. But it’s art, and Lee is an artist, proving once again that he’s a master of his craft. Join us – Pete Wright and Andy Nelson – as we continue our Spike Lee series with his 2000 film Bamboozled.

We talk about the nature of a satire like this and how well it works. We look at Lee’s perspective on these issues and society and how his influences shine in this story. We chat about the many elements within society Lee addresses in this film and how effective his storytelling is. We look at the performances, notably the biggest one of them all – Damon Wayans as Pierre Delacroix – and what they’re bringing to the table. We chat about the cameras used to film the story and what Lee was perhaps intending with the different formats. And we talk about the pain we feel in the blackface application scenes and how difficult it was emotionally for the actors to put it on.

It’s a powerful film that defines Lee as much as it emphasizes his position. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 19 Mar 2020 06:00:10 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3900 Does this feel like Spike Lee at his most Lee-ish? How effective is the satire in this film? Does Damon Wayans take his performance too far? Tune in to this week’s show for these answers and more. Does this feel like Spike Lee at his most Lee-ish? How effective is the satire in this film? Does Damon Wayans take his performance too far? Tune in to this week’s show for these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Do the Right Thing • The Next Reel 9 9 33 33 Do the Right Thing • The Next Reel full c60565a6-ea88-4b01-a455-bcd404fbeaab https://share.transistor.fm/s/1dfb55a3 “Wake up!”

For Spike Lee’s third feature film, he blended an idea he got from an Alfred Hitchcock Presents episode where the characters talk about the theory that hot weather increases violent tendencies with stories of police violence against African Americans that ended in their deaths. He created a film that speaks to family and neighborhood as much as it speaks to violence and anger. It’s a film chock full of flawed characters who feel lived in as much as the streets of this fantastical version of Bed-Stuy do themselves. It’s a film with no easy answers. One that raises a lot of questions and makes you think. Join us – Pete Wright and Andy Nelson – as we kick off our Spike Lee series with his 1989 film Do the Right Thing.

We talk about the nature of family and how it relates to ‘neighborhood,’ and how that doesn’t necessarily mean everyone likes each other. We discuss the violence as tensions erupt in the third act, what we think Lee is saying, and how many critics interpreted it. We chat about the brilliant performances across the board from many faces who only grew in stature as the years went by. And we look at how the cinematography, production design, costume design, and music all lent a hand in creating this seemingly alternate version of the neighborhood that feels both slightly outside of reality and overwhelmingly hot.

It’s a masterclass in filmmaking from an incendiary auteur. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> “Wake up!”

For Spike Lee’s third feature film, he blended an idea he got from an Alfred Hitchcock Presents episode where the characters talk about the theory that hot weather increases violent tendencies with stories of police violence against African Americans that ended in their deaths. He created a film that speaks to family and neighborhood as much as it speaks to violence and anger. It’s a film chock full of flawed characters who feel lived in as much as the streets of this fantastical version of Bed-Stuy do themselves. It’s a film with no easy answers. One that raises a lot of questions and makes you think. Join us – Pete Wright and Andy Nelson – as we kick off our Spike Lee series with his 1989 film Do the Right Thing.

We talk about the nature of family and how it relates to ‘neighborhood,’ and how that doesn’t necessarily mean everyone likes each other. We discuss the violence as tensions erupt in the third act, what we think Lee is saying, and how many critics interpreted it. We chat about the brilliant performances across the board from many faces who only grew in stature as the years went by. And we look at how the cinematography, production design, costume design, and music all lent a hand in creating this seemingly alternate version of the neighborhood that feels both slightly outside of reality and overwhelmingly hot.

It’s a masterclass in filmmaking from an incendiary auteur. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 12 Mar 2020 06:00:05 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 4181 Is it clear that Spike Lee has something to say with this film? How does the camerawork and production design work to enhance this world? Is this film still relevant in today’s society? Tune in to this week’s show to get these answers and more! Is it clear that Spike Lee has something to say with this film? How does the camerawork and production design work to enhance this world? Is this film still relevant in today’s society? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Le Samouraï • The Next Reel 9 9 32 32 Le Samouraï • The Next Reel full 4450679c-4a61-443c-b99d-a61f812732f5 https://share.transistor.fm/s/19409765 “What kind of man are you?”

Jean-Pierre Melville wrote the script for Le Samouraï for Alain Delon. When he started telling Delon about the script, Delon stopped him after ten minutes, commenting on how there was no dialogue yet. Melville said that was correct, and Delon’s immediate reaction was to say, “I’ll do it.” He then brought Melville to his bedroom where he revealed that it was decorated in a very sparse Japanese style with a samurai sword hanging over his bed. It seemed it was meant to be. Now, looking at the film, it’s hard to imagine anyone but Delon playing the part of Jef Costello, the hitman, because he’s so perfect in the part. Join us – Pete Wright and Andy Nelson – as we wrap up our short French crime film series with Melville’s 1967 film Le Samouraï.

We talk about Delon and the nature of silence in this film of Melvilles. We look at the color palette and debate if it would make more sense as a black-and-white film. We talk about the procedural nature of the film, exploring the criminal and police sides of this. And we discuss the cinematography, sound design and music and what they bring to the table.

It’s a fantastic, moody film that definitely creates a tone. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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]]> “What kind of man are you?”

Jean-Pierre Melville wrote the script for Le Samouraï for Alain Delon. When he started telling Delon about the script, Delon stopped him after ten minutes, commenting on how there was no dialogue yet. Melville said that was correct, and Delon’s immediate reaction was to say, “I’ll do it.” He then brought Melville to his bedroom where he revealed that it was decorated in a very sparse Japanese style with a samurai sword hanging over his bed. It seemed it was meant to be. Now, looking at the film, it’s hard to imagine anyone but Delon playing the part of Jef Costello, the hitman, because he’s so perfect in the part. Join us – Pete Wright and Andy Nelson – as we wrap up our short French crime film series with Melville’s 1967 film Le Samouraï.

We talk about Delon and the nature of silence in this film of Melvilles. We look at the color palette and debate if it would make more sense as a black-and-white film. We talk about the procedural nature of the film, exploring the criminal and police sides of this. And we discuss the cinematography, sound design and music and what they bring to the table.

It’s a fantastic, moody film that definitely creates a tone. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 05 Mar 2020 06:00:11 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3825 How influential has this film been over the years? Where does this film fit into the French crime films? Does anyone wear a trenchcoat and fedora like Alain Delon? Tune in to this week’s show to get these answers and more! How influential has this film been over the years? Where does this film fit into the French crime films? Does anyone wear a trenchcoat and fedora like Alain Delon? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Rififi • The Next Reel 9 9 31 31 Rififi • The Next Reel full 46645930-ec17-4121-84f6-8425fc827b9a https://share.transistor.fm/s/beb3349c “I liked you. I really liked you, Macaroni, but you knew the rules.”

After Jules Dassin was blacklisted from Hollywood, he went to Europe to see if he could find anyone willing to hire him. Even there, it took some time but eventually, producer Henri Bérard asked him if he would write and direct the adaptation of Auguste Le Breton’s novel “Rififi.” Jean-Pierre Melville had been asked prior but gave Dassin his blessing to take it on, and Dassin made the film, now hailed as one of the great crime films of the era. Join us – Pete Wright and Andy Nelson – as we continue our French Crime Film series with Dassin’s 1955 film Rififi.

We talk about how Dassin came to this project and got it made, changing some unsavory elements of the source material. We look at the nature of the characters and how the story ends, tying it to crime films of the past. We chat about the nature of criminals as protagonists and what that means in context of watching the film. We look at some of the actors and what they bring to the story. We discuss the lengthy robbery sequence in the middle of the film and how well it works to bring out tension in naturalistic ways. And we talk about the look of the story and how it ties into crime and noir elements.

It’s a fantastic crime film that holds up incredibly well. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> “I liked you. I really liked you, Macaroni, but you knew the rules.”

After Jules Dassin was blacklisted from Hollywood, he went to Europe to see if he could find anyone willing to hire him. Even there, it took some time but eventually, producer Henri Bérard asked him if he would write and direct the adaptation of Auguste Le Breton’s novel “Rififi.” Jean-Pierre Melville had been asked prior but gave Dassin his blessing to take it on, and Dassin made the film, now hailed as one of the great crime films of the era. Join us – Pete Wright and Andy Nelson – as we continue our French Crime Film series with Dassin’s 1955 film Rififi.

We talk about how Dassin came to this project and got it made, changing some unsavory elements of the source material. We look at the nature of the characters and how the story ends, tying it to crime films of the past. We chat about the nature of criminals as protagonists and what that means in context of watching the film. We look at some of the actors and what they bring to the story. We discuss the lengthy robbery sequence in the middle of the film and how well it works to bring out tension in naturalistic ways. And we talk about the look of the story and how it ties into crime and noir elements.

It’s a fantastic crime film that holds up incredibly well. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 27 Feb 2020 06:00:37 -0800 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3570 How did Jules Dassin use this film to help break the blacklist? Are the criminal protagonists here easy to like? How do they so effectively amp up the tension in the robbery? Tune in to this week’s show to get these answers and more! How did Jules Dassin use this film to help break the blacklist? Are the criminal protagonists here easy to like? How do they so effectively amp up the tension in the robbery? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Le Trou • The Next Reel 9 9 30 30 Le Trou • The Next Reel full 9338eb00-4cd4-4960-b459-903874014a0f https://share.transistor.fm/s/d1241fe6 With a passion for American films noir, French filmmakers in the 50s started making their own takes on crime stories and created an entire new subgenre of crime films, the policiers, which in turn inspired many American filmmakers. Join us – Pete Wright and Andy Nelson – as we kick off our new series on French crime films with Jacques Becker’s 1960 prison breakout movie, Le Trou.

We look at the nature of prison break movies and what filmmakers do to get us to side with these criminals as our protagonists. We chat about the documentary style employed a bit by Becker in this film and debate the approaches he uses to tell this true story. We look at the actors who play the roles and how well they work. We touch on the sound design, editing, and cinematography and why they’re all such integral elements to making this story succeed. And we talk about unreliable protagonists and ways to interpret our lead’s actions at the end of the film.

It’s a stellar film and a great way to kick off this new series. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> With a passion for American films noir, French filmmakers in the 50s started making their own takes on crime stories and created an entire new subgenre of crime films, the policiers, which in turn inspired many American filmmakers. Join us – Pete Wright and Andy Nelson – as we kick off our new series on French crime films with Jacques Becker’s 1960 prison breakout movie, Le Trou.

We look at the nature of prison break movies and what filmmakers do to get us to side with these criminals as our protagonists. We chat about the documentary style employed a bit by Becker in this film and debate the approaches he uses to tell this true story. We look at the actors who play the roles and how well they work. We touch on the sound design, editing, and cinematography and why they’re all such integral elements to making this story succeed. And we talk about unreliable protagonists and ways to interpret our lead’s actions at the end of the film.

It’s a stellar film and a great way to kick off this new series. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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]]> Thu, 20 Feb 2020 06:00:01 -0800 TruStory FM TruStory FM 3842 How does a docu-style approach work in telling this prison break story? What do the sound, editing and camerawork do to amplify the tension? How well do our new actors do in creating these characters? Tune in to this week’s show to get these answers and more! How does a docu-style approach work in telling this prison break story? What do the sound, editing and camerawork do to amplify the tension? How well do our new actors do in creating these characters? Tune in to this week’s show to get these answers an andy nelson, pete wright No Andy Nelson Pete Wright Life of the Party • The Next Reel 9 9 29 29 Life of the Party • The Next Reel full ce5a3316-6f0b-4241-abf5-831b7500ce6f https://share.transistor.fm/s/54276f85 “They’re probably just looking at my smock. It tends to catch the light.”

After collaborating on Tammy and The Boss, husband and wife team Melissa McCarthy and Ben Falcone proved that the third time’s a charm with Life of the Party. Of course, ‘charm’ may not be the most accurate word as the film was reviewed fairly poorly, but if it hadn’t been reviewed poorly, it wouldn’t fit into our current guilty pleasure series! Join us – Pete Wright and Andy Nelson – as we wrap up this year’s Guilty Pleasure series with Andy’s guilty pleasure, Falcone’s 2018 film Life of the Party.

We talk about why Andy finds so much joy in this film and why he finds Melissa McCarthy to be such an enjoyable actress to watch. We chat about the reasons Melissa works so well in this film, despite the fact that this film is so full of film tropes. We look at the rest of the cast filling out the roles and how well they work in their parts (or don’t, in a few cases). We look at the ways the script works and some ways it feels a bit clunky. And we discuss how the writing shows some smarts in some areas that seem like they’re to go the typical direction only to have them go another.

It’s not a perfect film and clearly isn’t liked by a great many people, but Andy loves it, and as it turns out so does Pete. We have a lot of fun talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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]]> “They’re probably just looking at my smock. It tends to catch the light.”

After collaborating on Tammy and The Boss, husband and wife team Melissa McCarthy and Ben Falcone proved that the third time’s a charm with Life of the Party. Of course, ‘charm’ may not be the most accurate word as the film was reviewed fairly poorly, but if it hadn’t been reviewed poorly, it wouldn’t fit into our current guilty pleasure series! Join us – Pete Wright and Andy Nelson – as we wrap up this year’s Guilty Pleasure series with Andy’s guilty pleasure, Falcone’s 2018 film Life of the Party.

We talk about why Andy finds so much joy in this film and why he finds Melissa McCarthy to be such an enjoyable actress to watch. We chat about the reasons Melissa works so well in this film, despite the fact that this film is so full of film tropes. We look at the rest of the cast filling out the roles and how well they work in their parts (or don’t, in a few cases). We look at the ways the script works and some ways it feels a bit clunky. And we discuss how the writing shows some smarts in some areas that seem like they’re to go the typical direction only to have them go another.

It’s not a perfect film and clearly isn’t liked by a great many people, but Andy loves it, and as it turns out so does Pete. We have a lot of fun talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 13 Feb 2020 06:00:11 -0800 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 4240 Where does this land in the Ben Falcone/Melissa McCarthy lineup of films they’ve made together? Should this be more than just a guilty pleasure? Is it okay to rank this higher than obviously better films like 'Autumn Sonata'? Tune in to this week’s show to get these answers and more! Where does this land in the Ben Falcone/Melissa McCarthy lineup of films they’ve made together? Should this be more than just a guilty pleasure? Is it okay to rank this higher than obviously better films like 'Autumn Sonata'? Tune in to this week’s sho film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Hudson Hawk • The Next Reel 9 9 28 28 Hudson Hawk • The Next Reel full 1dc5e8db-b1ce-4a99-af65-da160cdefc6c https://share.transistor.fm/s/26d57616 Bruce Willis’ star power rose quite a bit with the release of Die Hard, but strangely it was his supporting role in Bonfire of the Vanities that seemed to give him the clout he needed to do his own rewrites on the action thriller he was working on at the time, Hudson Hawk. Through his vision, this film became goofier and very Looney Tunes-esque. Unfortunately, the marketing stuck with the action side of Willis and the film flopped in the States. But it’s a quirky film that found its audience over time and became a bit of a cult classic. Join us – Pete Wright and Andy Nelson – as we start up a new round of our guilty pleasure series for the new year and look at one of Pete’s guilty pleasures, Michael Lehmann’s 1991 film Hudson Hawk.

We talk about why Pete has this on his guilty pleasures list and what Andy thought of it. We look at the backstory and what went into getting it made. We discuss the marketing for the film and ponder if a different approach may have allowed for a successful release. We chat about the over-the-top antics of the rest of the cast but principally Richard E. Grant and Sandra Bernhard as the Mayflowers. We touch on Dante Spinotti’s look and Chris Lebenzon’s & Michael Tronick’s editing of the film and what they brought to it, paired with Lehmann. And we debate the tonal shifts in the film between goofy, bonkers comedy and surprising moments of strong violence.

It’s a strange little film that many people don’t click with but some people – like us – really enjoy. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Bruce Willis’ star power rose quite a bit with the release of Die Hard, but strangely it was his supporting role in Bonfire of the Vanities that seemed to give him the clout he needed to do his own rewrites on the action thriller he was working on at the time, Hudson Hawk. Through his vision, this film became goofier and very Looney Tunes-esque. Unfortunately, the marketing stuck with the action side of Willis and the film flopped in the States. But it’s a quirky film that found its audience over time and became a bit of a cult classic. Join us – Pete Wright and Andy Nelson – as we start up a new round of our guilty pleasure series for the new year and look at one of Pete’s guilty pleasures, Michael Lehmann’s 1991 film Hudson Hawk.

We talk about why Pete has this on his guilty pleasures list and what Andy thought of it. We look at the backstory and what went into getting it made. We discuss the marketing for the film and ponder if a different approach may have allowed for a successful release. We chat about the over-the-top antics of the rest of the cast but principally Richard E. Grant and Sandra Bernhard as the Mayflowers. We touch on Dante Spinotti’s look and Chris Lebenzon’s & Michael Tronick’s editing of the film and what they brought to it, paired with Lehmann. And we debate the tonal shifts in the film between goofy, bonkers comedy and surprising moments of strong violence.

It’s a strange little film that many people don’t click with but some people – like us – really enjoy. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 06 Feb 2020 06:00:04 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4808 Is this rightly regarded as a guilty pleasure? Should Bruce Willis be allowed to write more scripts? Is the silly comedy just too much for the general public? Tune in to this week’s show to get these answers and more! Is this rightly regarded as a guilty pleasure? Should Bruce Willis be allowed to write more scripts? Is the silly comedy just too much for the general public? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Best Little Whorehouse in Texas • The Next Reel 9 9 27 27 The Best Little Whorehouse in Texas • The Next Reel full 46d18c3b-6aa8-415a-80a4-039b67102cd7 https://share.transistor.fm/s/5fb8a970 “It’s just a lil’ ole bitty pissant country place. Nothing much to see.”

After Nine to Five, Colin Higgins had been working on a few ideas of his own when he was asked by his recent collaborator Dolly Parton to direct her next film, the adaptation of the Broadway musical The Best Little Whorehouse in Texas. While coming on board a relatively put together story may not have allowed Higgins to craft the story his way, the project still did fit with the types of stories about outsiders that he was best known for. Join us – Pete Wright and Andy Nelson – as we wrap up our Colin Higgins series with his 1982 film The Best Little Whorehouse in Texas.

We talk about the challenges of a film about prostitution and making the characters relatable. We look at the on-screen chemistry between Parton and her co-star Burt Reynolds. We chat about some supporting staff like Charles Durning, Dom DeLuise, and Jim Nabors. We discuss what the film’s saying about politics, the media, and legislating morality. We touch on Dolly’s iconic song “I Will Always Love You” which she included in this film, and discuss who did it better – Dolly or Whitney? And we look at Higgins’ career and discuss what makes a Higgins film a Higgins film?

It’s a fun film but not something that wowed us. Either way we have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> “It’s just a lil’ ole bitty pissant country place. Nothing much to see.”

After Nine to Five, Colin Higgins had been working on a few ideas of his own when he was asked by his recent collaborator Dolly Parton to direct her next film, the adaptation of the Broadway musical The Best Little Whorehouse in Texas. While coming on board a relatively put together story may not have allowed Higgins to craft the story his way, the project still did fit with the types of stories about outsiders that he was best known for. Join us – Pete Wright and Andy Nelson – as we wrap up our Colin Higgins series with his 1982 film The Best Little Whorehouse in Texas.

We talk about the challenges of a film about prostitution and making the characters relatable. We look at the on-screen chemistry between Parton and her co-star Burt Reynolds. We chat about some supporting staff like Charles Durning, Dom DeLuise, and Jim Nabors. We discuss what the film’s saying about politics, the media, and legislating morality. We touch on Dolly’s iconic song “I Will Always Love You” which she included in this film, and discuss who did it better – Dolly or Whitney? And we look at Higgins’ career and discuss what makes a Higgins film a Higgins film?

It’s a fun film but not something that wowed us. Either way we have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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 Jan 2020 06:00:01 -0800 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3698 How does Dolly Parton do in her second film? Are there sparks with her and Burt Reynolds? Does a musical about a whorehouse work? Tune in to this week’s shows to get these answers and more. How does Dolly Parton do in her second film? Are there sparks with her and Burt Reynolds? Does a musical about a whorehouse work? Tune in to this week’s shows to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright 9 to 5 • The Next Reel 9 9 26 26 9 to 5 • The Next Reel full 85d340be-ac53-4e94-af84-a591ef679b2f https://share.transistor.fm/s/997df57d When Jane Fonda and her producing partner Bruce Gilbert brought Colin Higgins on to rewrite Patricia Resnick’s workplace drama, they knew they were going to shift the story to a comedy instead. They also knew that Higgins would flesh out the three female protagonists at the core of the story. What they also got was an incredibly well-structured script that was full of wild humor while also keeping the characters honest and grounded. Considering these were features that Higgins consistently wrote into his scripts, it really didn’t come as a surprise, but what did surprise everyone is how much audiences connected to this story. Join us – Pete Wright and Andy Nelson – as we continue our Colin Higgins series with his 1980 comedy classic Nine to Five.

We talk about how smart this script was for its time and how sadly relevant it is today still. We look at Fonda, Lily Tomlin, and Dolly Parton and chat about how perfect they are as an on-screen trio. We look at the perfect Dabney Coleman as their nemesis and chat about the awful crimes he commits in the workplace, and how it’s viewed through today’s eyes. We discuss how Parton’s title song became such an iconic anthem for a cultural movement at the time. And we look at elements in the film that we can point to that define Higgins’ style of storytelling (not to mention his love for comedy tropes).

It’s an absolute comedy classic that everyone should see, so stop what you’re doing, watch it, then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> When Jane Fonda and her producing partner Bruce Gilbert brought Colin Higgins on to rewrite Patricia Resnick’s workplace drama, they knew they were going to shift the story to a comedy instead. They also knew that Higgins would flesh out the three female protagonists at the core of the story. What they also got was an incredibly well-structured script that was full of wild humor while also keeping the characters honest and grounded. Considering these were features that Higgins consistently wrote into his scripts, it really didn’t come as a surprise, but what did surprise everyone is how much audiences connected to this story. Join us – Pete Wright and Andy Nelson – as we continue our Colin Higgins series with his 1980 comedy classic Nine to Five.

We talk about how smart this script was for its time and how sadly relevant it is today still. We look at Fonda, Lily Tomlin, and Dolly Parton and chat about how perfect they are as an on-screen trio. We look at the perfect Dabney Coleman as their nemesis and chat about the awful crimes he commits in the workplace, and how it’s viewed through today’s eyes. We discuss how Parton’s title song became such an iconic anthem for a cultural movement at the time. And we look at elements in the film that we can point to that define Higgins’ style of storytelling (not to mention his love for comedy tropes).

It’s an absolute comedy classic that everyone should see, so stop what you’re doing, watch it, then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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 Jan 2020 06:00:01 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4321 Does this film feel dated or does it hold up today as much as it did 40 years ago? How well does Dolly Parton do in her first acting performance? Are Jane Fonda, Lily Tomlin, and Parton an example of a perfect on-screen trio? Tune in to this week’s show to get these answers and more! Does this film feel dated or does it hold up today as much as it did 40 years ago? How well does Dolly Parton do in her first acting performance? Are Jane Fonda, Lily Tomlin, and Parton an example of a perfect on-screen trio? Tune in to this week’s sho film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Foul Play • The Next Reel 9 9 25 25 Foul Play • The Next Reel full a669ddc2-9515-4240-8e93-08f6951b48ac https://share.transistor.fm/s/a2f7f994 “People just don’t drop dead in cinemas watching horror movies and whispering, 'Look out for the elf!'”

Even if his first screenplay was for a film that was a box office flop at the time, the success of the second film he wrote gave Colin Higgins enough clout to finally direct. As a clear fan of Hitchcock’s work, he delivered his second comedy thriller that felt very much an homage to Hitchcock in Foul Play, and he delivered another box office hit. Join us – Pete Wright and Andy Nelson – as we continue our Colin Higgins series with his 1978 directorial debut Foul Play.

We talk about Higgins as director and debate how he does on his first time out of the gate. We look at many of the tropes he fills the film with, both Hitchcockian thriller tropes and comedy tropes of the time. We chat about the casting of Goldie Hawn and Chevy Chase and how they got the roles, plus we look at many of the other actors fleshing the film out. We touch on politically incorrect comedy involving little people and ponder how that affects our viewing in 2020. We look at the cinematography and music, and wonder if Barry Manilow, although popular at the time, made sense for a comedy thriller. And we revel in the playful titles the Swedes gave to this film as well as many other Hawn films over the years.

It’s a fun film and definitely worth talking about, even if only in context of the time when it comes to jokes involving laughing at little people suffering. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> “People just don’t drop dead in cinemas watching horror movies and whispering, 'Look out for the elf!'”

Even if his first screenplay was for a film that was a box office flop at the time, the success of the second film he wrote gave Colin Higgins enough clout to finally direct. As a clear fan of Hitchcock’s work, he delivered his second comedy thriller that felt very much an homage to Hitchcock in Foul Play, and he delivered another box office hit. Join us – Pete Wright and Andy Nelson – as we continue our Colin Higgins series with his 1978 directorial debut Foul Play.

We talk about Higgins as director and debate how he does on his first time out of the gate. We look at many of the tropes he fills the film with, both Hitchcockian thriller tropes and comedy tropes of the time. We chat about the casting of Goldie Hawn and Chevy Chase and how they got the roles, plus we look at many of the other actors fleshing the film out. We touch on politically incorrect comedy involving little people and ponder how that affects our viewing in 2020. We look at the cinematography and music, and wonder if Barry Manilow, although popular at the time, made sense for a comedy thriller. And we revel in the playful titles the Swedes gave to this film as well as many other Hawn films over the years.

It’s a fun film and definitely worth talking about, even if only in context of the time when it comes to jokes involving laughing at little people suffering. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> Thu, 16 Jan 2020 06:00:12 -0800 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 5236 How well do the jokes work for today’s world? Do Goldie Hawn and Chevy Chase work as a romantic duo? Does Colin Higgins nail it for his first time directing? Tune in to this week’s show to get these answers and more! How well do the jokes work for today’s world? Do Goldie Hawn and Chevy Chase work as a romantic duo? Does Colin Higgins nail it for his first time directing? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Silver Streak • The Next Reel 9 9 24 24 Silver Streak • The Next Reel full e69427e7-c172-454a-b8f2-c5101dbaa714 https://share.transistor.fm/s/7893e5e7 “If there’s ever anything that you need, don’t call me.”

For Colin Higgins’ second film, he wanted to write something that had a Hitchcockian flair, and he was partial to the thrillers on trains. What we got – and what Arthur Hiller deftly directed – was Silver Streak. What we also got was the legendary comedy pairing of Gene Wilder and Richard Pryor, two comedians who would end up making three more films together after this. Join us – Pete Wright and Andy Nelson – as we continue our Colin Higgins series with Hiller’s 1976 train thriller Silver Streak.

We talk about Pryor and Wilder and if blackface comedy is still something we’re allowed to laugh at, especially when the actors are so clearly pointing out that it’s not okay. We chat about the thrills balanced with the comedy in this film and how well it works. We look at Wilder and Pryor, but also Jill Clayburgh, Patrick McGoohan, Ned Beatty, Clifton James, Scatman Crothers, Ray Walston, Valerie Curtin, and Richard Kiel, to see what they’re all bringing to the table. We touch on Henry Mancini’s score and the vibes it brings. And we look at the many tropes throughout this film, wondering if they work well here because at the time, they likely weren’t as commonly used as they came to be.

It’s a fun film and we have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> “If there’s ever anything that you need, don’t call me.”

For Colin Higgins’ second film, he wanted to write something that had a Hitchcockian flair, and he was partial to the thrillers on trains. What we got – and what Arthur Hiller deftly directed – was Silver Streak. What we also got was the legendary comedy pairing of Gene Wilder and Richard Pryor, two comedians who would end up making three more films together after this. Join us – Pete Wright and Andy Nelson – as we continue our Colin Higgins series with Hiller’s 1976 train thriller Silver Streak.

We talk about Pryor and Wilder and if blackface comedy is still something we’re allowed to laugh at, especially when the actors are so clearly pointing out that it’s not okay. We chat about the thrills balanced with the comedy in this film and how well it works. We look at Wilder and Pryor, but also Jill Clayburgh, Patrick McGoohan, Ned Beatty, Clifton James, Scatman Crothers, Ray Walston, Valerie Curtin, and Richard Kiel, to see what they’re all bringing to the table. We touch on Henry Mancini’s score and the vibes it brings. And we look at the many tropes throughout this film, wondering if they work well here because at the time, they likely weren’t as commonly used as they came to be.

It’s a fun film and we have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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 Jan 2020 06:00:16 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3764 Is it obvious right out of the gate that Gene Wilder and Richard Pryor would make a great comedy duo? How are the thrills versus the laughs? Are there too many tropes used throughout this film? Tune in to this week’s show to get these answers and more. Is it obvious right out of the gate that Gene Wilder and Richard Pryor would make a great comedy duo? How are the thrills versus the laughs? Are there too many tropes used throughout this film? Tune in to this week’s show to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Harold and Maude • The Next Reel 9 9 23 23 Harold and Maude • The Next Reel full 889895c0-ec44-4283-8f6d-eeebeeb2a4cf https://share.transistor.fm/s/88467081 “You can’t let the world judge you too much.”

Colin Higgins had one of those incredibly lucky starts to his career in motion pictures – knowing the right people at the right time while still in school. Of course, he also proved right out of the gate that he was incredibly talented, which always helps. His first script, Harold and Maude, was written as his thesis project while at UCLA, and even if he didn’t end up getting to direct it, with Hal Ashby on board, he was able to be involved from start to finish to see his vision come to life. Join us – Pete Wright and Andy Nelson – as we kick off our Colin Higgins series with his first film, Ashby’s 1971 film Harold and Maude.

We talk about Higgins and why he still resonates as a great writer/director. We look at Ashby’s career and discuss this in relation to it. We discuss why this film had a hard time finding its audience upon its initial release but how it’s become a popular classic now. We look at the humor in it and chat about why jokes about suicide end up being okay in the movie. We touch on Cat Stevens and his music which feels so of a part of the movie. And we cover the amazing Ruth Gordon and Bud Cort in the titular roles (not to mention several of the other amazing actors rounding out the cast).

It’s one of our favorites and we have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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 let the world judge you too much.”

Colin Higgins had one of those incredibly lucky starts to his career in motion pictures – knowing the right people at the right time while still in school. Of course, he also proved right out of the gate that he was incredibly talented, which always helps. His first script, Harold and Maude, was written as his thesis project while at UCLA, and even if he didn’t end up getting to direct it, with Hal Ashby on board, he was able to be involved from start to finish to see his vision come to life. Join us – Pete Wright and Andy Nelson – as we kick off our Colin Higgins series with his first film, Ashby’s 1971 film Harold and Maude.

We talk about Higgins and why he still resonates as a great writer/director. We look at Ashby’s career and discuss this in relation to it. We discuss why this film had a hard time finding its audience upon its initial release but how it’s become a popular classic now. We look at the humor in it and chat about why jokes about suicide end up being okay in the movie. We touch on Cat Stevens and his music which feels so of a part of the movie. And we cover the amazing Ruth Gordon and Bud Cort in the titular roles (not to mention several of the other amazing actors rounding out the cast).

It’s one of our favorites and we have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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 Jan 2020 06:00:04 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4253 Who is this Colin Higgins fellow and why are we talking about him? How resonant is Harold and Maude still? Are jokes about suicide okay in a context like this? Tune in to this week’s show to get these answers and more! Who is this Colin Higgins fellow and why are we talking about him? How resonant is Harold and Maude still? Are jokes about suicide okay in a context like this? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright All of Me • The Next Reel 9 9 22 22 All of Me • The Next Reel full 733e7b2a-2606-4e6d-8931-3b70fe2aaec3 https://share.transistor.fm/s/05b464ad By the time Steve Martin came around to act in All of Me, his film career was in full bloom and he could be counted on to make a movie work (albeit not always make money). He had proven that he could do over-the-top goofball comedy, more serious roles, and more straight-forward comedy in which he plays a regular person. Join us – Pete Wright and Andy Nelson – as we conclude our series on Martin’s early career with Carl Reiner’s final film with him, 1984’s All of Me.

We talk about Martin and his lovely co-star, Lily Tomlin, and how well they work together in this film. We look at the nonsense rules established in the film about when they each have to speak out loud, when they speak in their heads, and debate if any breaking of these rules really matters since they so firmly sell us on this fantastical situation. We look at some other cast members and what they bring to the table, including the swami who doesn’t work very well for Andy. And we look at some of the crew members and what they bring to the table, especially in some complicated scenes through mirrors – or at least seemingly through mirrors.

It’s a great film that works on all fronts, making for a great experience, and a great entry for Martin’s filmography. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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]]> By the time Steve Martin came around to act in All of Me, his film career was in full bloom and he could be counted on to make a movie work (albeit not always make money). He had proven that he could do over-the-top goofball comedy, more serious roles, and more straight-forward comedy in which he plays a regular person. Join us – Pete Wright and Andy Nelson – as we conclude our series on Martin’s early career with Carl Reiner’s final film with him, 1984’s All of Me.

We talk about Martin and his lovely co-star, Lily Tomlin, and how well they work together in this film. We look at the nonsense rules established in the film about when they each have to speak out loud, when they speak in their heads, and debate if any breaking of these rules really matters since they so firmly sell us on this fantastical situation. We look at some other cast members and what they bring to the table, including the swami who doesn’t work very well for Andy. And we look at some of the crew members and what they bring to the table, especially in some complicated scenes through mirrors – or at least seemingly through mirrors.

It’s a great film that works on all fronts, making for a great experience, and a great entry for Martin’s filmography. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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]]> Thu, 26 Dec 2019 06:00:03 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3887 How funny are Steve Martin and Lily Tomlin together? Is this the start of more mature Martin comedy films? How well do they follow the rules they establish regarding body cohabitation… and does it matter? Tune in to this week’s show to get these answers and more! How funny are Steve Martin and Lily Tomlin together? Is this the start of more mature Martin comedy films? How well do they follow the rules they establish regarding body cohabitation… and does it matter? Tune in to this week’s show to get these answer film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Lonely Guy • The Next Reel 9 9 21 21 The Lonely Guy • The Next Reel full 450e531c-26f6-46ea-ae1a-0c48db441863 https://share.transistor.fm/s/e48c1e2a By 1984, Steve Martin had played an idiot, a down-on-his-luck sheet music salesman in 30s Chicago, a noir detective, and a mad scientist – quite a variety of characters, though all very specific in their characterizations. Because of that, seeing him play a pretty normal, non-affected straight guy in Arthur Hiller’s comedy The Lonely Guy almost seemed a bit of a surprise. Surely, Martin was looking for a variety of parts so he could show off what we could do, so it makes sense. The film didn’t end up being a success, but it still allowed Martin the chance to play something a bit different yet again. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with Hillers’ 1984 film The Lonely Guy.

We talk about why a lot of this film doesn’t work, but why parts of it do work. We look at why comedy beats with Dr. Joyce Brothers may work (or not, depending on your take), but how her presence does seem to date the film a bit. We look at the team behind some of the technical elements, including composer Jerry Goldsmith. And we look at other cast members like Charles Grodin and Judith Ivey and chat about what works with their performances versus Martin’s.

It’s a tricky little film that feels at times like the parts are better than the sum. Regardless, it has some great comedic beats, even if the tone is a mess. We have a great time talking about it on this week’s show so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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]]> By 1984, Steve Martin had played an idiot, a down-on-his-luck sheet music salesman in 30s Chicago, a noir detective, and a mad scientist – quite a variety of characters, though all very specific in their characterizations. Because of that, seeing him play a pretty normal, non-affected straight guy in Arthur Hiller’s comedy The Lonely Guy almost seemed a bit of a surprise. Surely, Martin was looking for a variety of parts so he could show off what we could do, so it makes sense. The film didn’t end up being a success, but it still allowed Martin the chance to play something a bit different yet again. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with Hillers’ 1984 film The Lonely Guy.

We talk about why a lot of this film doesn’t work, but why parts of it do work. We look at why comedy beats with Dr. Joyce Brothers may work (or not, depending on your take), but how her presence does seem to date the film a bit. We look at the team behind some of the technical elements, including composer Jerry Goldsmith. And we look at other cast members like Charles Grodin and Judith Ivey and chat about what works with their performances versus Martin’s.

It’s a tricky little film that feels at times like the parts are better than the sum. Regardless, it has some great comedic beats, even if the tone is a mess. We have a great time talking about it on this week’s show so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 19 Dec 2019 06:00:28 -0800 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3436 Does this sad sack turn for Steve Martin work? How depressing can Charles Grodin get before he’s not funny anymore? How much work did Neil Simon have to do to adapt the original book? Tune in to this week’s show to get these answers and more! Does this sad sack turn for Steve Martin work? How depressing can Charles Grodin get before he’s not funny anymore? How much work did Neil Simon have to do to adapt the original book? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Man With Two Brains • The Next Reel 9 9 20 20 The Man With Two Brains • The Next Reel full 7726fbbb-c122-4dce-8a0f-8d290c751a65 https://share.transistor.fm/s/984d2eb7 "I’ve had the top of her head off, but that’s as far as it went.”

When Steve Martin and Carl Reiner reunited for a third time, they took some of the parody comedy joy the found in Dead Men Don’t Wear Plaid and the absurd comedy from The Jerk, to make The Man With Two Brains. There is a clear sense here that they enjoy playing with conventions from mad scientist films, but it’s not as much an homage like their last film. It also feels like they’ve grown quite a bit in their comedy writing, as the jokes work really well here, especially the ones that repeat throughout the film. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with Reiner’s 1983 film The Man With Two Brains.

We talk about why this film works so well for us, and why the comedy tends to stick more often in this one. We look at elements of the comedy that also didn’t work as well, and why that may be. We chat about Martin and Kathleen Turner, looking at what they each bring to the table, along with other cast members. We complain about the editing and wonder if it’s the fault of the editor or if it was a problem inherent in the script before they realized what the issues were. And we chat about some of our favorite comedy bits throughout.

It’s a fun film and we have a great time talking about it, so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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]]> "I’ve had the top of her head off, but that’s as far as it went.”

When Steve Martin and Carl Reiner reunited for a third time, they took some of the parody comedy joy the found in Dead Men Don’t Wear Plaid and the absurd comedy from The Jerk, to make The Man With Two Brains. There is a clear sense here that they enjoy playing with conventions from mad scientist films, but it’s not as much an homage like their last film. It also feels like they’ve grown quite a bit in their comedy writing, as the jokes work really well here, especially the ones that repeat throughout the film. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with Reiner’s 1983 film The Man With Two Brains.

We talk about why this film works so well for us, and why the comedy tends to stick more often in this one. We look at elements of the comedy that also didn’t work as well, and why that may be. We chat about Martin and Kathleen Turner, looking at what they each bring to the table, along with other cast members. We complain about the editing and wonder if it’s the fault of the editor or if it was a problem inherent in the script before they realized what the issues were. And we chat about some of our favorite comedy bits throughout.

It’s a fun film and we have a great time talking about it, so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 12 Dec 2019 06:00:10 -0800 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3320 Do Reiner and Martin make another hit or flop? How funny is this parody/homage of mad scientist films? Does Kathleen Turner handle comedy well? Tune in to this week’s show to get these answers and more! Do Reiner and Martin make another hit or flop? How funny is this parody/homage of mad scientist films? Does Kathleen Turner handle comedy well? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Dead Men Don’t Wear Plaid • The Next Reel 9 9 19 19 Dead Men Don’t Wear Plaid • The Next Reel full e5690e12-676b-4e00-b4b0-b89ad342fb73 https://share.transistor.fm/s/b116eeab “You know how to dial, don’t you? You just put your finger in the hole and make a tiny little circle.”

When Steve Martin and Carl Reiner latched onto the idea of acting in a scene opposite characters in other movies, they thought it was pretty funny and thought it would be even funnier if they could do an entire movie that way. It took some work to get there, but they managed to pull off a pretty clever film in Dead Men Don’t Wear Plaid, even if they devolve into dumb comedy at times. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with Reiner’s 1982 film Dead Men Don’t Wear Plaid.

We talk about the nature of comedy, particularly when it’s a film that is operating as both a parody of and an homage to films noir – and why the silly humor they throw in sometimes just doesn’t work. We look at the brilliant technical feat it was to recreate costumes, sets, lighting designs, music, script, and more to make this movie work. We chat about Martin, Reiner, and Rachel Ward, and how well they work in the film. We chat about the origins of the film and why the story feels so convoluted. And we look at some other films that have tried to pull similar things off.

It’s a really interesting film in the lineup of Reiner/Martin collaborations, and we have a great time talking about it. Definitely check it out, then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> “You know how to dial, don’t you? You just put your finger in the hole and make a tiny little circle.”

When Steve Martin and Carl Reiner latched onto the idea of acting in a scene opposite characters in other movies, they thought it was pretty funny and thought it would be even funnier if they could do an entire movie that way. It took some work to get there, but they managed to pull off a pretty clever film in Dead Men Don’t Wear Plaid, even if they devolve into dumb comedy at times. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with Reiner’s 1982 film Dead Men Don’t Wear Plaid.

We talk about the nature of comedy, particularly when it’s a film that is operating as both a parody of and an homage to films noir – and why the silly humor they throw in sometimes just doesn’t work. We look at the brilliant technical feat it was to recreate costumes, sets, lighting designs, music, script, and more to make this movie work. We chat about Martin, Reiner, and Rachel Ward, and how well they work in the film. We chat about the origins of the film and why the story feels so convoluted. And we look at some other films that have tried to pull similar things off.

It’s a really interesting film in the lineup of Reiner/Martin collaborations, and we have a great time talking about it. Definitely check it out, then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 05 Dec 2019 06:00:06 -0800 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3440 Can Steve Martin act opposite Humphrey Bogart? Does it work to intercut old films noir? Does the comedy kill the tone? Tune in to this week’s show to get answers to these questions and more! Can Steve Martin act opposite Humphrey Bogart? Does it work to intercut old films noir? Does the comedy kill the tone? Tune in to this week’s show to get answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Pennies From Heaven • The Next Reel 9 9 18 18 Pennies From Heaven • The Next Reel full 360ba57a-9a07-4b21-b78a-1591566e5a94 https://share.transistor.fm/s/8a8d3906 “I want to live in a world where the songs come true.”

It may have seemed more strange at the time than it does now, but after his success of his comedy film The Jerk, comedian Steve Martin used his career momentum to next make… a depressing musical in which he’s a completely unlikeable character. In context of the career path that Martin has taken and the variety of projects he’s been a part of, it’s clear that it was a smart decision, but he’s lucky the flop of Pennies From Heaven didn’t kill his career completely. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with his next film, Herbert Ross’ 1981 film Pennies From Heaven.

We talk about the peculiarities of this film and why so much of it seems like it isn’t working, but how enough of it does where it’s a flawed but unique project. We chat about the lip synced musical numbers and debate why they chose to do the music this way instead of having everyone sing. We discuss the brilliant direction by Ross, cinematography by Gordon Willis, and production design by Philip Harrison, and how beautiful the film is, particularly during the dance numbers. And we debate if this film and its structure makes us more interested or less in watching the original BBC TV series from 1978.

It’s a flawed film, one that Andy likes more than Pete, but it’s certainly worth watching and discussing. So check it out, then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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]]> “I want to live in a world where the songs come true.”

It may have seemed more strange at the time than it does now, but after his success of his comedy film The Jerk, comedian Steve Martin used his career momentum to next make… a depressing musical in which he’s a completely unlikeable character. In context of the career path that Martin has taken and the variety of projects he’s been a part of, it’s clear that it was a smart decision, but he’s lucky the flop of Pennies From Heaven didn’t kill his career completely. Join us – Pete Wright and Andy Nelson – as we continue our Steve Martin series with his next film, Herbert Ross’ 1981 film Pennies From Heaven.

We talk about the peculiarities of this film and why so much of it seems like it isn’t working, but how enough of it does where it’s a flawed but unique project. We chat about the lip synced musical numbers and debate why they chose to do the music this way instead of having everyone sing. We discuss the brilliant direction by Ross, cinematography by Gordon Willis, and production design by Philip Harrison, and how beautiful the film is, particularly during the dance numbers. And we debate if this film and its structure makes us more interested or less in watching the original BBC TV series from 1978.

It’s a flawed film, one that Andy likes more than Pete, but it’s certainly worth watching and discussing. So check it out, then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 28 Nov 2019 06:00:01 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3575 Was this film too much of a shift for Steve Martin’s comedy fans? How does it work as a musical? And why are they lip syncing? Tune in to this week’s show to get these answers and more! Was this film too much of a shift for Steve Martin’s comedy fans? How does it work as a musical? And why are they lip syncing? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Jerk • The Next Reel 9 9 17 17 The Jerk • The Next Reel full 1e67a33c-b85a-4f4f-9c9a-763549693686 https://share.transistor.fm/s/ee6e45c7 “I don’t need anything… except this. This ashtray, and that’s the only thing I need is this. I don’t need this or this. Just this ashtray… and this paddle game.”

Steve Martin was having great success as a comedian, but felt like he was at his peak and wouldn’t last very much longer if he didn’t push into another avenue. That other avenue, as it turned out, was film. Of course, that wasn’t as easy to get into as he had hoped and it took him some time, but eventually, one of the studios latched onto his idea for a script and he was off and away. Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at the early films of Steve Martin starting right here with Carl Reiner’s 1979 film The Jerk.

We talk about Martin and how this film worked to give him not just a film career but so much more, and why his brand of comedy helped get him there. We look at why comedy in a film like this may feel dated, particularly for people looking at it for the first time. We chat about several of the comedy moments in the film, both famous and not-so-famous, and look at why some stand out better than others. We discuss Bernadette Peters and why she’s such an amazing performer. We touch on the performance of “Tonight You Belong to Me” and why it works brilliantly but also feels out of place. And we debate why the film’s title is The Jerk.

It’s a dated film that seems to work better for people who connected with it earlier in life, but still has some charm and definite iconic comedy moments. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> “I don’t need anything… except this. This ashtray, and that’s the only thing I need is this. I don’t need this or this. Just this ashtray… and this paddle game.”

Steve Martin was having great success as a comedian, but felt like he was at his peak and wouldn’t last very much longer if he didn’t push into another avenue. That other avenue, as it turned out, was film. Of course, that wasn’t as easy to get into as he had hoped and it took him some time, but eventually, one of the studios latched onto his idea for a script and he was off and away. Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at the early films of Steve Martin starting right here with Carl Reiner’s 1979 film The Jerk.

We talk about Martin and how this film worked to give him not just a film career but so much more, and why his brand of comedy helped get him there. We look at why comedy in a film like this may feel dated, particularly for people looking at it for the first time. We chat about several of the comedy moments in the film, both famous and not-so-famous, and look at why some stand out better than others. We discuss Bernadette Peters and why she’s such an amazing performer. We touch on the performance of “Tonight You Belong to Me” and why it works brilliantly but also feels out of place. And we debate why the film’s title is The Jerk.

It’s a dated film that seems to work better for people who connected with it earlier in life, but still has some charm and definite iconic comedy moments. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 21 Nov 2019 06:00:06 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3499 Does this work as well for people seeing it now for the first time? How do Steve Martin and Bernadette Peters do in it? Why’s it called The Jerk? Tune in to this week’s show to get answers to these questions and more! Does this work as well for people seeing it now for the first time? How do Steve Martin and Bernadette Peters do in it? Why’s it called The Jerk? Tune in to this week’s show to get answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Dead Ringers • The Next Reel 9 9 16 16 Dead Ringers • The Next Reel full 6185c9ed-94b0-4f07-86ce-1b119c34f990 https://share.transistor.fm/s/f45c320a Making a film about identical twin gynecologists after having two successful Hollywood films may seem like folly, or it may seem like exactly what a filmmaker like David Cronenberg would do. Cronenberg used the boost of success to get a complex, psychological drama made, and while it may not have paid off at the box office, it’s become an essential work of the director that pulls elements from his body horror films while moving him into the more psychological examinations he would explore later. Join us – Pete Wright and Andy Nelson – as we wrap up our Cronenberg series with his 1988 film Dead Ringers.

We talk about the nature of identity as it relates to twins and acting, and what the film is saying about it. We look at the central performance by Jeremy Irons who creates two incredibly nuanced characters, as well as Geneviève Bujold, who is brilliant as the woman who comes between them. We discuss the twinning effects used to create some incredibly complicated and stunning shots (and some that are a bit more obvious). We touch on Howard Shore’s beautiful score. And we chat about Cronenberg as he’s grown from his early career through to now and where he goes from here.

It’s a fascinating film that allows for a spirited discussion. Check the movie out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Making a film about identical twin gynecologists after having two successful Hollywood films may seem like folly, or it may seem like exactly what a filmmaker like David Cronenberg would do. Cronenberg used the boost of success to get a complex, psychological drama made, and while it may not have paid off at the box office, it’s become an essential work of the director that pulls elements from his body horror films while moving him into the more psychological examinations he would explore later. Join us – Pete Wright and Andy Nelson – as we wrap up our Cronenberg series with his 1988 film Dead Ringers.

We talk about the nature of identity as it relates to twins and acting, and what the film is saying about it. We look at the central performance by Jeremy Irons who creates two incredibly nuanced characters, as well as Geneviève Bujold, who is brilliant as the woman who comes between them. We discuss the twinning effects used to create some incredibly complicated and stunning shots (and some that are a bit more obvious). We touch on Howard Shore’s beautiful score. And we chat about Cronenberg as he’s grown from his early career through to now and where he goes from here.

It’s a fascinating film that allows for a spirited discussion. Check the movie out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 14 Nov 2019 06:00:08 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3870 How brilliant is Jeremy Irons in this film? How did they do those twinning effects? Is this a 5-star Cronenberg film? Tune in to the show to get these answers and more! How brilliant is Jeremy Irons in this film? How did they do those twinning effects? Is this a 5-star Cronenberg film? Tune in to the show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Videodrome • The Next Reel 9 9 15 15 Videodrome • The Next Reel full c0e9bf64-ae23-4faa-a023-d2c7edbb4756 https://share.transistor.fm/s/aa8f0366 “Television is reality, and reality is less than television.”

There’s a film critic who called David Cronenberg ‘the thinking man’s genre filmmaker.’ If you look at the body horror films Cronenberg puts together, you will find that there is often a lot to unpack. They’re more artistic and have a lot more to chew on than most horror films. To that end, this reviewer’s comment about Cronenberg makes perfect sense. But does that mean what Cronenberg is trying to say with his films always makes sense? Join us – Pete Wright and Andy Nelson – as we continue our Cronenberg series with his 1983 film Videodrome.

We talk about what this film has to say about the media, about portrayals of violence seen through it, our need to always be watching, and more. We look at where this film works and where elements start becoming more problematic for us. We chat about the incredible and horrifying effects of Rick Baker and his team. We look at the wonderful cast headed up by James Woods and Debbie Harry and how well they do to bring this story to life. And we imagine what people who grow up never having seen physical media will think of older films like this.

It’s a compelling and powerful story that has its share of problems but still works really well, even more so in today’s modern world. Check it out then tune in – The Next Reel. When the movie ends, our conversation begins.

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

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]]> “Television is reality, and reality is less than television.”

There’s a film critic who called David Cronenberg ‘the thinking man’s genre filmmaker.’ If you look at the body horror films Cronenberg puts together, you will find that there is often a lot to unpack. They’re more artistic and have a lot more to chew on than most horror films. To that end, this reviewer’s comment about Cronenberg makes perfect sense. But does that mean what Cronenberg is trying to say with his films always makes sense? Join us – Pete Wright and Andy Nelson – as we continue our Cronenberg series with his 1983 film Videodrome.

We talk about what this film has to say about the media, about portrayals of violence seen through it, our need to always be watching, and more. We look at where this film works and where elements start becoming more problematic for us. We chat about the incredible and horrifying effects of Rick Baker and his team. We look at the wonderful cast headed up by James Woods and Debbie Harry and how well they do to bring this story to life. And we imagine what people who grow up never having seen physical media will think of older films like this.

It’s a compelling and powerful story that has its share of problems but still works really well, even more so in today’s modern world. Check it out then tune in – The Next Reel. When the movie ends, our conversation begins.

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]]> Thu, 07 Nov 2019 06:00:08 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3761 How effective is James Woods? Is this film more relevant today than it was when released? What’s up with the living TV? Tune in to this week’s show to get answers to these questions and more! How effective is James Woods? Is this film more relevant today than it was when released? What’s up with the living TV? Tune in to this week’s show to get answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Scanners • The Next Reel 9 9 14 14 Scanners • The Next Reel full 51de11fe-7702-4b1d-adbc-f79eaaeec78a https://share.transistor.fm/s/ef027301 David Cronenberg took a bit more of a science fiction route rather than straight-up body horror with his 1981 film Scanners. It didn’t have a personal connection like The Brood, his previous effort, either, so it stands out a bit in his work. That being said, the body horror elements certainly crop up in the gruesome effects he uses. But is he hiding a nonsense story in atmosphere? Join us – Pete Wright and Andy Nelson – as we continue our Cronenberg series with Scanners.

We talk about the nature of this film and how it fits in his body of work. We look at the cast and debate if their acting during mind battles makes any sense or if it’s just over-the-top acting. We discuss the incredible effects used in the film and chat about why the effects are so few and far between. We touch on the incredible sound design and score. And we look at why a film like this can work for some and not others.

It’s a divisive film on this show but one we have a great time discussing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> David Cronenberg took a bit more of a science fiction route rather than straight-up body horror with his 1981 film Scanners. It didn’t have a personal connection like The Brood, his previous effort, either, so it stands out a bit in his work. That being said, the body horror elements certainly crop up in the gruesome effects he uses. But is he hiding a nonsense story in atmosphere? Join us – Pete Wright and Andy Nelson – as we continue our Cronenberg series with Scanners.

We talk about the nature of this film and how it fits in his body of work. We look at the cast and debate if their acting during mind battles makes any sense or if it’s just over-the-top acting. We discuss the incredible effects used in the film and chat about why the effects are so few and far between. We touch on the incredible sound design and score. And we look at why a film like this can work for some and not others.

It’s a divisive film on this show but one we have a great time discussing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> Thu, 31 Oct 2019 06:00:12 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3428 Is this movie more than just an exploding head? Does the world building give us enough to go with? Can we just like it because it’s fun? Tune in to the show to get these answers and more! Is this movie more than just an exploding head? Does the world building give us enough to go with? Can we just like it because it’s fun? Tune in to the show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Brood • The Next Reel 9 9 13 13 The Brood • The Next Reel full ef3f030d-2cf9-4a3d-ab07-d40c21c005d5 https://share.transistor.fm/s/f67c82cd “Raglan encouraged my body to revolt against me… and it did.”

After going through a difficult divorce and custody battle, David Cronenberg decided to integrate elements of that part of his life into his screenplay for The Brood. It’s not an obvious parallel to his life, but when you know it’s there, it’s easy to see. Does that integration of his own life’s battles into the film help make it a stronger one than his previous ones? Join us – Pete Wright and Andy Nelson – as we continue our Cronenberg series with his 1979 film The Brood.

We talk about the elements of his real life that informed this story, and how they helped shape his worldview of mental illness, grief, and cultish psychotherapy. We chat about the rage babies and how they worked in the context of the film. We debate some of the elements of the story, trying to figure out just what Dr. Raglan was up to at his institute. We chat about the performances throughout the film. And we look at the growing roster of Cronenberg’s regular crew helping out here, including Howard Shore for the first time.

It’s an interesting film that certainly shows Cronenberg’s growth with his body horror films, even if it still has problems. We have a great time talking about it, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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]]> “Raglan encouraged my body to revolt against me… and it did.”

After going through a difficult divorce and custody battle, David Cronenberg decided to integrate elements of that part of his life into his screenplay for The Brood. It’s not an obvious parallel to his life, but when you know it’s there, it’s easy to see. Does that integration of his own life’s battles into the film help make it a stronger one than his previous ones? Join us – Pete Wright and Andy Nelson – as we continue our Cronenberg series with his 1979 film The Brood.

We talk about the elements of his real life that informed this story, and how they helped shape his worldview of mental illness, grief, and cultish psychotherapy. We chat about the rage babies and how they worked in the context of the film. We debate some of the elements of the story, trying to figure out just what Dr. Raglan was up to at his institute. We chat about the performances throughout the film. And we look at the growing roster of Cronenberg’s regular crew helping out here, including Howard Shore for the first time.

It’s an interesting film that certainly shows Cronenberg’s growth with his body horror films, even if it still has problems. We have a great time talking about it, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 24 Oct 2019 06:00:01 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3353 Is Cronenberg finally hitting his stride with this film? How much did Cronenberg’s life inform this art? And what’s up with those rage babies? Tune in to this week’s show to hear answers to these questions and more. Is Cronenberg finally hitting his stride with this film? How much did Cronenberg’s life inform this art? And what’s up with those rage babies? Tune in to this week’s show to hear answers to these questions and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Fast Company • The Next Reel 9 9 12 12 Fast Company • The Next Reel full 47f957cd-7dab-4323-9dd7-49c22a6a0669 https://share.transistor.fm/s/e0293346 When people familiar with the works of David Cronenberg view his 1979 film Fast Company, many are taken aback because it feels like an anomaly in his oeuvre. There is no body horror. It’s a straight up carsploitation movie. But to Cronenberg, he views it as one of his many children, and like kids, they each are their own unique being. For fans of his films and those who study them, however, does it represent Cronenberg as a filmmaker very well? Join us – Pete Wright and Andy Nelson – as we continue our Cronenberg series with his 1979 film Fast Company.

We talk about what works in this film and what doesn’t, and if it even feels like it fits as a carsploitation movie. We chat about the idea Cronenberg and his team brought to this one to make a western film in the car racing world, and debate if it works or not. We look at the cast and how well they fit the film. And we talk about how this film really was the start of many long-term partnerships to come for Cronenberg with various department heads.

It’s an interesting film for Cronenberg and one that we debate if it works in its own genre. We still have a lot of fun chatting about it, so check it out (or not) then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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]]> When people familiar with the works of David Cronenberg view his 1979 film Fast Company, many are taken aback because it feels like an anomaly in his oeuvre. There is no body horror. It’s a straight up carsploitation movie. But to Cronenberg, he views it as one of his many children, and like kids, they each are their own unique being. For fans of his films and those who study them, however, does it represent Cronenberg as a filmmaker very well? Join us – Pete Wright and Andy Nelson – as we continue our Cronenberg series with his 1979 film Fast Company.

We talk about what works in this film and what doesn’t, and if it even feels like it fits as a carsploitation movie. We chat about the idea Cronenberg and his team brought to this one to make a western film in the car racing world, and debate if it works or not. We look at the cast and how well they fit the film. And we talk about how this film really was the start of many long-term partnerships to come for Cronenberg with various department heads.

It’s an interesting film for Cronenberg and one that we debate if it works in its own genre. We still have a lot of fun chatting about it, so check it out (or not) then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 17 Oct 2019 06:00:06 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3506 To Cronenberg, ‘Fast Company’ is one of his many children, and like kids, they each are their own unique being. To Cronenberg, ‘Fast Company’ is one of his many children, and like kids, they each are their own unique being. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Rabid • The Next Reel 9 9 11 11 Rabid • The Next Reel full c5da2110-ab41-4da8-9e5a-1acd2d68588a https://share.transistor.fm/s/a2102f5b “I have to have blood. It’s all I can eat.”

David Cronenberg seemed to continue from where he left off with his first theatrical feature film, Shivers, when he wrote his script for his next film. Certainly, there are differences, but largely, the stories have a lot of similarities. That being said, there are definite signs of growth for this storyteller, and as far as his body horror films, there is a big step up with his second film. Join us – Pete Wright and Andy Nelson – as we continue our David Cronenberg series with his 1977 film, Rabid.

We talk about the improvements Cronenberg shows with this film, and also look at a few areas he still needs work. We chat about working with adult film star Marilyn Chambers in this film and how she generally does a great job in it. We look at the effects and the nature of the body horror and debate if it’s scary or not, and why. And we look at the comparison Cronenberg is making to sexually transmitted diseases and how well it works in that regard.

It’s a solid and entertaining film, even with some of its story issues, and we have a great time digging into it. Check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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]]> “I have to have blood. It’s all I can eat.”

David Cronenberg seemed to continue from where he left off with his first theatrical feature film, Shivers, when he wrote his script for his next film. Certainly, there are differences, but largely, the stories have a lot of similarities. That being said, there are definite signs of growth for this storyteller, and as far as his body horror films, there is a big step up with his second film. Join us – Pete Wright and Andy Nelson – as we continue our David Cronenberg series with his 1977 film, Rabid.

We talk about the improvements Cronenberg shows with this film, and also look at a few areas he still needs work. We chat about working with adult film star Marilyn Chambers in this film and how she generally does a great job in it. We look at the effects and the nature of the body horror and debate if it’s scary or not, and why. And we look at the comparison Cronenberg is making to sexually transmitted diseases and how well it works in that regard.

It’s a solid and entertaining film, even with some of its story issues, and we have a great time digging into it. Check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 10 Oct 2019 06:00:01 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3759 How was adult film star Marilyn Chambers as the film’s lead? How effective are the body horror elements? Has Cronenberg improved since his last film? Tune in to get answers to these questions and more. How was adult film star Marilyn Chambers as the film’s lead? How effective are the body horror elements? Has Cronenberg improved since his last film? Tune in to get answers to these questions and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Shivers • The Next Reel 9 9 10 10 Shivers • The Next Reel full 56a5e2e1-851a-4091-92d4-22689a7bd584 https://share.transistor.fm/s/c82562cc “Why not breed a parasite that can do something useful?”

David Cronenberg has long been called the ‘king of body horror,’ which is a title that he came to early in his career. When looking at his first theatrical feature, Shivers, it’s perhaps easy to see why he was dubbed with this moniker, and also easy to see why it stuck. Join us – Pete Wright and Andy Nelson – as we kick off our David Cronenberg series with his 1975 film Shivers.

We talk about the nature of Cronenberg’s films and why this film fits that Cronenberg style. We look at some of the strong work Cronenberg puts together as he gets the film started. We look at sloppy elements within the film that feel very much like a first-time filmmaker’s stumbling blocks. We debate if there’s a way to make a horror movie effective if the end result is everyone having sex. And we chat about body horror and what this film does to make itself stand out.

It’s an interesting film that works on some levels while not on others, but we still enjoyed it and had a great time talking about it on the show this week. Check it out! The Next Reel – when the movie ends, our conversation begins.

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]]> “Why not breed a parasite that can do something useful?”

David Cronenberg has long been called the ‘king of body horror,’ which is a title that he came to early in his career. When looking at his first theatrical feature, Shivers, it’s perhaps easy to see why he was dubbed with this moniker, and also easy to see why it stuck. Join us – Pete Wright and Andy Nelson – as we kick off our David Cronenberg series with his 1975 film Shivers.

We talk about the nature of Cronenberg’s films and why this film fits that Cronenberg style. We look at some of the strong work Cronenberg puts together as he gets the film started. We look at sloppy elements within the film that feel very much like a first-time filmmaker’s stumbling blocks. We debate if there’s a way to make a horror movie effective if the end result is everyone having sex. And we chat about body horror and what this film does to make itself stand out.

It’s an interesting film that works on some levels while not on others, but we still enjoyed it and had a great time talking about it on the show this week. Check it out! The Next Reel – when the movie ends, our conversation begins.

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 Oct 2019 06:00:07 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3412 Are there signs right away that signify this is a Cronenberg film? How effective is the body horror? Or is it just a low budget horror movie? Tune in to this week’s show to get these answers and more. Are there signs right away that signify this is a Cronenberg film? How effective is the body horror? Or is it just a low budget horror movie? Tune in to this week’s show to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Robin Hood (2010) • The Next Reel 9 9 9 9 Robin Hood (2010) • The Next Reel full 07ffd2c5-2325-47be-90e9-1fd8198d09e0 https://share.transistor.fm/s/177e28c1 “Rise and rise again until lambs become lions.”

When Russell Crowe and Ridley Scott signed on to make Nottingham, a revisionist take on the Robin Hood myth that pitted a Sherlock Holmes-like Sheriff of Nottingham against the villainous Robin, little did anyone realize where it would end up. After years of rewrites, Scott had the version of the myth that he wanted to make, taking on a much more historical angle placing Robin in the middle of the political machinations leading to the Magna Carta. But is that where it should have landed instead of where it started? Join us – Pete Wright and Andy Nelson – as we conclude our Robin Hood series with Scott’s 2010 film Robin Hood.

We talk about Scott and his seeming need to release extended cuts of his films, as if he can’t get it right the first time. We look at why they felt this version of the story needed to be told and if it works for us. We chat about the ages of the various actors who we’ve seen play the title character and if we feel the age really matters with this story. We look at Crowe, Cate Blanchett, Mark Strong, and more and chat about what they’re bringing to the table. We look at the tropes of the myth and discuss if this film hits them or not. And we discuss what makes epic moments epic versus simply overblown.

It’s an interesting film that’s beautiful to look at, and certainly plays with the myth quite a bit. Tune in to this week’s show to hear us chat. The Next Reel. When the movie ends, our conversation begins.

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]]> “Rise and rise again until lambs become lions.”

When Russell Crowe and Ridley Scott signed on to make Nottingham, a revisionist take on the Robin Hood myth that pitted a Sherlock Holmes-like Sheriff of Nottingham against the villainous Robin, little did anyone realize where it would end up. After years of rewrites, Scott had the version of the myth that he wanted to make, taking on a much more historical angle placing Robin in the middle of the political machinations leading to the Magna Carta. But is that where it should have landed instead of where it started? Join us – Pete Wright and Andy Nelson – as we conclude our Robin Hood series with Scott’s 2010 film Robin Hood.

We talk about Scott and his seeming need to release extended cuts of his films, as if he can’t get it right the first time. We look at why they felt this version of the story needed to be told and if it works for us. We chat about the ages of the various actors who we’ve seen play the title character and if we feel the age really matters with this story. We look at Crowe, Cate Blanchett, Mark Strong, and more and chat about what they’re bringing to the table. We look at the tropes of the myth and discuss if this film hits them or not. And we discuss what makes epic moments epic versus simply overblown.

It’s an interesting film that’s beautiful to look at, and certainly plays with the myth quite a bit. Tune in to this week’s show to hear us chat. The Next Reel. When the movie ends, our conversation begins.

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

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]]> Thu, 26 Sep 2019 06:00:05 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 4164 Do Scott and Crowe manage to pull off the definitive Robin Hood? Was it misleading to not announce this as an origin story in the title? Where does it stand as far as tropes for the myth? Tune in to this week’s show to get these answers and more! Do Scott and Crowe manage to pull off the definitive Robin Hood? Was it misleading to not announce this as an origin story in the title? Where does it stand as far as tropes for the myth? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Robin Hood: Men In Tights • The Next Reel 9 9 8 8 Robin Hood: Men In Tights • The Next Reel full 7d79bc03-fdf2-4ce9-867e-1f6203e68084 https://share.transistor.fm/s/0c3d4ec0 Pulling off a good parody can be quite difficult. Mel Brooks has done it a few times, but he’s also made some lesser parody films that don’t quite hold up. So where did his sendup of the Robin Hood myths end up? Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Brooks’ 1993 film Robin Hood: Men in Tights.

We talk about parody films and look at why a parody film of the Robin Hood films, particularly Prince of Thieves from two years earlier, seemed like a good idea at the time. We also debate how well it worked – just because there are laughs, does that mean it’s a success? We chat about several cast members like Richard Lewis, Dave Chappelle, Amy Yasbeck, Roger Rees, and Tracey Ullman, and what they bring to the table, but most of our praise lies with Cary Elwes and the brilliant job he does at playing a spot-on perfect Robin Hood while also jumping in wholeheartedly to the Brooks comedy pool. We ponder how timeless a film like this can be. And we praise Brooks for some catchy tunes.

It’s a fun film that is perhaps rightfully called a ‘lesser Brooks film,’ but entertaining enough. Tune in to this week’s show to check it out! The Next Reel – when the movie ends, our conversation begins.

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]]> Pulling off a good parody can be quite difficult. Mel Brooks has done it a few times, but he’s also made some lesser parody films that don’t quite hold up. So where did his sendup of the Robin Hood myths end up? Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Brooks’ 1993 film Robin Hood: Men in Tights.

We talk about parody films and look at why a parody film of the Robin Hood films, particularly Prince of Thieves from two years earlier, seemed like a good idea at the time. We also debate how well it worked – just because there are laughs, does that mean it’s a success? We chat about several cast members like Richard Lewis, Dave Chappelle, Amy Yasbeck, Roger Rees, and Tracey Ullman, and what they bring to the table, but most of our praise lies with Cary Elwes and the brilliant job he does at playing a spot-on perfect Robin Hood while also jumping in wholeheartedly to the Brooks comedy pool. We ponder how timeless a film like this can be. And we praise Brooks for some catchy tunes.

It’s a fun film that is perhaps rightfully called a ‘lesser Brooks film,’ but entertaining enough. Tune in to this week’s show to check it out! The Next Reel – when the movie ends, our conversation begins.

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]]> Thu, 19 Sep 2019 06:00:10 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3824 Is Cary Elwes the perfect Robin Hood follow-up to Errol Flynn? How does this hold up to other films by Brooks? Is it timeless or dated? Tune in to this week’s show to hear these answers and more. Is Cary Elwes the perfect Robin Hood follow-up to Errol Flynn? How does this hold up to other films by Brooks? Is it timeless or dated? Tune in to this week’s show to hear these answers and more. robin hood No Andy Nelson Pete Wright Robin Hood (1991) • The Next Reel 9 9 7 7 Robin Hood (1991) • The Next Reel full af02f4a5-31f0-4a08-bb09-1dd6bdbe6439 https://share.transistor.fm/s/2cd7bc32 Every few years it seems, two films telling the same (or similar) story start production near the same time and inevitably, it turns into a race to see who gets to the box office first and who ends up the victor. Armageddon vs. Deep Impact. Antz vs. A Bug’s Life. Snow White and the Huntsman vs. Mirror Mirror. So when John Irvin’s film was set to release opposite Kevin Reynolds’ Robin Hood: Prince of Thieves, the studio balked and opted to just release it on television in the States. But does that mean the film was bad? Or just not, well, a fun Hollywood romp? Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Irvin’s 1991 film Robin Hood.

We talk about what works in this film, but how unfortunately all of that is thrown out of balance by everything that doesn’t work. We marvel at the fact that this is the film that Robin Hood scholars say is closest to the myths. We chat about the performances and wonder if the rough performances are because of the script, the direction, or the actors themselves. And we chat about some changes made to the myth that actually make for a more interesting film, or at least would have if the rest around them worked better.

It’s a frustrating entry to our series, but certainly allows for a fun-filled chat, so tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Every few years it seems, two films telling the same (or similar) story start production near the same time and inevitably, it turns into a race to see who gets to the box office first and who ends up the victor. Armageddon vs. Deep Impact. Antz vs. A Bug’s Life. Snow White and the Huntsman vs. Mirror Mirror. So when John Irvin’s film was set to release opposite Kevin Reynolds’ Robin Hood: Prince of Thieves, the studio balked and opted to just release it on television in the States. But does that mean the film was bad? Or just not, well, a fun Hollywood romp? Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Irvin’s 1991 film Robin Hood.

We talk about what works in this film, but how unfortunately all of that is thrown out of balance by everything that doesn’t work. We marvel at the fact that this is the film that Robin Hood scholars say is closest to the myths. We chat about the performances and wonder if the rough performances are because of the script, the direction, or the actors themselves. And we chat about some changes made to the myth that actually make for a more interesting film, or at least would have if the rest around them worked better.

It’s a frustrating entry to our series, but certainly allows for a fun-filled chat, so tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 12 Sep 2019 06:00:19 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3627 Why did this film get relegated to a TV release? How does it compare to other Hood tales? And why do Hood scholars love it so much? Tune in to this week’s show to get these answers and more. Why did this film get relegated to a TV release? How does it compare to other Hood tales? And why do Hood scholars love it so much? Tune in to this week’s show to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Robin Hood: Prince of Thieves • The Next Reel 9 9 6 6 Robin Hood: Prince of Thieves • The Next Reel full 6fdcb353-021f-49de-8757-a4dbd74b05ad https://share.transistor.fm/s/d6a0df08 Kevin Costner and Kevin Reynolds had been buddies from early in their careers before Reynolds directed Fandango, which starred Costner. Their friendship lasted for a decade before temporarily being waylaid by the production problems on Waterworld, but before their rift, they were called upon to make an update of the Robin Hood tale. The film received mixed reviews but audiences loved it and it became the second highest grossing film in 1991. Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Reynolds’ rousing 1991 film Robin Hood: Prince of Thieves.

We talk about the myth of Robin Hood and how some of that history influenced this story. We chat about Costner, our opinions of him as an actor and how he does in this role. We look at some of the rest of the cast – Morgan Freeman, Alan Rickman, Christian Slater, Mary Elizabeth Mastrantonio, and Michael Wincott – and talk about what they bring to the table. We also give a nod to the Sean Connery cameo and discuss how it works for us. We talk about the scenes added back in for the extended edition and wonder how much they’re needed. And we praise Michael Kamen’s score, which is still as thrilling now as it was then.

It’s a film with problems that are more visible now, but still one that’s a blast to watch. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> Kevin Costner and Kevin Reynolds had been buddies from early in their careers before Reynolds directed Fandango, which starred Costner. Their friendship lasted for a decade before temporarily being waylaid by the production problems on Waterworld, but before their rift, they were called upon to make an update of the Robin Hood tale. The film received mixed reviews but audiences loved it and it became the second highest grossing film in 1991. Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Reynolds’ rousing 1991 film Robin Hood: Prince of Thieves.

We talk about the myth of Robin Hood and how some of that history influenced this story. We chat about Costner, our opinions of him as an actor and how he does in this role. We look at some of the rest of the cast – Morgan Freeman, Alan Rickman, Christian Slater, Mary Elizabeth Mastrantonio, and Michael Wincott – and talk about what they bring to the table. We also give a nod to the Sean Connery cameo and discuss how it works for us. We talk about the scenes added back in for the extended edition and wonder how much they’re needed. And we praise Michael Kamen’s score, which is still as thrilling now as it was then.

It’s a film with problems that are more visible now, but still one that’s a blast to watch. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 05 Sep 2019 06:00:18 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4411 Does Kevin Costner kill it in the movie or does he just kill the movie? Can we get more Alan Rickman? And what’s up with all the witchcraft? Tune in to this week’s show to get these answers and more. Does Kevin Costner kill it in the movie or does he just kill the movie? Can we get more Alan Rickman? And what’s up with all the witchcraft? Tune in to this week’s show to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Robin and Marian • The Next Reel 9 9 5 5 Robin and Marian • The Next Reel full cdcbdebd-593d-41f3-b480-53df0dfe4d18 https://share.transistor.fm/s/d97b5096 When Sean Connery agreed to star in The Death of Robin Hood, the James Bond star was thrilled to play a character where they wouldn’t ask him to come back for a sequel. But when the film was renamed Robin and Marian to be more marketable, did that affect the way the film was perceived? Or was the script reworked to try and capture the romance? It’s hard to say, but it does make for interesting discussion. Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Richard Lester’s 1976 film Robin and Marian.

We talk about the expectations of a film about an old Robin Hood and the romance and wonder what would’ve made it work the way it was meant to. Was it the script by John Goldman and some sloppy comedy elements? Was it something in Lester’s direction, or perhaps the performances by Connery, Audrey Hepburn, Robert Shaw, Richard Harris, or one of the other great actors in it? We look at what Lester brings to the film and where it fits in his career. We argue about our readings of moments in the film, especially the climactic finale. And we touch on John Barry’s score and wonder if Michel Legrand’s rejected score may have worked better.

It’s an interesting film and a welcome entry in our series, but perhaps just because it changes the story in ways that allow it to be interesting because of those changes. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> When Sean Connery agreed to star in The Death of Robin Hood, the James Bond star was thrilled to play a character where they wouldn’t ask him to come back for a sequel. But when the film was renamed Robin and Marian to be more marketable, did that affect the way the film was perceived? Or was the script reworked to try and capture the romance? It’s hard to say, but it does make for interesting discussion. Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Richard Lester’s 1976 film Robin and Marian.

We talk about the expectations of a film about an old Robin Hood and the romance and wonder what would’ve made it work the way it was meant to. Was it the script by John Goldman and some sloppy comedy elements? Was it something in Lester’s direction, or perhaps the performances by Connery, Audrey Hepburn, Robert Shaw, Richard Harris, or one of the other great actors in it? We look at what Lester brings to the film and where it fits in his career. We argue about our readings of moments in the film, especially the climactic finale. And we touch on John Barry’s score and wonder if Michel Legrand’s rejected score may have worked better.

It’s an interesting film and a welcome entry in our series, but perhaps just because it changes the story in ways that allow it to be interesting because of those changes. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 29 Aug 2019 06:00:09 -0700 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 4145 How effective are Sean Connery and Audrey Hepburn as love interests? Why does the film end the way it does? And is Connery really going commando style? Tune in to this week’s show to get these answers and more! How effective are Sean Connery and Audrey Hepburn as love interests? Why does the film end the way it does? And is Connery really going commando style? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Disney’s Robin Hood • The Next Reel 9 9 4 4 Disney’s Robin Hood • The Next Reel full 9b570142-1079-4223-8f27-3141c7f48897 https://share.transistor.fm/s/dfb599b7 Walt Disney had long been interested in telling the story of Reynard the Fox, but never could find the way to tell it that he thought would be palatable to kids. Because of that, it kept getting shelved. After Disney’s death, they finally found a way to integrate the anthropomorphic characters into an animated film. It wasn’t Reynard the Fox as it turned out but the story of Robin Hood.

For people growing up in the 70s, this version of Robin Hood is often cited as the one that was the most influential as far as impressions of this tale. Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Wolfgang Reitherman’s 1973 animated film Robin Hood.

We talk about our memories of the film and whether it’s held up all these years later. We look at the characterizations of the main players and debate whether they should’ve been so simplistic or if it works just the way it was. We chat about the stellar cast and how everyone worked so well (even if we disagree about how Prince John is portrayed). We touch on the animation style that Disney was using at the time and how it affects this film. We look at where this film was pulling from for its references. And we realize that perhaps this film, Chicken Little, and Zootopia are all a part of the same cinematic universe.

It’s Disney lite with this film, something that’s fun but also a bit forgettable. Still, we have a great time discussing it. Check it out then tune into this week’s show! The Next Reel – when the movie ends, our conversation begins.

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]]> Walt Disney had long been interested in telling the story of Reynard the Fox, but never could find the way to tell it that he thought would be palatable to kids. Because of that, it kept getting shelved. After Disney’s death, they finally found a way to integrate the anthropomorphic characters into an animated film. It wasn’t Reynard the Fox as it turned out but the story of Robin Hood.

For people growing up in the 70s, this version of Robin Hood is often cited as the one that was the most influential as far as impressions of this tale. Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Wolfgang Reitherman’s 1973 animated film Robin Hood.

We talk about our memories of the film and whether it’s held up all these years later. We look at the characterizations of the main players and debate whether they should’ve been so simplistic or if it works just the way it was. We chat about the stellar cast and how everyone worked so well (even if we disagree about how Prince John is portrayed). We touch on the animation style that Disney was using at the time and how it affects this film. We look at where this film was pulling from for its references. And we realize that perhaps this film, Chicken Little, and Zootopia are all a part of the same cinematic universe.

It’s Disney lite with this film, something that’s fun but also a bit forgettable. Still, we have a great time discussing it. Check it out then tune into this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 22 Aug 2019 06:00:25 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4092 How influential was this film on people’s impressions of the Robin Hood tale? Does the animation style hold up? How about the voice actors? Tune in to this week’s show to get these answers and more! How influential was this film on people’s impressions of the Robin Hood tale? Does the animation style hold up? How about the voice actors? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Robin and the 7 Hoods • The Next Reel 9 9 3 3 Robin and the 7 Hoods • The Next Reel full 5c4a2e9d-780b-423f-a153-97070cb687e5 https://share.transistor.fm/s/367d66eb It seemed fitting for Jack Warner and Warner Bros. to stick with a gangster picture for their big 60s musical. The fact that they tied the Robin Hood character into it was a pretty clever way to put a twist on it and make it stand out. And, of course, bringing Frank Sinatra and his Rat Pack on board made perfect sense – Frank, Dean Martin and Sammy Davis, Jr. were all amazing singers. But how well would it work out? Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Gordon Douglas’s 1964 film Robin and the 7 Hoods.

We talk about what works in the film for us and what doesn’t. We look at Sinatra and debate how much he’s bringing to the project and why it was a particularly difficult film for him to finish. We chat about the musical numbers and if any song is as memorable as ‘My Kind of Town,’ the most notable of the lot. And we look at how the film works in the mythology of Robin Hood and how the changes work.

It’s an interesting and unique film in the telling of Robin Hood that often doesn’t work but which they’re always doing their best to make it fun. We have a good time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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]]> It seemed fitting for Jack Warner and Warner Bros. to stick with a gangster picture for their big 60s musical. The fact that they tied the Robin Hood character into it was a pretty clever way to put a twist on it and make it stand out. And, of course, bringing Frank Sinatra and his Rat Pack on board made perfect sense – Frank, Dean Martin and Sammy Davis, Jr. were all amazing singers. But how well would it work out? Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series with Gordon Douglas’s 1964 film Robin and the 7 Hoods.

We talk about what works in the film for us and what doesn’t. We look at Sinatra and debate how much he’s bringing to the project and why it was a particularly difficult film for him to finish. We chat about the musical numbers and if any song is as memorable as ‘My Kind of Town,’ the most notable of the lot. And we look at how the film works in the mythology of Robin Hood and how the changes work.

It’s an interesting and unique film in the telling of Robin Hood that often doesn’t work but which they’re always doing their best to make it fun. We have a good time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 15 Aug 2019 06:00:10 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4069 Is this a better Rat Pack film than 'Ocean’s Eleven'? How does ol’ Blue Eyes do as Robin Hood? Does it translate to gangster era Chicago? Tune in to this week’s episode to get these answers and more! Is this a better Rat Pack film than 'Ocean’s Eleven'? How does ol’ Blue Eyes do as Robin Hood? Does it translate to gangster era Chicago? Tune in to this week’s episode to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Adventures of Robin Hood • The Next Reel 9 9 2 2 The Adventures of Robin Hood • The Next Reel full 9ade8638-c5c0-4a3c-8015-395f025577cf https://share.transistor.fm/s/e82a4aac Tasmanian Errol Flynn had already proven himself a solid action star for Warner Bros. in films like Captain Blood, so when the dealings with James Cagney to play Robin Hood fell through, Flynn seemed like a logical choice. And it’s lucky for all of us that things went this way because Flynn created one of the most iconic portrayals of Robin Hood that has graced the silver screen. Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series to talk about Michael Curtiz’s and William Keighley’s 1938 film The Adventures of Robin Hood.

We talk about the differences in the myths and portrayals of the title character between this and the Douglas Fairbanks version, and how these differences affect our opinion of the film. We look at Errol Flynn and how effective he is as the titular character. We chat about the rest of the cast that stands out to us – Olivia de Havilland, Alan Hale, Claude Rains, and Basil Rathbone. We discuss the stunt work – both archery and swordplay – and how it all came together to make for incredibly effective action sequences. And we touched on the fabulous use of technicolor.

It’s a wonderful and thrilling film that’s well worth checking out. It holds up as a central figure in the modern Robin Hood myths. We have a great time chatting about it. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Tasmanian Errol Flynn had already proven himself a solid action star for Warner Bros. in films like Captain Blood, so when the dealings with James Cagney to play Robin Hood fell through, Flynn seemed like a logical choice. And it’s lucky for all of us that things went this way because Flynn created one of the most iconic portrayals of Robin Hood that has graced the silver screen. Join us – Pete Wright and Andy Nelson – as we continue our Robin Hood series to talk about Michael Curtiz’s and William Keighley’s 1938 film The Adventures of Robin Hood.

We talk about the differences in the myths and portrayals of the title character between this and the Douglas Fairbanks version, and how these differences affect our opinion of the film. We look at Errol Flynn and how effective he is as the titular character. We chat about the rest of the cast that stands out to us – Olivia de Havilland, Alan Hale, Claude Rains, and Basil Rathbone. We discuss the stunt work – both archery and swordplay – and how it all came together to make for incredibly effective action sequences. And we touched on the fabulous use of technicolor.

It’s a wonderful and thrilling film that’s well worth checking out. It holds up as a central figure in the modern Robin Hood myths. We have a great time chatting about it. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 08 Aug 2019 06:00:17 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4271 How does Errol Flynn compare to Douglas Fairbanks? Does this version of Robin Hood hold up as one of the best still? How did they do those arrow-in-the-chest stunts? Tune in to this week’s show to get these answers and more! How does Errol Flynn compare to Douglas Fairbanks? Does this version of Robin Hood hold up as one of the best still? How did they do those arrow-in-the-chest stunts? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Robin Hood (1922) • The Next Reel 9 9 1 1 Robin Hood (1922) • The Next Reel full 526bd276-ca36-437d-a9ff-b8fa9a500ad3 https://share.transistor.fm/s/1f906fab Stories of Robin Hood, the nobleman who stole from the rich to give to the poor, go back for centuries, with tales as far back as the 1300s. The story has been told in countless ways, and when cinema was invented, filmmakers began telling this story on film. The first version was made in 1908, but the first one that really created an iconic character of Robin Hood was Allan Dwan’s 1922 tale starring Douglas Fairbanks. Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at cinematic versions of Robin Hood with Dwan’s 1922 film Robin Hood.

We talk about what works in the film and what doesn’t – notably the long setup of the main character. We look at Fairbanks and gauge how well he works for us. We look at some of the other key performers and how well they play. We discuss the tone shifts – from silly, cartoon humor to violent murder scenes. We talk about the tropes of Robin Hood and what works here. And we touch on King Richard the Lion-Hearted’s possible homosexuality and how (and if) this film deals with it.

It’s an interesting film to start off with and one that will be a fun benchmark for the rest of the films in the series. So check it out then tune in to this week’s show on The Next Reel – when the movie ends, our conversation begins.

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]]> Stories of Robin Hood, the nobleman who stole from the rich to give to the poor, go back for centuries, with tales as far back as the 1300s. The story has been told in countless ways, and when cinema was invented, filmmakers began telling this story on film. The first version was made in 1908, but the first one that really created an iconic character of Robin Hood was Allan Dwan’s 1922 tale starring Douglas Fairbanks. Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at cinematic versions of Robin Hood with Dwan’s 1922 film Robin Hood.

We talk about what works in the film and what doesn’t – notably the long setup of the main character. We look at Fairbanks and gauge how well he works for us. We look at some of the other key performers and how well they play. We discuss the tone shifts – from silly, cartoon humor to violent murder scenes. We talk about the tropes of Robin Hood and what works here. And we touch on King Richard the Lion-Hearted’s possible homosexuality and how (and if) this film deals with it.

It’s an interesting film to start off with and one that will be a fun benchmark for the rest of the films in the series. So check it out then tune in to this week’s show on The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 01 Aug 2019 06:00:00 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3805 Is Douglas Fairbanks as iconic a Robin Hood as Errol Flynn? What’s up with Lady Marian’s surname? How does Robin Hood slide down that tapestry so brilliantly? Tune in to this week’s show to get these answers and more. Is Douglas Fairbanks as iconic a Robin Hood as Errol Flynn? What’s up with Lady Marian’s surname? How does Robin Hood slide down that tapestry so brilliantly? Tune in to this week’s show to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Autumn Sonata • The Next Reel 8 8 48 48 Autumn Sonata • The Next Reel full fea363e7-8b56-4485-8b5d-111f5493de3a https://share.transistor.fm/s/b7cbdf43 Ingrid Bergman had wanted to work with Ingmar Bergman – unrelated – for quite some time, and finally got her chance in her last film. The film came shortly after she found out she had cancer, and it was a film full of raw emotion, so it was understandable if she wasn’t so sure about it. But she saw a lot of herself in her character Charlotte and, despite her battles with Ingmar, had a great time making the film, delivering one of her finest performances. It’s a powerful film and a strong wrap-up to her brilliant career. Join us – Pete Wright and Andy Nelson – as we conclude our Ingrid Bergman series with Ingmar Bergman’s 1978 film Autumn Sonata.

We talk about the sense of stage theatricality throughout the film and why Ingmar structured his film this way. We look at the brilliant central performances of Ingrid and Liv Ullmann and debate if the film works the way it is or if it would’ve worked better if there was more showing and less telling. We talk about Sven Nyqvist’s beautiful cinematography, fulfilling the autumnal title with reds and oranges. And we look at why Ingrid was so keen to work with Ingmar and how she let him know.

It’s an interesting film with powerful performances that we relish, even if we don’t love the film. Still, it’s one people should definitely check out. So do so then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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]]> Ingrid Bergman had wanted to work with Ingmar Bergman – unrelated – for quite some time, and finally got her chance in her last film. The film came shortly after she found out she had cancer, and it was a film full of raw emotion, so it was understandable if she wasn’t so sure about it. But she saw a lot of herself in her character Charlotte and, despite her battles with Ingmar, had a great time making the film, delivering one of her finest performances. It’s a powerful film and a strong wrap-up to her brilliant career. Join us – Pete Wright and Andy Nelson – as we conclude our Ingrid Bergman series with Ingmar Bergman’s 1978 film Autumn Sonata.

We talk about the sense of stage theatricality throughout the film and why Ingmar structured his film this way. We look at the brilliant central performances of Ingrid and Liv Ullmann and debate if the film works the way it is or if it would’ve worked better if there was more showing and less telling. We talk about Sven Nyqvist’s beautiful cinematography, fulfilling the autumnal title with reds and oranges. And we look at why Ingrid was so keen to work with Ingmar and how she let him know.

It’s an interesting film with powerful performances that we relish, even if we don’t love the film. Still, it’s one people should definitely check out. So do so then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 27 Jun 2019 06:00:00 -0700 The Next Reel, Pete Wright, Andy Nelson The Next Reel, Pete Wright, Andy Nelson 3922 Was it worth the wait to finally get Ingrid and Ingmar together? Does the film hold up as Ingrid’s last theatrical film? How is it possible it didn’t start on the stage? Tune in to this week’s show to get these answers and more. Was it worth the wait to finally get Ingrid and Ingmar together? Does the film hold up as Ingrid’s last theatrical film? How is it possible it didn’t start on the stage? Tune in to this week’s show to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Murder on the Orient Express (1974) • The Next Reel 8 8 47 47 Murder on the Orient Express (1974) • The Next Reel full 7e482e3f-cbb6-4aa6-8b86-8a4f401a9c38 https://share.transistor.fm/s/a96c6dd1 "Ladies and gentlemen, you are all aware that the repulsive murder has himself been repulsively and perhaps deservedly murdered. How and why?"

Supposedly, Agatha Christie was not a fan of many adaptations of her stories. Sidney Lumet managed to assuage her concerns with his version of Murder on the Orient Express, however, as she had few problems with it (except, apparently, the mustache on Hercule Poirot). While a fun and intriguing mystery, though, the simplicity of her puzzle does wear thin through today’s eyes as we become more aware how basic the characters are. It all still works, but it’s not as thrilling. Still, this story does unique things with the murder mystery tropes that makes it stand out. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Lumet’s 1974 film, Murder on the Orient Express.

We talk about what works and what doesn’t in this mystery tale and how that affects whether the film holds up. We look at the incredible cast to see who is able to stand out. We talk about Albert Finney as Poirot and debate whether he’s the better Poirot or Kenneth Branagh. We discuss the awards for the film and question Bergman’s Oscar win. And we look at Geoffrey Unsworth’s cinematography and some of the tricks he and Lumet play to focus moments of the story.

It’s an interesting film and a fun one to talk about, but one that falls apart a bit when discussing at length. We have a great time breaking it down so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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]]> "Ladies and gentlemen, you are all aware that the repulsive murder has himself been repulsively and perhaps deservedly murdered. How and why?"

Supposedly, Agatha Christie was not a fan of many adaptations of her stories. Sidney Lumet managed to assuage her concerns with his version of Murder on the Orient Express, however, as she had few problems with it (except, apparently, the mustache on Hercule Poirot). While a fun and intriguing mystery, though, the simplicity of her puzzle does wear thin through today’s eyes as we become more aware how basic the characters are. It all still works, but it’s not as thrilling. Still, this story does unique things with the murder mystery tropes that makes it stand out. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Lumet’s 1974 film, Murder on the Orient Express.

We talk about what works and what doesn’t in this mystery tale and how that affects whether the film holds up. We look at the incredible cast to see who is able to stand out. We talk about Albert Finney as Poirot and debate whether he’s the better Poirot or Kenneth Branagh. We discuss the awards for the film and question Bergman’s Oscar win. And we look at Geoffrey Unsworth’s cinematography and some of the tricks he and Lumet play to focus moments of the story.

It’s an interesting film and a fun one to talk about, but one that falls apart a bit when discussing at length. We have a great time breaking it down so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 20 Jun 2019 06:00:34 -0700 Pete Wright, Ingrid Bergman, Andy Nelson, The Next Reel Pete Wright, Ingrid Bergman, Andy Nelson, The Next Reel 4006 How does Albert Finney as Hercule Poirot compare to the many other actors who have played him? Is this version a better adaptation than Kenneth Branagh’s? Why was Ingrid Bergman singled out as Best Supporting Actress? Tune in to this week’s show to get these answers and more. How does Albert Finney as Hercule Poirot compare to the many other actors who have played him? Is this version a better adaptation than Kenneth Branagh’s? Why was Ingrid Bergman singled out as Best Supporting Actress? Tune in to this week’s show to get t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Stromboli • The Next Reel 8 8 46 46 Stromboli • The Next Reel full e17916e8-5a84-40d5-9015-cd1877c710dc https://share.transistor.fm/s/9bf816ab "I can’t live like this in this filth!"

When Ingrid Bergman wrote a letter to director Roberto Rossellini about her interest in being in a film of his, little did she realize how much that would change both of their lives. That letter led her to be the star of Rossellini’s Italian neo-realist film Stromboli, and led the two of them to their affair that killed her Hollywood career for a decade. At least the two of them were able to make five films together and have three children before another affair of his led them to separate. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Rossellini’s 1950 film Stromboli.

We talk about what works in this film for us and what doesn’t. We look at the ending and debate about whether it’s working or not. We look at the core relationship of Bergman and Mario Vitale and discuss if it’s working for us and why. We talk about neorealism and what the movement was made up of. We look at the actual island of Stromboli and the complexities of filming there. And we look at how the movie got made and try to figure out if it made any money back or not.

It’s an interesting film that works a lot better for Andy than it does for Pete. That certainly gives us a lot to discuss, so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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]]> "I can’t live like this in this filth!"

When Ingrid Bergman wrote a letter to director Roberto Rossellini about her interest in being in a film of his, little did she realize how much that would change both of their lives. That letter led her to be the star of Rossellini’s Italian neo-realist film Stromboli, and led the two of them to their affair that killed her Hollywood career for a decade. At least the two of them were able to make five films together and have three children before another affair of his led them to separate. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Rossellini’s 1950 film Stromboli.

We talk about what works in this film for us and what doesn’t. We look at the ending and debate about whether it’s working or not. We look at the core relationship of Bergman and Mario Vitale and discuss if it’s working for us and why. We talk about neorealism and what the movement was made up of. We look at the actual island of Stromboli and the complexities of filming there. And we look at how the movie got made and try to figure out if it made any money back or not.

It’s an interesting film that works a lot better for Andy than it does for Pete. That certainly gives us a lot to discuss, so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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 Jun 2019 06:00:01 -0700 Andy Nelson, The Next Reel, Pete Wright Andy Nelson, The Next Reel, Pete Wright 3786 Was this film worth the rupture in Ingrid Bergman’s marriage? What do we think of Italian neorealism? And why do people live on this island still? Tune in to this week’s show to get these answers and more! Was this film worth the rupture in Ingrid Bergman’s marriage? What do we think of Italian neorealism? And why do people live on this island still? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Notorious • The Next Reel 8 8 45 45 Notorious • The Next Reel full 3b7181a3-1a6b-43ce-a560-877d94245479 https://share.transistor.fm/s/f9fe92c6 "I am married to an American agent."

Hitchcock loved working with Ingrid Bergman. He was a notorious director for wanting everything his own way, but when it came to Bergman, he ended up being much more collaborative. That collaboration peaked in the production of Notorious, which also had the benefit of no longer being a David O. Selznick project. The film marked a turn for Hitchcock where he got to produce his own project and really set the foundation for what would become the classic Hitchcock mold. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Hitchcock’s 1946 film Notorious.

We talk about why this film works so much better for us than Spellbound did. We look at the strength in the story paired with the performances by Bergman, Cary Grant, and Claude Rains as our leads and how they elevate the story to incredible heights. We look at the subjective camera work as well as brilliant moments of camera movement that signify big steps for Hitch and the industry. And we talk about the music and why Roy Webb’s score works so well.

It’s a glorious film full of psychological complexities that works really well, especially for a film at the time dealing with war criminals fresh on the heels of WWII. We love it and have a great conversation about it. Check it out! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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]]> "I am married to an American agent."

Hitchcock loved working with Ingrid Bergman. He was a notorious director for wanting everything his own way, but when it came to Bergman, he ended up being much more collaborative. That collaboration peaked in the production of Notorious, which also had the benefit of no longer being a David O. Selznick project. The film marked a turn for Hitchcock where he got to produce his own project and really set the foundation for what would become the classic Hitchcock mold. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Hitchcock’s 1946 film Notorious.

We talk about why this film works so much better for us than Spellbound did. We look at the strength in the story paired with the performances by Bergman, Cary Grant, and Claude Rains as our leads and how they elevate the story to incredible heights. We look at the subjective camera work as well as brilliant moments of camera movement that signify big steps for Hitch and the industry. And we talk about the music and why Roy Webb’s score works so well.

It’s a glorious film full of psychological complexities that works really well, especially for a film at the time dealing with war criminals fresh on the heels of WWII. We love it and have a great conversation about it. Check it out! The Next Reel – when the movie ends, our conversation begins.

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 Jun 2019 06:00:11 -0700 The Next Reel, Pete Wright, Andy Nelson The Next Reel, Pete Wright, Andy Nelson 4344 Does ‘Notorious' work better for us than 'Spellbound' did? How are Cary Grant and Ingrid Bergman as a couple? And does Claude Rains convincingly play a Nazi war criminal? Tune in to this week’s show to get these answers and more! Does ‘Notorious' work better for us than 'Spellbound' did? How are Cary Grant and Ingrid Bergman as a couple? And does Claude Rains convincingly play a Nazi war criminal? Tune in to this week’s show to get these answers and more! claude rains, david o. selznick, hitchcock, ingrid bergman, cary grant No Andy Nelson Pete Wright Spellbound • The Next Reel 8 8 44 44 Spellbound • The Next Reel full eec431dd-de63-42cb-baf2-7c014679c420 https://share.transistor.fm/s/757fc6b1 "It’s like looking into a mirror and seeing nothing but the mirror."

Alfred Hitchcock had been working in Hollywood for a while by the time he made Spellbound, but it was only the second project he made with David O. Selznick under his three-picture contract. Unfortunately, it was a bit of a struggle for the two men as they both tend to be a bit stubborn in wanting things their way. In the case of this film, it was Selznick’s own interest in psychoanalysis that led him to wanting to make it, but even that became a sticking point with Hitch. Join us – Pete Wright and Andy Nelson – as we continue our own analysis of Ingrid Bergman’s films with a conversation about Hitchcock’s 1945 film Spellbound.

We talk about the nature of psychotherapy then and why this film is hard to take too seriously because of its depictions. We look at what Bergman and Gregory Peck as our two leads bring to the table. We chat about the dream sequence designed by Salvador Dalí and why it’s only two minutes instead of twenty. And we discuss the nature of the love story and why it makes this film a bit more difficult to buy into.

It’s an interesting film but one that we struggle with. We still enjoy it enough, though, and it allows for a great conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> "It’s like looking into a mirror and seeing nothing but the mirror."

Alfred Hitchcock had been working in Hollywood for a while by the time he made Spellbound, but it was only the second project he made with David O. Selznick under his three-picture contract. Unfortunately, it was a bit of a struggle for the two men as they both tend to be a bit stubborn in wanting things their way. In the case of this film, it was Selznick’s own interest in psychoanalysis that led him to wanting to make it, but even that became a sticking point with Hitch. Join us – Pete Wright and Andy Nelson – as we continue our own analysis of Ingrid Bergman’s films with a conversation about Hitchcock’s 1945 film Spellbound.

We talk about the nature of psychotherapy then and why this film is hard to take too seriously because of its depictions. We look at what Bergman and Gregory Peck as our two leads bring to the table. We chat about the dream sequence designed by Salvador Dalí and why it’s only two minutes instead of twenty. And we discuss the nature of the love story and why it makes this film a bit more difficult to buy into.

It’s an interesting film but one that we struggle with. We still enjoy it enough, though, and it allows for a great conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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 May 2019 06:00:02 -0700 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 3688 Who do we buy more – Ingrid Bergman as a psychotherapist or Gregory Peck as her boss? How does this mystery hold up against Hitchcock’s other films? And what about that Dalí dream sequence? Tune in to this week’s show to get these answers and more! Who do we buy more – Ingrid Bergman as a psychotherapist or Gregory Peck as her boss? How does this mystery hold up against Hitchcock’s other films? And what about that Dalí dream sequence? Tune in to this week’s show to get these answers and more! gregory peck, hitchcock, ingrid bergman, arthur o. selznick No Andy Nelson Pete Wright Gaslight • The Next Reel 8 8 43 43 Gaslight • The Next Reel full c97525ff-9b38-4477-b444-3d4c73ab3686 https://share.transistor.fm/s/a31252f3 "Are you suggesting this is a knife I hold in my hand?"

Ingrid Bergman took home her first Oscar for her portrayal of a woman who is psychologically broken down by her husband in Gaslight, but it was a film she was hesitant to star in. She was nervous about playing such a weak-willed woman. In the end, she delivered a stellar performance and was very proud of the film and her role in it. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with George Cukor’s 1944 film Gaslight.

We talk about this film and the 1940 version directed by Thorold Dickinson and how MGM almost gaslit that film out of existence. We discuss the idea of gaslighting and why it makes for such a successful story here. We look at Bergman paired with Charles Boyer and Joseph Cotten – not to mention Angela Lansbury in her screen debut – and what they bring to the table. We chat about Cukor and his working relationship with the women in his films. And we look at the gorgeous and noirish cinematography here and talk about how it lends to the overall tone of the film.

It’s an incredible film that people need to see (really, the 1940 version needs to be seen as well). We love it and are thrilled to talk about it on the show this week. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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

Film Sundries

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]]> "Are you suggesting this is a knife I hold in my hand?"

Ingrid Bergman took home her first Oscar for her portrayal of a woman who is psychologically broken down by her husband in Gaslight, but it was a film she was hesitant to star in. She was nervous about playing such a weak-willed woman. In the end, she delivered a stellar performance and was very proud of the film and her role in it. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with George Cukor’s 1944 film Gaslight.

We talk about this film and the 1940 version directed by Thorold Dickinson and how MGM almost gaslit that film out of existence. We discuss the idea of gaslighting and why it makes for such a successful story here. We look at Bergman paired with Charles Boyer and Joseph Cotten – not to mention Angela Lansbury in her screen debut – and what they bring to the table. We chat about Cukor and his working relationship with the women in his films. And we look at the gorgeous and noirish cinematography here and talk about how it lends to the overall tone of the film.

It’s an incredible film that people need to see (really, the 1940 version needs to be seen as well). We love it and are thrilled to talk about it on the show this week. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

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 May 2019 06:00:00 -0700 The Next Reel The Next Reel 3785 How different is this version than the 1940 version? Did Ingrid Bergman deserve her Academy Award? And why was MGM trying to gaslight the world? Tune in to this week’s show to get these answers and more! How different is this version than the 1940 version? Did Ingrid Bergman deserve her Academy Award? And why was MGM trying to gaslight the world? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright For Whom The Bell Tolls • The Next Reel 8 8 42 42 For Whom The Bell Tolls • The Next Reel full e4e392e3-6aeb-4032-ae20-b0501fff9d9e https://share.transistor.fm/s/c9afde47 "A man fights for what he believes in."

Ernest Hemingway was very involved in getting the adaptation of his 1940 novel “For Whom the Bell Tolls” off the ground. It was Gary Cooper who initially brought it to Cecil B. DeMille’s attention, and DeMille who bought the rights then introduced Cooper to Hemingway. After that fateful meeting, Hemingway saw no one except Cooper as his choice to play the lead. And opposite him, he wanted Ingrid Bergman. It took some time to get her – including two weeks of production with a different actress – but get her they did, and the rest is history. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Sam Wood’s 1943 film For Whom the Bell Tolls.

We talk about how we came to this film and why there are elements that work, but how it largely feels dated. We look at elements that do work, however, and how the film still gets some of Hemingway’s themes across. We look at Cooper and Bergman and why their relationship feels not quite right. We discuss Katina Paxinou and Akim Tamiroff as the two actors who deliver our favorite performances of the film. We look at the nature of the three-strip technicolor process and struggle with the way this film looks sadly. And we talk about the journey this film went on as far as its length is concerned, from Roadshow to theatrical cut to restored cut – yet how sad it is that it’s never received the royal treatment it deserves.

We aren’t in love with this adaptation of Hemingway’s book, but we did still find some interesting things in the film. And now, we’re both more interested in reading the book, so that’s saying something, right? So check out the movie and tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> "A man fights for what he believes in."

Ernest Hemingway was very involved in getting the adaptation of his 1940 novel “For Whom the Bell Tolls” off the ground. It was Gary Cooper who initially brought it to Cecil B. DeMille’s attention, and DeMille who bought the rights then introduced Cooper to Hemingway. After that fateful meeting, Hemingway saw no one except Cooper as his choice to play the lead. And opposite him, he wanted Ingrid Bergman. It took some time to get her – including two weeks of production with a different actress – but get her they did, and the rest is history. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Sam Wood’s 1943 film For Whom the Bell Tolls.

We talk about how we came to this film and why there are elements that work, but how it largely feels dated. We look at elements that do work, however, and how the film still gets some of Hemingway’s themes across. We look at Cooper and Bergman and why their relationship feels not quite right. We discuss Katina Paxinou and Akim Tamiroff as the two actors who deliver our favorite performances of the film. We look at the nature of the three-strip technicolor process and struggle with the way this film looks sadly. And we talk about the journey this film went on as far as its length is concerned, from Roadshow to theatrical cut to restored cut – yet how sad it is that it’s never received the royal treatment it deserves.

We aren’t in love with this adaptation of Hemingway’s book, but we did still find some interesting things in the film. And now, we’re both more interested in reading the book, so that’s saying something, right? So check out the movie and tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> Thu, 16 May 2019 06:00:00 -0700 The Next Reel The Next Reel 3992 How involved was Hemingway in this production? Does Bergman have the same chemistry with Cooper that she did with Bogart? Does the adaption work? Tune in to this week’s show to hear these answers and more! How involved was Hemingway in this production? Does Bergman have the same chemistry with Cooper that she did with Bogart? Does the adaption work? Tune in to this week’s show to hear these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Casablanca • The Next Reel 8 8 41 41 Casablanca • The Next Reel full 4c8f6d39-43f2-4b18-9946-eb383c54237a https://share.transistor.fm/s/c0bda5e8 "Play it once, Sam. For old time’s sake. Play it, Sam."

Michael Curtiz’s 1942 film Casablanca never seemed to be on track to become a classic. It only fell into that mold after the fact, and maybe that’s why it seems to work so well – it doesn’t feel like it’s carrying any of that ‘award film’ baggage. It’s just a smartly written script with great characters performed by brilliant actors. Everything seemed to have worked. Join us – Pete Wright and Andy Nelson – as we kick off our Ingrid Bergman series with Curtiz’s Casablanca.

We look at why we love this film so much and why it still works so well. We talk about the central performances – Humphrey Bogart, Bergman, Paul Henreid, Claude Rains – not to mention the rest of the cast, and why they feel so perfect for this film. We chat about Curtiz and his directing. And we look at the music, notably the song “As Time Goes By.”

It’s a beautiful film that still works on every level. We love it and have a great time talking about it on the show this week. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> "Play it once, Sam. For old time’s sake. Play it, Sam."

Michael Curtiz’s 1942 film Casablanca never seemed to be on track to become a classic. It only fell into that mold after the fact, and maybe that’s why it seems to work so well – it doesn’t feel like it’s carrying any of that ‘award film’ baggage. It’s just a smartly written script with great characters performed by brilliant actors. Everything seemed to have worked. Join us – Pete Wright and Andy Nelson – as we kick off our Ingrid Bergman series with Curtiz’s Casablanca.

We look at why we love this film so much and why it still works so well. We talk about the central performances – Humphrey Bogart, Bergman, Paul Henreid, Claude Rains – not to mention the rest of the cast, and why they feel so perfect for this film. We chat about Curtiz and his directing. And we look at the music, notably the song “As Time Goes By.”

It’s a beautiful film that still works on every level. We love it and have a great time talking about it on the show this week. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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 May 2019 06:00:00 -0700 The Next Reel The Next Reel 4029 How well do Humphrey Bogart and Ingrid Bergman work on screen together? Does Paul Henreid work as the other man? And how about that song? Tune in to this week’s show to hear us talk about these things and more. How well do Humphrey Bogart and Ingrid Bergman work on screen together? Does Paul Henreid work as the other man? And how about that song? Tune in to this week’s show to hear us talk about these things and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Chinese Puzzle • The Next Reel 8 8 40 40 Chinese Puzzle • The Next Reel full 422bf7c0-7fa1-41cc-b433-143a9e77e8eb https://share.transistor.fm/s/07b1e39c Cédric Klapisch returned to the world of Xavier, Wendy, Isabelle and Martine with his 2013 film Chinese Puzzle in a story that takes place 10 years after the previous film. Is it a return worth taking? Join us – Pete Wright and Andy Nelson – as we wrap up our Spanish Apartment trilogy with Klapisch’s 2013 film.

We talk about what works and what doesn’t this go-around. We look at the nature of infidelity and ponder about why it’s so consistent in Klapisch’s films. We chat about the male gaze (again) and why some of the lesbian material in here is bothersome. We discuss the Chinatown elements of the film and why they work so nicely, even if we don’t get the relationship resolution from it that we wanted. And we look at the nature of storytelling with unlikeable characters and why that’s okay … if there are consequences for their actions.

It’s a frustrating end to the trilogy for us, but a film still enjoyable and one that makes for great conversation. So check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> Cédric Klapisch returned to the world of Xavier, Wendy, Isabelle and Martine with his 2013 film Chinese Puzzle in a story that takes place 10 years after the previous film. Is it a return worth taking? Join us – Pete Wright and Andy Nelson – as we wrap up our Spanish Apartment trilogy with Klapisch’s 2013 film.

We talk about what works and what doesn’t this go-around. We look at the nature of infidelity and ponder about why it’s so consistent in Klapisch’s films. We chat about the male gaze (again) and why some of the lesbian material in here is bothersome. We discuss the Chinatown elements of the film and why they work so nicely, even if we don’t get the relationship resolution from it that we wanted. And we look at the nature of storytelling with unlikeable characters and why that’s okay … if there are consequences for their actions.

It’s a frustrating end to the trilogy for us, but a film still enjoyable and one that makes for great conversation. So check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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 May 2019 06:00:00 -0700 The Next Reel The Next Reel 3322 Cédric Klapisch returned to the world of Xavier, Wendy, Isabelle and Martine with his 2013 film Chinese Puzzle in a story that takes place 10 years after the previous film. Is it a return worth taking? Join us – Pete Wright and Andy Nelson – as we wrap up our Spanish Apartment trilogy with Klapisch’s 2013 film. Cédric Klapisch returned to the world of Xavier, Wendy, Isabelle and Martine with his 2013 film Chinese Puzzle in a story that takes place 10 years after the previous film. Is it a return worth taking? Join us – Pete Wright and Andy Nelson – as we wrap up film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Russian Dolls • The Next Reel 8 8 39 39 Russian Dolls • The Next Reel full 61e67414-45fe-4dcc-b5aa-752bd2759d59 https://share.transistor.fm/s/fc15209f "How can I write a love story? I know nothing about love. I’m a self-centered egotist."

Cédric Klapisch got a chance to return to the life of Xavier from his successful 2002 film L’Auberge Espagnole just a few years later, but how well does it work out? Join us – Pete Wright and Andy Nelson – as we continue our series on Klapisch’s Spanish Apartment trilogy with his 2005 film Russian Dolls.

We look at why this film is vastly more frustrating that its predecessor and that all of our difficulties stem from an unlikeable protagonist. We discuss why the focus on love is a real challenge in a world sullied by Klapisch’s and Xavier’s ‘male gaze’. We look at the creativity in the filmmaking style, why it works in some places, and why it fails in others. And we look at the rest of the wonderful cast and discuss their interesting roles.

It’s a frustrating follow-up to a film that we liked a lot, largely because it feels like Klapisch didn’t have as strong a direction with it. Regardless, we have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries


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]]> "How can I write a love story? I know nothing about love. I’m a self-centered egotist."

Cédric Klapisch got a chance to return to the life of Xavier from his successful 2002 film L’Auberge Espagnole just a few years later, but how well does it work out? Join us – Pete Wright and Andy Nelson – as we continue our series on Klapisch’s Spanish Apartment trilogy with his 2005 film Russian Dolls.

We look at why this film is vastly more frustrating that its predecessor and that all of our difficulties stem from an unlikeable protagonist. We discuss why the focus on love is a real challenge in a world sullied by Klapisch’s and Xavier’s ‘male gaze’. We look at the creativity in the filmmaking style, why it works in some places, and why it fails in others. And we look at the rest of the wonderful cast and discuss their interesting roles.

It’s a frustrating follow-up to a film that we liked a lot, largely because it feels like Klapisch didn’t have as strong a direction with it. Regardless, we have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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 Apr 2019 06:00:00 -0700 The Next Reel The Next Reel 3756 Did 'L’Auberge Espagnole' need a followup? Why is Xavier so unlikeable? Do the elements that work balance with the elements that don’t? Did 'L’Auberge Espagnole' need a followup? Why is Xavier so unlikeable? Do the elements that work balance with the elements that don’t? film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright L’Auberge Espagnole • The Next Reel 8 8 38 38 L’Auberge Espagnole • The Next Reel full dbe22298-caeb-40d3-be3d-1281b4243a66 https://share.transistor.fm/s/03434f96 "Life seems simpler for everyone else."

Cédric Klapisch had been making films in France for ten years before he made his little film about a group of study abroad students from all over Europe working to understand each other, discover a new culture, and find themselves along the way. This little film, L’Auberge Espagnole, aka The Spanish Apartment or Potluck depending on where you find it, connected with people and became his biggest success. And rightly so – it’s a charming film about figuring out what to do with your life and is made by a filmmaker who clearly is having fun while making it. Join us – Pete Wright and Andy Nelson – as we kick off a series about Klapisch’s ‘Spanish Apartment’ trilogy with his 2002 film L’Auberge Espagnole.

We talk about the charm of this film and why it works so well with us. We look at some of the cast – notably Romain Duris, Judith Godrèche, Audrey Tautou, Cécile de France, Kevin Bishop, and Kelly Reilly – and why they all manage to work so well in their roles. We look at the nature of infidelity and how it fits into a story like this. And we talk about some of the clever filmmaking to sell the insanity of the ‘structured’ world and why it makes for such a visually fun film.

It’s a joyful film to watch and one that works really well for us. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> "Life seems simpler for everyone else."

Cédric Klapisch had been making films in France for ten years before he made his little film about a group of study abroad students from all over Europe working to understand each other, discover a new culture, and find themselves along the way. This little film, L’Auberge Espagnole, aka The Spanish Apartment or Potluck depending on where you find it, connected with people and became his biggest success. And rightly so – it’s a charming film about figuring out what to do with your life and is made by a filmmaker who clearly is having fun while making it. Join us – Pete Wright and Andy Nelson – as we kick off a series about Klapisch’s ‘Spanish Apartment’ trilogy with his 2002 film L’Auberge Espagnole.

We talk about the charm of this film and why it works so well with us. We look at some of the cast – notably Romain Duris, Judith Godrèche, Audrey Tautou, Cécile de France, Kevin Bishop, and Kelly Reilly – and why they all manage to work so well in their roles. We look at the nature of infidelity and how it fits into a story like this. And we talk about some of the clever filmmaking to sell the insanity of the ‘structured’ world and why it makes for such a visually fun film.

It’s a joyful film to watch and one that works really well for us. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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 Apr 2019 06:00:00 -0700 The Next Reel The Next Reel 3693 How well does Cédric Klapisch paint the world of study abroad programs? Why does Audrey Tautou get such prominent billing? And where do we sign up to join the Erasmus Programme? Tune in to this week’s show to get these answers and more. How well does Cédric Klapisch paint the world of study abroad programs? Why does Audrey Tautou get such prominent billing? And where do we sign up to join the Erasmus Programme? Tune in to this week’s show to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A Star Is Born (2018) • The Next Reel 8 8 37 37 A Star Is Born (2018) • The Next Reel full 0ef7383b-3720-43c2-94a4-6994cb6bdf8e https://share.transistor.fm/s/214e293a "All you gotta do is trust me."

It took a number of years for this latest remake of A Star Is Born to come to fruition, but it seems like everything worked out the way it was supposed to. Bradley Cooper and Lady Gaga really connected with people and the film was incredibly well received, both critically and by audiences. Will there be other iterations of this story down the road? If we’ve learned anything from doing this series, Warner Bros. loves this story – and loves that each version makes them more money – so give it a couple of decades and we’ll likely see it come around again. But for now, join us – Pete Wright and Andy Nelson – as we wrap up our “A Star Is Born” series with Cooper’s 2018 version of A Star Is Born.

We talk about the elements that have been consistent through these films that really work well here – the meet cute, Jackson’s success and fall, Ally’s place before her discovery, the rise, the award ceremony, the people in their lives, etc. We look at what Cooper and Gaga are doing throughout the film and why it works so well. We chat about Sam Elliott and why he was such inspiration for Cooper with his character. We talk about the process of performing the music live and why that was important. And we look at the connection Jon Peters has to it and why he gets a credit.

It’s a great conversation about a great film that wraps up a very interesting series, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> "All you gotta do is trust me."

It took a number of years for this latest remake of A Star Is Born to come to fruition, but it seems like everything worked out the way it was supposed to. Bradley Cooper and Lady Gaga really connected with people and the film was incredibly well received, both critically and by audiences. Will there be other iterations of this story down the road? If we’ve learned anything from doing this series, Warner Bros. loves this story – and loves that each version makes them more money – so give it a couple of decades and we’ll likely see it come around again. But for now, join us – Pete Wright and Andy Nelson – as we wrap up our “A Star Is Born” series with Cooper’s 2018 version of A Star Is Born.

We talk about the elements that have been consistent through these films that really work well here – the meet cute, Jackson’s success and fall, Ally’s place before her discovery, the rise, the award ceremony, the people in their lives, etc. We look at what Cooper and Gaga are doing throughout the film and why it works so well. We chat about Sam Elliott and why he was such inspiration for Cooper with his character. We talk about the process of performing the music live and why that was important. And we look at the connection Jon Peters has to it and why he gets a credit.

It’s a great conversation about a great film that wraps up a very interesting series, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> Thu, 11 Apr 2019 06:00:00 -0700 The Next Reel The Next Reel 5176 How well do Bradley Cooper and Lady Gaga do in recreating these roles? How does this version stack up to the previous three versions? Which did we like the most? Tune in to this week’s show to get these answers and more! How well do Bradley Cooper and Lady Gaga do in recreating these roles? How does this version stack up to the previous three versions? Which did we like the most? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A Star Is Born (1976) • The Next Reel 8 8 36 36 A Star Is Born (1976) • The Next Reel full 963ccd72-ce1b-4363-bbc3-8224e6232e79 https://share.transistor.fm/s/fb608846 "Your own personal piece of the American dream."

Like the remake before it, Barbra Streisand’s decision to produce and play the lead in her own version of A Star Is Born likely had something to do with ego, but it’s hard to argue that the story is also one with two wonderfully rich characters at the heart of it – characters any actor would likely want to perform. Regardless, Streisand opposite Kris Kristofferson, who was also a big musical talent at the time, seemed like a perfect fit for this version. But it didn’t land quite as strongly for us as the previous two did. Join us – Pete Wright and Andy Nelson – as we continue our “A Star Is Born” series with Frank Pierson’s 1976 take on A Star Is Born.

We debate what it is about this version of the story that leads us to find it the weakest of the three iterations thus far. We talk about Streisand and Kristofferson, what they each bring to the role, and how well they work for us. We look at the tone the film takes – very much a 70s feel – and how each of the versions thus far have really found a way to wholly ground themselves in their own period. We look at the songs and discuss how they work for us. And we look at some of the beats that repeat throughout these films and talk about why some don’t work that well here.

It’s an interesting film to discuss in this series because the tone feels so different. It’s not our favorite of the lot, but it certainly provides a lot to talk about, so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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]]> "Your own personal piece of the American dream."

Like the remake before it, Barbra Streisand’s decision to produce and play the lead in her own version of A Star Is Born likely had something to do with ego, but it’s hard to argue that the story is also one with two wonderfully rich characters at the heart of it – characters any actor would likely want to perform. Regardless, Streisand opposite Kris Kristofferson, who was also a big musical talent at the time, seemed like a perfect fit for this version. But it didn’t land quite as strongly for us as the previous two did. Join us – Pete Wright and Andy Nelson – as we continue our “A Star Is Born” series with Frank Pierson’s 1976 take on A Star Is Born.

We debate what it is about this version of the story that leads us to find it the weakest of the three iterations thus far. We talk about Streisand and Kristofferson, what they each bring to the role, and how well they work for us. We look at the tone the film takes – very much a 70s feel – and how each of the versions thus far have really found a way to wholly ground themselves in their own period. We look at the songs and discuss how they work for us. And we look at some of the beats that repeat throughout these films and talk about why some don’t work that well here.

It’s an interesting film to discuss in this series because the tone feels so different. It’s not our favorite of the lot, but it certainly provides a lot to talk about, so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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 Apr 2019 06:00:00 -0700 The Next Reel The Next Reel 4230 How’s the chemistry between Barbra Streisand and Kris Kristofferson? Do any of these songs stand out today? Does the 70s vibe affect our appreciation of it? Tune in to this week’s show to get answers to these questions and more. How’s the chemistry between Barbra Streisand and Kris Kristofferson? Do any of these songs stand out today? Does the 70s vibe affect our appreciation of it? Tune in to this week’s show to get answers to these questions and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A Star Is Born (1954) • The Next Reel 8 8 35 35 A Star Is Born (1954) • The Next Reel full 6c33acb9-cdb6-4a39-9c11-ad1a134bdfd4 https://share.transistor.fm/s/a565cb83 "I thought I was the answer for Norman, but love isn’t strong enough for him.”

By the time 30-year-old Judy Garland was gearing up for her film comeback in George Cukor’s remake of A Star Is Born, she had already had a career full of ups and downs, almost mimicking both of the two main characters in the film. The recent buzz for her wonderful stage shows and for her having cleaned up her act led her new husband, Sidney Luft, to convince Warner Bros. that she was worth taking a chance on with this remake. They thought so too, and the story from 1937 was reborn with Garland and James Mason. Join us – Pete Wright and Andy Nelson – as we continue our “A Star Is Born” series with the 1957 Cukor version.

We talk about the nature of musicals and why this musical doesn’t work as well for us. We look at what Garland and Mason both bring to the table and why their relationship works so well in the film. We discuss how the film came to be and why it ended up getting chopped up in the editing stage before being released. And we look at the similarities and differences between the versions so far, noting why this version doesn’t work as well for us as the previous version does.

It’s an interesting film that has strength in the story but gets bogged down in the musical numbers, at least as far as we’re concerned. We have a great time talking about it, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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]]> "I thought I was the answer for Norman, but love isn’t strong enough for him.”

By the time 30-year-old Judy Garland was gearing up for her film comeback in George Cukor’s remake of A Star Is Born, she had already had a career full of ups and downs, almost mimicking both of the two main characters in the film. The recent buzz for her wonderful stage shows and for her having cleaned up her act led her new husband, Sidney Luft, to convince Warner Bros. that she was worth taking a chance on with this remake. They thought so too, and the story from 1937 was reborn with Garland and James Mason. Join us – Pete Wright and Andy Nelson – as we continue our “A Star Is Born” series with the 1957 Cukor version.

We talk about the nature of musicals and why this musical doesn’t work as well for us. We look at what Garland and Mason both bring to the table and why their relationship works so well in the film. We discuss how the film came to be and why it ended up getting chopped up in the editing stage before being released. And we look at the similarities and differences between the versions so far, noting why this version doesn’t work as well for us as the previous version does.

It’s an interesting film that has strength in the story but gets bogged down in the musical numbers, at least as far as we’re concerned. We have a great time talking about it, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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 Mar 2019 06:00:00 -0700 The Next Reel The Next Reel 4269 How well do Judy Garland and James Mason do in the roles? Was Garland stable by this point in her career? How does this one hold up to the original one? Tune in to this week’s show to get these answers and more. How well do Judy Garland and James Mason do in the roles? Was Garland stable by this point in her career? How does this one hold up to the original one? Tune in to this week’s show to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A Star Is Born (1937) • The Next Reel 8 8 34 34 A Star Is Born (1937) • The Next Reel full 4e931e19-1a1a-4afa-8bee-4c63eca503f6 https://share.transistor.fm/s/0b2e3564 "Remember, Esther: for every dream of yours you make come true, you’ll pay the price in heartbreak."

The story is one that people connect with – a desire to follow your dreams, as crazy as they may be, and what happens when you make it. But with the rise of a new talent in each iteration of A Star Is Born, we also see the decline of another. Perhaps it’s that emotional balance between these two journeys that makes this such a popular story to tell and retell. Join us – Pete Wright and Andy Nelson – as we kick off our “A Star Is Born” series right at the beginning with William A. Wellman’s 1937 film A Star Is Born.

We talk about the origins of the film and how it was really birthed in George Cukor’s 1932 film What Price Hollywood?. We look at Janet Gaynor and Fredric March as our two leads and what they bring to the table. We discuss the story issues we have with the film, notably the disappearance of our lead’s family from the story for the bulk of the film, and why it feels problematic. And we look at the technical side of the film, notably the beautiful technicolor cinematography by W. Howard Greene, as well as Max Steiner’s score (plus a song we didn’t know was part of the film apparently).

It’s a great start to our series and certainly is one that sets the stage for the tale of fame and tragedy that we’re going to be seeing over and over again. We have a great time discussing it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> "Remember, Esther: for every dream of yours you make come true, you’ll pay the price in heartbreak."

The story is one that people connect with – a desire to follow your dreams, as crazy as they may be, and what happens when you make it. But with the rise of a new talent in each iteration of A Star Is Born, we also see the decline of another. Perhaps it’s that emotional balance between these two journeys that makes this such a popular story to tell and retell. Join us – Pete Wright and Andy Nelson – as we kick off our “A Star Is Born” series right at the beginning with William A. Wellman’s 1937 film A Star Is Born.

We talk about the origins of the film and how it was really birthed in George Cukor’s 1932 film What Price Hollywood?. We look at Janet Gaynor and Fredric March as our two leads and what they bring to the table. We discuss the story issues we have with the film, notably the disappearance of our lead’s family from the story for the bulk of the film, and why it feels problematic. And we look at the technical side of the film, notably the beautiful technicolor cinematography by W. Howard Greene, as well as Max Steiner’s score (plus a song we didn’t know was part of the film apparently).

It’s a great start to our series and certainly is one that sets the stage for the tale of fame and tragedy that we’re going to be seeing over and over again. We have a great time discussing it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 21 Mar 2019 06:00:00 -0700 The Next Reel The Next Reel 3549 Why does this story connect with people so strongly that it keeps getting remade? How well do our two leads do at bringing us into this world? And what’s going on with Granny and her deus ex machina advice? Tune in to this week’s show to get these answers and more. Why does this story connect with people so strongly that it keeps getting remade? How well do our two leads do at bringing us into this world? And what’s going on with Granny and her deus ex machina advice? Tune in to this week’s show to get these answers film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Creed II • The Next Reel 8 8 33 33 Creed II • The Next Reel full c7e0339b-bad6-4791-aa29-e94009a97642 https://share.transistor.fm/s/558c8025 "Remember why you’re climbing these steps."

In a franchise so full of sequels, it was inevitable that the success of the spin-quel Creed would be followed up with its own sequel. And while Ryan Coogler was busy on Black Panther, Sylvester Stallone and his team found a very capable director with Steven Caple Jr. The movie was released in 2018 and was a box office hit, even if people largely found it to be ‘just another sequel’ in the Rocky franchise. But is it more than that? Join us – Pete Wright and Andy Nelson – as we wrap up our look at the Rocky films with Caple’s 2018 film Creed II.

We talk about bringing back the Russians, the strength of making it a story about family, and why it all ties together so nicely. We look at the cast and why they all work so well in their respective parts, especially the supporting characters who never feel like they get sidelined. We chat about the look and how it never quite finds the magical look we get in fight scenes in the previous films, but how it still looks nice. We look at how relationships are developed throughout the film and the franchise. We touch on Stallone’s comments about retiring the character Rocky after this film. And we look at the franchise as a whole and why it works so well for us.

It’s a great film that stands up above many other sequels because the people behind it clearly had a great story to tell and kept it honest. We have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> "Remember why you’re climbing these steps."

In a franchise so full of sequels, it was inevitable that the success of the spin-quel Creed would be followed up with its own sequel. And while Ryan Coogler was busy on Black Panther, Sylvester Stallone and his team found a very capable director with Steven Caple Jr. The movie was released in 2018 and was a box office hit, even if people largely found it to be ‘just another sequel’ in the Rocky franchise. But is it more than that? Join us – Pete Wright and Andy Nelson – as we wrap up our look at the Rocky films with Caple’s 2018 film Creed II.

We talk about bringing back the Russians, the strength of making it a story about family, and why it all ties together so nicely. We look at the cast and why they all work so well in their respective parts, especially the supporting characters who never feel like they get sidelined. We chat about the look and how it never quite finds the magical look we get in fight scenes in the previous films, but how it still looks nice. We look at how relationships are developed throughout the film and the franchise. We touch on Stallone’s comments about retiring the character Rocky after this film. And we look at the franchise as a whole and why it works so well for us.

It’s a great film that stands up above many other sequels because the people behind it clearly had a great story to tell and kept it honest. We have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 14 Mar 2019 06:00:00 -0700 The Next Reel The Next Reel 4034 Does Creed II stand up as a quality film or is it just another sequel? Did it make sense to bring back the Russians? Is this really Stallone’s last performance as the character Rocky Balboa? Tune in to this week’s show to get these answers and more. Does Creed II stand up as a quality film or is it just another sequel? Did it make sense to bring back the Russians? Is this really Stallone’s last performance as the character Rocky Balboa? Tune in to this week’s show to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Creed • The Next Reel 8 8 32 32 Creed • The Next Reel full f1b1be89-b45a-4601-9df6-758778b02016 https://share.transistor.fm/s/b77ecbb2 "Use the name. It’s yours."

Returning to the Rocky story without Rocky helming might sound like a big misstep, but with the guiding hands of Ryan Coogler, it was a huge success and breathed new life into the nearly 40-year-old franchise. Coogler’s Creed put a spin on the story that allowed for new characters to enter the frame while letting the established lead – Rocky Balboa – to take on the mantle of trainer. It all worked exceptionally well. Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Coogler’s 2015 film Creed.

We talk about why the film works so well for us and why the fresh spin on the story helps. We look at Michael B. Jordan, Tessa Thompson and Sylvester Stallone and what they bring to the table. We chat about DP Maryse Alberti and some of the incredible long shots scattered throughout the film and why they help lend to the authenticity of this world. We look at Ludwig Göransson’s music and how well it fits in this world, as well as the song “The Fire” by the Roots. And we debate the strength of the big moment finale in Creed’s training montage when Creed is circled by motocross bikes.

It’s a solid film and one we love, and it’s well worth checking out. So do so, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> "Use the name. It’s yours."

Returning to the Rocky story without Rocky helming might sound like a big misstep, but with the guiding hands of Ryan Coogler, it was a huge success and breathed new life into the nearly 40-year-old franchise. Coogler’s Creed put a spin on the story that allowed for new characters to enter the frame while letting the established lead – Rocky Balboa – to take on the mantle of trainer. It all worked exceptionally well. Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Coogler’s 2015 film Creed.

We talk about why the film works so well for us and why the fresh spin on the story helps. We look at Michael B. Jordan, Tessa Thompson and Sylvester Stallone and what they bring to the table. We chat about DP Maryse Alberti and some of the incredible long shots scattered throughout the film and why they help lend to the authenticity of this world. We look at Ludwig Göransson’s music and how well it fits in this world, as well as the song “The Fire” by the Roots. And we debate the strength of the big moment finale in Creed’s training montage when Creed is circled by motocross bikes.

It’s a solid film and one we love, and it’s well worth checking out. So do so, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 07 Mar 2019 06:00:00 -0800 The Next Reel The Next Reel 4272 How well does this film fit within the Rocky franchise? Does Michael B. Jordan work as Apollo Creed’s son? How does Stallone do as his mentor? Tune in to this week’s show to get these answers and more! How well does this film fit within the Rocky franchise? Does Michael B. Jordan work as Apollo Creed’s son? How does Stallone do as his mentor? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Rocky Balboa • The Next Reel 8 8 31 31 Rocky Balboa • The Next Reel full ddf9c1eb-181b-475e-897c-1fde9aa98cf5 https://share.transistor.fm/s/fc264393 "What we’ll be calling on is good, old fashioned, blunt force trauma."

Sixteen years after Rocky V opened, the final final installment of the story of Rocky Balboa hit screens. Sylvester Stallone admitted to making the fifth for the money and wanted to really come back strong to finish it right this time. And he certainly does, giving his final entry as the franchise’s lead a great wrap-up. Join us – Pete Wright and Andy Nelson – as we continue our exploration of the Rocky films with Stallone’s 2006 film Rocky Balboa.

We talk about the issues we have with the film, but why this film largely still works and is a strong finish. We look at what happens with Adrian and why it may be frustrating but makes for a better film. We chat about the antagonist and why we struggle with him in this one. We look at what works in the cinematography, particularly during the final fight, and what we struggle with in the editing and sound mix. And we discuss the new relationship that Rocky forms with Little Marie.

All in all, it’s got its problems but it’s also got a ton of heart and that goes a long way in this franchise. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> "What we’ll be calling on is good, old fashioned, blunt force trauma."

Sixteen years after Rocky V opened, the final final installment of the story of Rocky Balboa hit screens. Sylvester Stallone admitted to making the fifth for the money and wanted to really come back strong to finish it right this time. And he certainly does, giving his final entry as the franchise’s lead a great wrap-up. Join us – Pete Wright and Andy Nelson – as we continue our exploration of the Rocky films with Stallone’s 2006 film Rocky Balboa.

We talk about the issues we have with the film, but why this film largely still works and is a strong finish. We look at what happens with Adrian and why it may be frustrating but makes for a better film. We chat about the antagonist and why we struggle with him in this one. We look at what works in the cinematography, particularly during the final fight, and what we struggle with in the editing and sound mix. And we discuss the new relationship that Rocky forms with Little Marie.

All in all, it’s got its problems but it’s also got a ton of heart and that goes a long way in this franchise. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> Thu, 28 Feb 2019 06:00:00 -0800 The Next Reel The Next Reel 3714 Is Rocky too old to box? Should he have hung up the towel for the franchise and left well enough alone? Or is this a strong return to form? We answer these questions and more on this week’s show, so check it out then tune in! Is Rocky too old to box? Should he have hung up the towel for the franchise and left well enough alone? Or is this a strong return to form? We answer these questions and more on this week’s show, so check it out then tune in! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Rocky V • The Next Reel 8 8 30 30 Rocky V • The Next Reel full e1b315d3-1aa0-45f6-babc-acf273746177 https://share.transistor.fm/s/5e9a430d "It ain’t all muscle, it’s all heart. Heart and fire."

Sylvester Stallone returned to his beloved Rocky series in 1990, fully intending to close it out with a story as powerful as the first one. He even got John G. Avildsen back to direct it. Unfortunately, the film was a weaker film, one that didn’t find much love from critics or audiences. It made its money back and was a financial success at the box office, but nowhere near the four films that preceded it. But how does it hold up nearly 30 years later? Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Avildsen’s 1990 film Rocky V.

We talk about the script and why most of the problems come from here (even if Andy finds them much more egregious than Pete). We look at what happens to the characters we’ve been following through this franchise so far – Rocky, Adrian, Paulie – and what this script and film is doing with them. We look at the antagonists of the film – Duke and Tommy – and chat about their strengths and weaknesses. We look at the relationship Rocky has with his son, played by Stallone’s real son Sage, and why that’s such a strong element of the story. And we look at what Avildsen is bringing to the film and wonder why it still feels largely like a Stallone film.

It’s a rough entry in the franchise, but it’s one that half of us still enjoy. And we certainly have a great time talking about it. So check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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]]> "It ain’t all muscle, it’s all heart. Heart and fire."

Sylvester Stallone returned to his beloved Rocky series in 1990, fully intending to close it out with a story as powerful as the first one. He even got John G. Avildsen back to direct it. Unfortunately, the film was a weaker film, one that didn’t find much love from critics or audiences. It made its money back and was a financial success at the box office, but nowhere near the four films that preceded it. But how does it hold up nearly 30 years later? Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Avildsen’s 1990 film Rocky V.

We talk about the script and why most of the problems come from here (even if Andy finds them much more egregious than Pete). We look at what happens to the characters we’ve been following through this franchise so far – Rocky, Adrian, Paulie – and what this script and film is doing with them. We look at the antagonists of the film – Duke and Tommy – and chat about their strengths and weaknesses. We look at the relationship Rocky has with his son, played by Stallone’s real son Sage, and why that’s such a strong element of the story. And we look at what Avildsen is bringing to the film and wonder why it still feels largely like a Stallone film.

It’s a rough entry in the franchise, but it’s one that half of us still enjoy. And we certainly have a great time talking about it. So check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 21 Feb 2019 06:00:00 -0800 The Next Reel The Next Reel 4026 How does Rocky V hold up to the other films? Do Tommy Gunn and Duke work as the villains? What about Rocky’s relationship with his son? Does it work? Tune in to this week’s show to find out these answers and more. How does Rocky V hold up to the other films? Do Tommy Gunn and Duke work as the villains? What about Rocky’s relationship with his son? Does it work? Tune in to this week’s show to find out these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Rocky IV • The Next Reel 8 8 29 29 Rocky IV • The Next Reel full a977952d-2498-4763-81c4-002bf4141b2a https://share.transistor.fm/s/4f81af07 "I must break you."

At the height of the Cold War, it seems fitting that Sylvester Stallone would find incredible success in his Rocky franchise by weaving a tale about his all-American boxer going up against a cold, almost-robotic Russian boxer. The film found tremendous success at the box office, becoming the highest grossing sports film ever, a record which it held for 24 years. But how well does it hold up today? Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Stallone’s 1985 film Rocky IV.

We talk about the decline this franchise has taken and how this one almost feels like a parody of the original characters – yet how it’s strangely still entertaining. We look at some of the nonsensical elements in the film – the robot, the montages, the dumbing down of characters – and we pair those with our levels of enjoyment. We chat about the returning talent continuing in the franchise – Stallone, Talia Shire, Carl Weathers, Burt Young – and look at the newcomers – specifically Dolph Lundgren and Brigitte Nielsen. We complain about the absence of Bill Conti but at least we have the music to talk about… so much music. And we wonder about product placement.

It’s a fun movie, even if it feels like the franchise is falling off the rails a bit. We have a great time talking about it, so check it out and tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> "I must break you."

At the height of the Cold War, it seems fitting that Sylvester Stallone would find incredible success in his Rocky franchise by weaving a tale about his all-American boxer going up against a cold, almost-robotic Russian boxer. The film found tremendous success at the box office, becoming the highest grossing sports film ever, a record which it held for 24 years. But how well does it hold up today? Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Stallone’s 1985 film Rocky IV.

We talk about the decline this franchise has taken and how this one almost feels like a parody of the original characters – yet how it’s strangely still entertaining. We look at some of the nonsensical elements in the film – the robot, the montages, the dumbing down of characters – and we pair those with our levels of enjoyment. We chat about the returning talent continuing in the franchise – Stallone, Talia Shire, Carl Weathers, Burt Young – and look at the newcomers – specifically Dolph Lundgren and Brigitte Nielsen. We complain about the absence of Bill Conti but at least we have the music to talk about… so much music. And we wonder about product placement.

It’s a fun movie, even if it feels like the franchise is falling off the rails a bit. We have a great time talking about it, so check it out and tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 14 Feb 2019 06:00:00 -0800 The Next Reel The Next Reel 4537 Is this the most dated of the Rocky films thus far? Is Stallone losing his touch because he’s wearing too many hats? Did we need a robot? Tune in to this week’s episode to get these answers and more Is this the most dated of the Rocky films thus far? Is Stallone losing his touch because he’s wearing too many hats? Did we need a robot? Tune in to this week’s episode to get these answers and more film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Rocky III • The Next Reel 8 8 28 28 Rocky III • The Next Reel full 847654c5-6405-4e3d-90ff-5f8d230d97a5 https://share.transistor.fm/s/41166c2f "No, I don’t hate Balboa, but I pity the fool and I will destroy any man who tries to take what I got."

Three years after the success of Rocky II, Sylvester Stallone went back to the mats with the third film in the franchise and made yet another box office smash. But was Rocky III as good as it could have been? Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Stallone’s 1982 film Rocky III.

We look at the formula that Stallone has created with this franchise so far, what works about it, and what’s getting old with it. We talk about the cast – Stallone, Mr. T, Burt Young, Talia Shire, Burgess Meredith and Carl Weathers primarily – and look at how well they work in this film. We look at the success of Survivor’s song “Eye of the Tiger” and its integration into the film, especially paired with Bill Conti’s score. We touch on the boxing matches and if they’re bringing anything new to the table here. We look at the hard work the actors have to do to prepare themselves for these roles. And we discuss the possible overuse of montages here.

It’s a fine entry into the franchise but not the best one so far. We have a good time talking about it regardless, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> "No, I don’t hate Balboa, but I pity the fool and I will destroy any man who tries to take what I got."

Three years after the success of Rocky II, Sylvester Stallone went back to the mats with the third film in the franchise and made yet another box office smash. But was Rocky III as good as it could have been? Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Stallone’s 1982 film Rocky III.

We look at the formula that Stallone has created with this franchise so far, what works about it, and what’s getting old with it. We talk about the cast – Stallone, Mr. T, Burt Young, Talia Shire, Burgess Meredith and Carl Weathers primarily – and look at how well they work in this film. We look at the success of Survivor’s song “Eye of the Tiger” and its integration into the film, especially paired with Bill Conti’s score. We touch on the boxing matches and if they’re bringing anything new to the table here. We look at the hard work the actors have to do to prepare themselves for these roles. And we discuss the possible overuse of montages here.

It’s a fine entry into the franchise but not the best one so far. We have a good time talking about it regardless, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 07 Feb 2019 06:00:00 -0800 The Next Reel The Next Reel 4216 How well does this hold up compared to the first two? Does Mr. T’s Clubber Lang work as the antagonist? Does Stallone deliver with the characters and story? Tune in to this week’s show to get these answers and more. How well does this hold up compared to the first two? Does Mr. T’s Clubber Lang work as the antagonist? Does Stallone deliver with the characters and story? Tune in to this week’s show to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Rocky II • The Next Reel 8 8 27 27 Rocky II • The Next Reel full 5f0eddd8-de39-4105-8295-d41945bd1a4d https://share.transistor.fm/s/2efc0768 "You got the heart, but you ain’t got the tools no more."

Sylvester Stallone’s directorial debut, Paradise Alley, was a flop and the studio didn’t want to give him another shot when he said he wanted to direct Rocky II. Luckily, Rocky was such a success and the producers knew he was largely the man behind it, so they gave him another chance. Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Stallone’s 1979 film Rocky II.

We talk about how this film fixes some of the issues we had with the previous film, but also how it has some new problems of its own. We look at what Stallone is doing as a director and what we think about him in that role. We chat about the returning cast – notably Paulie, Adrian and Creed – and look at how their roles have evolved. We chat about Bill Butler’s cinematography, Bill Conti’s cinematography and more. And we dig into the final fight to really see what makes it work so well.

It’s a solid entry into the franchise and a great follow-up to the previous film. We have a great conversation about it so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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]]> "You got the heart, but you ain’t got the tools no more."

Sylvester Stallone’s directorial debut, Paradise Alley, was a flop and the studio didn’t want to give him another shot when he said he wanted to direct Rocky II. Luckily, Rocky was such a success and the producers knew he was largely the man behind it, so they gave him another chance. Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Stallone’s 1979 film Rocky II.

We talk about how this film fixes some of the issues we had with the previous film, but also how it has some new problems of its own. We look at what Stallone is doing as a director and what we think about him in that role. We chat about the returning cast – notably Paulie, Adrian and Creed – and look at how their roles have evolved. We chat about Bill Butler’s cinematography, Bill Conti’s cinematography and more. And we dig into the final fight to really see what makes it work so well.

It’s a solid entry into the franchise and a great follow-up to the previous film. We have a great conversation about it so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 31 Jan 2019 06:00:00 -0800 The Next Reel The Next Reel 3937 Can the sequel hold its own to its predecessor? Do the characters grow and evolve in new ways? How are the fights? Tune in to this week’s show to get these answers and more! Can the sequel hold its own to its predecessor? Do the characters grow and evolve in new ways? How are the fights? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Rocky • The Next Reel 8 8 26 26 Rocky • The Next Reel full fe1cee79-95f5-4e07-8339-259301ca4af4 https://share.transistor.fm/s/5035b129 "All I wanna do is go the distance."

Sylvester Stallone pretty much embodies everything about the character Rocky Balboa that he created for the film Rocky. He’s someone who wanted to go the distance, and may not have won but proved that he had the determination and stamina to really persevere in the long haul. And what’s interesting about the first film in the Rocky franchise is that it’s more a 70s character study than it really is a boxing film. Join us – Pete Wright and Andy Nelson – as we kick off our look into the films of the Rocky franchise with John G. Avildsen’s 1976 film Rocky.

We talk about how we went into the film and our histories with the franchise. We look at what the film is doing here and how it fits so well into 70s cinema, with boxing matches only bookending the story. We talk about Stallone as writer and the titular character and why this character is so endearing. We also talk about the characters around him – Adrian, Paulie, Mickey and of course Apollo Creed – and the wonderful actors playing the roles. We discuss Bill Conti’s iconic score. And we examine why this film hit so big at the time, both financially and in the awards circuits.

It’s an iconic sports movie that’s more about determination than anything, and it’s a great way to kick off this new year and new series. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, the conversation begins.

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]]> "All I wanna do is go the distance."

Sylvester Stallone pretty much embodies everything about the character Rocky Balboa that he created for the film Rocky. He’s someone who wanted to go the distance, and may not have won but proved that he had the determination and stamina to really persevere in the long haul. And what’s interesting about the first film in the Rocky franchise is that it’s more a 70s character study than it really is a boxing film. Join us – Pete Wright and Andy Nelson – as we kick off our look into the films of the Rocky franchise with John G. Avildsen’s 1976 film Rocky.

We talk about how we went into the film and our histories with the franchise. We look at what the film is doing here and how it fits so well into 70s cinema, with boxing matches only bookending the story. We talk about Stallone as writer and the titular character and why this character is so endearing. We also talk about the characters around him – Adrian, Paulie, Mickey and of course Apollo Creed – and the wonderful actors playing the roles. We discuss Bill Conti’s iconic score. And we examine why this film hit so big at the time, both financially and in the awards circuits.

It’s an iconic sports movie that’s more about determination than anything, and it’s a great way to kick off this new year and new series. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, the conversation begins.

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

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]]> Thu, 24 Jan 2019 06:00:00 -0800 The Next Reel The Next Reel 4310 How well does this film hold up over four decades since its release? Does Stallone do well at double duty as writer and actor? And is this really a boxing movie or a 70s character piece? Tune in to this week’s show to get these answers and more! How well does this film hold up over four decades since its release? Does Stallone do well at double duty as writer and actor? And is this really a boxing movie or a 70s character piece? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Romeo and Juliet • The Next Reel 8 8 25 25 Romeo and Juliet • The Next Reel full fd8ddefe-5375-4ff1-9081-51165fff33e1 https://share.transistor.fm/s/3b7180db "Parting is such sweet sorrow."

The works of William Shakespeare have been adapted to the screen more times than any other author, and ‘Romeo and Juliet’ is way up there with at least 44 direct screen versions and even more adaptations (West Side Story, anyone?). It speaks to the way that Shakespeare still speaks to the populace, or at least to the number of filmmakers who want to make their own mark cinematically with the Bard’s words. To that end, Franco Zeffirelli’s 1968 version stands out largely because of the youth of the title couple. These young lovers caught the social unrest at the time and made a big splash on the big screen. But how well does it hold up today? Join us – Pete Wright and Andy Nelson – as we close out our celebration of films from 1968 celebrating their 50th anniversaries with Zeffirelli’s second Shakespeare adaptation – Romeo and Juliet.

We talk about our feelings about Shakespeare in general and this play specifically and how those feelings likely shaped our viewing of it. We look at the performances of Leonard Whiting and Olivia Hussey as the teen lovers and why they largely work for us. We chat about the feel of the film and if the cinematography, locations, costumes and production design help give us a feel of this world. And we debate not only this film’s place in the award season discussions of the year but also close out this overarching 1968 series with a look back at everything we’ve discussed and what, if anything, we’d change about the award recognition.

It’s a good adaptation of the Bard’s tale and allows for a spirited discussion. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> "Parting is such sweet sorrow."

The works of William Shakespeare have been adapted to the screen more times than any other author, and ‘Romeo and Juliet’ is way up there with at least 44 direct screen versions and even more adaptations (West Side Story, anyone?). It speaks to the way that Shakespeare still speaks to the populace, or at least to the number of filmmakers who want to make their own mark cinematically with the Bard’s words. To that end, Franco Zeffirelli’s 1968 version stands out largely because of the youth of the title couple. These young lovers caught the social unrest at the time and made a big splash on the big screen. But how well does it hold up today? Join us – Pete Wright and Andy Nelson – as we close out our celebration of films from 1968 celebrating their 50th anniversaries with Zeffirelli’s second Shakespeare adaptation – Romeo and Juliet.

We talk about our feelings about Shakespeare in general and this play specifically and how those feelings likely shaped our viewing of it. We look at the performances of Leonard Whiting and Olivia Hussey as the teen lovers and why they largely work for us. We chat about the feel of the film and if the cinematography, locations, costumes and production design help give us a feel of this world. And we debate not only this film’s place in the award season discussions of the year but also close out this overarching 1968 series with a look back at everything we’ve discussed and what, if anything, we’d change about the award recognition.

It’s a good adaptation of the Bard’s tale and allows for a spirited discussion. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 17 Jan 2019 06:00:00 -0800 The Next Reel The Next Reel 4053 Is it better or worse casting actual teenagers to play the title roles? How well does Zeffirelli handle the Bard? What are we really looking for in adaptations of this story anyway? Tune in to this week’s show to find out these answers and more! Is it better or worse casting actual teenagers to play the title roles? How well does Zeffirelli handle the Bard? What are we really looking for in adaptations of this story anyway? Tune in to this week’s show to find out these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Rachel, Rachel • The Next Reel 8 8 24 24 Rachel, Rachel • The Next Reel full 7828336d-c4ca-411e-af75-a350b9145971 https://share.transistor.fm/s/f536f1a0 "We’re all fools. You can’t be part of the human race and not be a fool to somebody."

Paul Newman and Joanne Woodward had already been married for a decade before Newman decided to make his directorial debut with Woodward as his star in 1968’s Rachel, Rachel. The film was a small character piece that likely garnered box office and awards attention because of the caliber of those two people heading it up. It was nominated for Best Picture in 1968, but seems to be largely lost in time these days. How well does it hold up today? Is it worth looking at? Join us – Pete Wright and Andy Nelson – as we continue looking at and celebrating 50th anniversaries of films from 1968 with our series on the Best Picture nominees of that year by talking about Newman’s film Rachel, Rachel.

We talk about why we think the film largely is forgotten these days, what works with it and what doesn’t. We look at Woodward’s performance, clearly a performance that stands out as the principal reason to look at the film. We chat about the other performances in the film, notably Estelle Parsons as Rachel’s friend, and what they bring to the table. We look at what Newman does as a director and talk about how well it works when paired with the cinematography and editing. And we debate what awards and nominations we would’ve bestowed on it if it was up to us.

It’s an interesting film to look at for context of the time, but doesn’t stand out as something worth looking at for anything more than that. Still, it allows for a great conversation, so tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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]]> "We’re all fools. You can’t be part of the human race and not be a fool to somebody."

Paul Newman and Joanne Woodward had already been married for a decade before Newman decided to make his directorial debut with Woodward as his star in 1968’s Rachel, Rachel. The film was a small character piece that likely garnered box office and awards attention because of the caliber of those two people heading it up. It was nominated for Best Picture in 1968, but seems to be largely lost in time these days. How well does it hold up today? Is it worth looking at? Join us – Pete Wright and Andy Nelson – as we continue looking at and celebrating 50th anniversaries of films from 1968 with our series on the Best Picture nominees of that year by talking about Newman’s film Rachel, Rachel.

We talk about why we think the film largely is forgotten these days, what works with it and what doesn’t. We look at Woodward’s performance, clearly a performance that stands out as the principal reason to look at the film. We chat about the other performances in the film, notably Estelle Parsons as Rachel’s friend, and what they bring to the table. We look at what Newman does as a director and talk about how well it works when paired with the cinematography and editing. And we debate what awards and nominations we would’ve bestowed on it if it was up to us.

It’s an interesting film to look at for context of the time, but doesn’t stand out as something worth looking at for anything more than that. Still, it allows for a great conversation, so tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 10 Jan 2019 06:00:00 -0800 The Next Reel The Next Reel 3497 Is there more to the film than a great central performance by Joanne Woodward? Can Paul Newman direct? Would Estelle Parsons’ character have made a better character to follow? Tune in to this week’s show to get these answers and more! Is there more to the film than a great central performance by Joanne Woodward? Can Paul Newman direct? Would Estelle Parsons’ character have made a better character to follow? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Oliver! • The Next Reel 8 8 23 23 Oliver! • The Next Reel full f2db10e4-d45f-4343-804d-a642667882b5 https://share.transistor.fm/s/34698250 "You raised an artificial spirit in the lad unbecoming to his station in life. This would never have happened if you kept him on gruel."

Film adaptations of Charles Dickens’ works almost seem as common as Shakespeare’s works. It’s even quite possible that certain stories of his may have been adapted for the screen more frequently than some from the Bard. When Carol Reed brought Lionel Bart’s musical stage adaptation to the big screen in 1968, the time was ripe for it. Audiences and critics loved it. The film won a bunch of Oscars. It made a bunch of money. But how well does it hold up 50 years later? Join us – Pete Wright and Andy Nelson – as we continue our look at films nominated for Best Picture at the Oscars 50 years ago, this time with Reed’s 1968 film Oliver!.

We talk about our struggles with this film this go-around. We discuss the adaptations of “Oliver Twist” to the screen and where this fits… and discuss where it succeeds and fails in its translation. We chat about the actors that bring it to life and the technicians that create this world. And, of course, we talk about the music.

It’s a fun film but not one we think merits an Oscar for Best Picture. Still, it’s definitely worth talking about, so tune in to this week’s show to get in on the conversation! The Next Reel – when the movie ends, our conversation begins!

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]]> "You raised an artificial spirit in the lad unbecoming to his station in life. This would never have happened if you kept him on gruel."

Film adaptations of Charles Dickens’ works almost seem as common as Shakespeare’s works. It’s even quite possible that certain stories of his may have been adapted for the screen more frequently than some from the Bard. When Carol Reed brought Lionel Bart’s musical stage adaptation to the big screen in 1968, the time was ripe for it. Audiences and critics loved it. The film won a bunch of Oscars. It made a bunch of money. But how well does it hold up 50 years later? Join us – Pete Wright and Andy Nelson – as we continue our look at films nominated for Best Picture at the Oscars 50 years ago, this time with Reed’s 1968 film Oliver!.

We talk about our struggles with this film this go-around. We discuss the adaptations of “Oliver Twist” to the screen and where this fits… and discuss where it succeeds and fails in its translation. We chat about the actors that bring it to life and the technicians that create this world. And, of course, we talk about the music.

It’s a fun film but not one we think merits an Oscar for Best Picture. Still, it’s definitely worth talking about, so tune in to this week’s show to get in on the conversation! The Next Reel – when the movie ends, our conversation begins!

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 Jan 2019 06:00:00 -0800 The Next Reel The Next Reel 3419 Do the songs hold up? How strong of an adaptation is this of “Oliver Twist?” Did it deserve to win the Best Picture of 1968 Oscar? Tune in to this week’s show to get these answers and more! Do the songs hold up? How strong of an adaptation is this of “Oliver Twist?” Did it deserve to win the Best Picture of 1968 Oscar? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Lion In Winter • The Next Reel 8 8 22 22 The Lion In Winter • The Next Reel full 7fb0fb05-b3a0-43e4-a984-a26211deb900 https://share.transistor.fm/s/d552d8d2 "What family doesn’t have its ups and downs?"

British royalty is full of fascinating tales of power, conspiracies, distrust, and greed. They make such great characters that actors relish the opportunities to play them, sometimes even playing the same character more than once. Peter O’Toole certainly jumped at the chance when he read the script for The Lion in Winter based on the play. Having already played Henry II in Beckett a few years earlier, he seemed eager to dig back into the king’s life with this film. Join us – Pete Wright and Andy Nelson – as we continue celebrating films from 1968 celebrating their 50th anniversaries with a new series looking at the films that were nominated for Best Picture that year. How well do they hold up? Are they still relevant? Dated? Or boring? We kick this new series off with Anthony Harvey’s 1968 film The Lion in Winter.

We talk about the the messy world of this royal family and how angry everyone seems to be all the time. We look at elements of the film that immerse us fully in the world – the sets, the costumes, the production design – and those that pull us out, reminding us we’re in the 60s – those awful zooms. We chat about the wonderful – and wonderfully big – performances of O’Toole, Katherine Hepburn, Anthony Hopkins, Timothy Dalton, and more. And we touch on how much of this story is fiction versus fact, and if that helps or hurts the film.

It’s an interesting film with some powerhouse performances that certainly provides lots of fodder for a conversation, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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]]> "What family doesn’t have its ups and downs?"

British royalty is full of fascinating tales of power, conspiracies, distrust, and greed. They make such great characters that actors relish the opportunities to play them, sometimes even playing the same character more than once. Peter O’Toole certainly jumped at the chance when he read the script for The Lion in Winter based on the play. Having already played Henry II in Beckett a few years earlier, he seemed eager to dig back into the king’s life with this film. Join us – Pete Wright and Andy Nelson – as we continue celebrating films from 1968 celebrating their 50th anniversaries with a new series looking at the films that were nominated for Best Picture that year. How well do they hold up? Are they still relevant? Dated? Or boring? We kick this new series off with Anthony Harvey’s 1968 film The Lion in Winter.

We talk about the the messy world of this royal family and how angry everyone seems to be all the time. We look at elements of the film that immerse us fully in the world – the sets, the costumes, the production design – and those that pull us out, reminding us we’re in the 60s – those awful zooms. We chat about the wonderful – and wonderfully big – performances of O’Toole, Katherine Hepburn, Anthony Hopkins, Timothy Dalton, and more. And we touch on how much of this story is fiction versus fact, and if that helps or hurts the film.

It’s an interesting film with some powerhouse performances that certainly provides lots of fodder for a conversation, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 27 Dec 2018 06:00:00 -0800 The Next Reel The Next Reel 3722 How well do O’Toole and Hepburn do playing royalty? Are there any happy people in 1183? How did England survive these rulers? Tune in to this week’s show to hear us chat about The Lion in Winter! How well do O’Toole and Hepburn do playing royalty? Are there any happy people in 1183? How did England survive these rulers? Tune in to this week’s show to hear us chat about The Lion in Winter! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Producers (2005) • The Next Reel 8 8 21 21 The Producers (2005) • The Next Reel full 1151dd28-bcc7-4354-ad54-a46ece4f8085 https://share.transistor.fm/s/01ca80f2 "I’m the German Ethel Merman, don’tcha know!?"

Adapting a non-musical into a Broadway musical into a film musical takes a lot of work, but Mel Brooks clearly had the gumption to do it, and was successful most of the way along. His Broadway adaptation of 1968’s The Producers was a massive hit with records that still haven’t been broken. The question, then, is why the film adaptation of that hit floundered at the box office? It’s a tricky question and as is almost always the case, there really isn’t a clear answer. Join us – Pete Wright and Andy Nelson – as we look at Susan Stroman’s 2005 film The Producers.

We talk about why Stroman – the Broadway director/choreographer – is on board as the director and look at if that really makes any sense, especially considering some of our issues with the direction. We debate the difference between big, comedic performances and ones that are over-the-top, trying to decide why we feel differently with Will Ferrell’s and Kenneth Mars’ performances as Fritz. We discuss the script and some of our struggles with elements that were left nearly identical from the original. And we review some of our favorite performers and songs.

It’s a fun film, even if it ends up struggling under its own weight. We have a great conversation about it all the same, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> "I’m the German Ethel Merman, don’tcha know!?"

Adapting a non-musical into a Broadway musical into a film musical takes a lot of work, but Mel Brooks clearly had the gumption to do it, and was successful most of the way along. His Broadway adaptation of 1968’s The Producers was a massive hit with records that still haven’t been broken. The question, then, is why the film adaptation of that hit floundered at the box office? It’s a tricky question and as is almost always the case, there really isn’t a clear answer. Join us – Pete Wright and Andy Nelson – as we look at Susan Stroman’s 2005 film The Producers.

We talk about why Stroman – the Broadway director/choreographer – is on board as the director and look at if that really makes any sense, especially considering some of our issues with the direction. We debate the difference between big, comedic performances and ones that are over-the-top, trying to decide why we feel differently with Will Ferrell’s and Kenneth Mars’ performances as Fritz. We discuss the script and some of our struggles with elements that were left nearly identical from the original. And we review some of our favorite performers and songs.

It’s a fun film, even if it ends up struggling under its own weight. We have a great conversation about it all the same, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> Thu, 20 Dec 2018 06:00:00 -0800 The Next Reel The Next Reel 3904 Did the stage musical need to have a film remake? How do Nathan Lane and Matthew Broderick at creating unique performances? Do Will Ferrell and Uma Thurman belong here? Tune in to this week’s show to find out these answers and more. Did the stage musical need to have a film remake? How do Nathan Lane and Matthew Broderick at creating unique performances? Do Will Ferrell and Uma Thurman belong here? Tune in to this week’s show to find out these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Producers (1968) • The Next Reel 8 8 20 20 The Producers (1968) • The Next Reel full 0e8e4fba-3bbc-4d19-95cc-a874798c690c https://share.transistor.fm/s/2f77b5b1 "How could this happen? I was so careful! I picked the wrong play, the wrong director, the wrong cast – where did I go right?"

Mel Brooks got his start doing stand-up comedy and as a TV writer, but he finally got his chance to direct a feature film when he read his script The Producers to producer Sidney Glazier, who wanted to make it right away. Once the film was made, however, the backers were nervous about the film and wanted to shelf it. It took an accidental screening by actor Peter Sellers to champion the film, which eventually led to its official release. Join us – Pete Wright and Andy Nelson – as we continue our celebration of films from 1968 celebrating their 50th anniversaries with another Movies and Their Remakes series, this time looking at Brooks’ The Producers.

We talk about why the film works, and why it actually works this time for Andy. We look at the relationship between Bloom and Bialystock and how it got there through the great performances by Gene Wilder and Zero Mostel. We discuss the other actors and what they’re bringing to the table. We see what Brooks does as director and chat about how well it works. And we debate the musical element and if it should’ve been nominated for an Oscar.

We’re glad to have revisited this film and had a great time talking about it. Check it out then tune in! The Next Reel – When the movie ends, our conversation begins.

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

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]]> "How could this happen? I was so careful! I picked the wrong play, the wrong director, the wrong cast – where did I go right?"

Mel Brooks got his start doing stand-up comedy and as a TV writer, but he finally got his chance to direct a feature film when he read his script The Producers to producer Sidney Glazier, who wanted to make it right away. Once the film was made, however, the backers were nervous about the film and wanted to shelf it. It took an accidental screening by actor Peter Sellers to champion the film, which eventually led to its official release. Join us – Pete Wright and Andy Nelson – as we continue our celebration of films from 1968 celebrating their 50th anniversaries with another Movies and Their Remakes series, this time looking at Brooks’ The Producers.

We talk about why the film works, and why it actually works this time for Andy. We look at the relationship between Bloom and Bialystock and how it got there through the great performances by Gene Wilder and Zero Mostel. We discuss the other actors and what they’re bringing to the table. We see what Brooks does as director and chat about how well it works. And we debate the musical element and if it should’ve been nominated for an Oscar.

We’re glad to have revisited this film and had a great time talking about it. Check it out then tune in! The Next Reel – When the movie ends, our conversation begins.

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

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]]> Thu, 13 Dec 2018 06:00:00 -0800 The Next Reel The Next Reel 3908 How well do Zero Mostel and Gene Wilder work with each other? Does the musical element hold up? How about the comedy? Tune in to this week’s episode to find out these answers and more! How well do Zero Mostel and Gene Wilder work with each other? Does the musical element hold up? How about the comedy? Tune in to this week’s episode to find out these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Thomas Crown Affair (1999) • The Next Reel 8 8 19 19 The Thomas Crown Affair (1999) • The Next Reel full 51f8b7c7-edc1-445a-b857-86a058d7bd23 https://share.transistor.fm/s/212fc862 "You really think there’s ‘happy ever after’ for people like us?"

With his successful start as James Bond, Pierce Brosnan thought he’d try his hand at producing, and after a small film for their first test outing, he and producing partner Beau St. Clair opted to remake the McQueen/Dunaway heist classic The Thomas Crown Affair. For many people, it’s the definitive version of the story. But how well does it hold up when viewed next to the original? Join us – Pete Wright and Andy Nelson – as we continue our Movies and Their Remakes series with John McTiernan’s 1999 film The Thomas Crown Affair.

We talk about the similarities and differences between the two films, and why some elements, like the heist, work better in the original film. We look at the pairing of Pierce Brosnan and Rene Russo and talk about how the great chemistry they carry here. We discuss the story additions by McTiernan and why they don’t work for us. We touch on the casting of Faye Dunaway as the title character’s therapist and why we struggle with that. And we debate whether the addition of nudity and sex scenes can replace the sexually charged chess game.

It’s a film that doesn’t hold up as well on this viewing, but is still fun. We have a great time chatting about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> "You really think there’s ‘happy ever after’ for people like us?"

With his successful start as James Bond, Pierce Brosnan thought he’d try his hand at producing, and after a small film for their first test outing, he and producing partner Beau St. Clair opted to remake the McQueen/Dunaway heist classic The Thomas Crown Affair. For many people, it’s the definitive version of the story. But how well does it hold up when viewed next to the original? Join us – Pete Wright and Andy Nelson – as we continue our Movies and Their Remakes series with John McTiernan’s 1999 film The Thomas Crown Affair.

We talk about the similarities and differences between the two films, and why some elements, like the heist, work better in the original film. We look at the pairing of Pierce Brosnan and Rene Russo and talk about how the great chemistry they carry here. We discuss the story additions by McTiernan and why they don’t work for us. We touch on the casting of Faye Dunaway as the title character’s therapist and why we struggle with that. And we debate whether the addition of nudity and sex scenes can replace the sexually charged chess game.

It’s a film that doesn’t hold up as well on this viewing, but is still fun. We have a great time chatting about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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 Dec 2018 06:00:00 -0800 The Next Reel The Next Reel 3936 Does the pairing of Brosnan and Russo match the chemistry of McQueen and Dunaway in the original? How does the heist hold up? And what’s cooler – dune buggie or glider? Tune in to this week’s show to get these answers and more. Does the pairing of Brosnan and Russo match the chemistry of McQueen and Dunaway in the original? How does the heist hold up? And what’s cooler – dune buggie or glider? Tune in to this week’s show to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Thomas Crown Affair (1968) • The Next Reel 8 8 18 18 The Thomas Crown Affair (1968) • The Next Reel full 3d917d52-ff46-4198-bfaf-2409e089d11a https://share.transistor.fm/s/7940eb05 "Do you play?"

Norman Jewison had worked with Steve McQueen on the film The Cincinnati Kid, so it was natural for him to immediately think of McQueen in the title role of The Thomas Crown Affair when he got the script. Luckily for him, McQueen was interested, as the part was vastly different from other types of people he’d played in the past. He worked opposite Faye Dunaway in her second major leading role, and the two created some amazing screen chemistry. Join us – Pete Wright and Andy Nelson – as we continue celebrating films from 1968 celebrating their 50th anniversaries as we kick off our 2018 Movies and Their Remakes series with Jewison’s The Thomas Crown Affair.

We talk about the vibe of the film and look at how it fits in the late 60s, both in the world of cinema and in the world in general. We look at McQueen and Dunaway and how well they work together, even if the script by Alan Trustman seems a bit simple. We look at the jazzy way Jewison put the film together with cinematographer Haskell Wexler and editor Hal Ashby. We also discuss Pablo Ferro’s amazing contribution to the film through the magic of the multi-screen images seen throughout. And we talk about the film and how it was largely filmed in Boston, the first major film to do so.

It’s a fun film that is a breeze to watch even if it’s a bit light on content, we still have a great time talking about it. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> "Do you play?"

Norman Jewison had worked with Steve McQueen on the film The Cincinnati Kid, so it was natural for him to immediately think of McQueen in the title role of The Thomas Crown Affair when he got the script. Luckily for him, McQueen was interested, as the part was vastly different from other types of people he’d played in the past. He worked opposite Faye Dunaway in her second major leading role, and the two created some amazing screen chemistry. Join us – Pete Wright and Andy Nelson – as we continue celebrating films from 1968 celebrating their 50th anniversaries as we kick off our 2018 Movies and Their Remakes series with Jewison’s The Thomas Crown Affair.

We talk about the vibe of the film and look at how it fits in the late 60s, both in the world of cinema and in the world in general. We look at McQueen and Dunaway and how well they work together, even if the script by Alan Trustman seems a bit simple. We look at the jazzy way Jewison put the film together with cinematographer Haskell Wexler and editor Hal Ashby. We also discuss Pablo Ferro’s amazing contribution to the film through the magic of the multi-screen images seen throughout. And we talk about the film and how it was largely filmed in Boston, the first major film to do so.

It’s a fun film that is a breeze to watch even if it’s a bit light on content, we still have a great time talking about it. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 29 Nov 2018 05:00:00 -0800 The Next Reel The Next Reel 3600 How well do Steve McQueen and Faye Dunaway work together? What was the inspiration for the multi-screen images? Has there ever been a sexier game of chess played? Tune in to this week’s show to get answers to these questions and more! How well do Steve McQueen and Faye Dunaway work together? What was the inspiration for the multi-screen images? Has there ever been a sexier game of chess played? Tune in to this week’s show to get answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Once Upon A Time In America • The Next Reel 8 8 17 17 Once Upon A Time In America • The Next Reel full 48cf7b87-b6c5-4b9f-bfb6-3c8efd6ef79c https://share.transistor.fm/s/74981507 "I like the stink of the streets. It makes me feel good."

By the time Sergio Leone got the cameras rolling on what would turn out to be his last film, nearly thirteen years had passed since he last sat behind the camera. If anyone expected a filmmaker with rusty skills however, they certainly didn’t get that. Leone was as masterful a filmmaker as he was in decades past. Join us – Pete Wright and Andy Nelson – as we wrap up our celebration of Leone’s Once Upon a Time trilogy with his 1984 film Once Upon a Time in America.

We talk about the length of this film and how that affects our viewings of it. We look at the story and explore how it’s a very Leone look at the world with male criminals making their ways through the world. We chat about some of the cast, notably Robert De Niro and James Woods, and look at what they’re bringing to the table. We touch on Ennio Morricone’s masterful score and compare it with the other films in this trilogy. And we look at the mess of edits this film went through on its journey to theaters.

It’s a fascinating (and lengthy) film that we have a great time exploring and discussing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> "I like the stink of the streets. It makes me feel good."

By the time Sergio Leone got the cameras rolling on what would turn out to be his last film, nearly thirteen years had passed since he last sat behind the camera. If anyone expected a filmmaker with rusty skills however, they certainly didn’t get that. Leone was as masterful a filmmaker as he was in decades past. Join us – Pete Wright and Andy Nelson – as we wrap up our celebration of Leone’s Once Upon a Time trilogy with his 1984 film Once Upon a Time in America.

We talk about the length of this film and how that affects our viewings of it. We look at the story and explore how it’s a very Leone look at the world with male criminals making their ways through the world. We chat about some of the cast, notably Robert De Niro and James Woods, and look at what they’re bringing to the table. We touch on Ennio Morricone’s masterful score and compare it with the other films in this trilogy. And we look at the mess of edits this film went through on its journey to theaters.

It’s a fascinating (and lengthy) film that we have a great time exploring and discussing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 22 Nov 2018 06:00:00 -0800 The Next Reel The Next Reel 4213 Does Leone’s final film need to be this long? How does the story feel compared to his other films? Is this one of Ennio Morricone’s best scores? Tune in to this week’s shows to get these answers and more. Does Leone’s final film need to be this long? How does the story feel compared to his other films? Is this one of Ennio Morricone’s best scores? Tune in to this week’s shows to get these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Duck, You Sucker! • The Next Reel 8 8 16 16 Duck, You Sucker! • The Next Reel full 360f6997-f087-4dfb-928f-f8bd2f47f63e https://share.transistor.fm/s/8b065468 "If it’s a revolution, it’s confusion. Where there’s confusion, a man who knows what he wants stands a good chance of getting it."

Sergio Leone really wanted to produce his next film after his western opus Once Upon a Time in the West, but unfortunately, no one would have it. They wanted him in the director’s chair. His reticence, paired with his delay in taking the reins, perhaps reflect in the output of his film Duck, You Sucker!, aka A Fistful of Dynamite, aka Once Upon a Time… The Revolution. It’s messier than his other films. It feels a bit more disorganized. And it feels a bit more political, which is strange coming from a filmmaker saying he doesn’t want to be political in his films. Join us – Pete Wright and Andy Nelson – as we continue celebrating Leone’s Once Upon a Time trilogy with his 1971 film, Duck, You Sucker!.

We talk about why this film feels so different from his others and parse out what works here and what doesn’t. We look at the cast – notably Rod Steiger and James Coburn – and chat about their bad accents and what else they’re bringing to the table. (We also dig into the casting process to look at how they each got their roles.) We look at Ennio Morricone’s score and argue about whether it works or not. And we talk about the shifting tones within the film and debate if it works the way it’s constructed.

It’s a frustrating yet enjoyable film and certainly is one that gives us a lot of fodder for conversation. Check out the movie then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> "If it’s a revolution, it’s confusion. Where there’s confusion, a man who knows what he wants stands a good chance of getting it."

Sergio Leone really wanted to produce his next film after his western opus Once Upon a Time in the West, but unfortunately, no one would have it. They wanted him in the director’s chair. His reticence, paired with his delay in taking the reins, perhaps reflect in the output of his film Duck, You Sucker!, aka A Fistful of Dynamite, aka Once Upon a Time… The Revolution. It’s messier than his other films. It feels a bit more disorganized. And it feels a bit more political, which is strange coming from a filmmaker saying he doesn’t want to be political in his films. Join us – Pete Wright and Andy Nelson – as we continue celebrating Leone’s Once Upon a Time trilogy with his 1971 film, Duck, You Sucker!.

We talk about why this film feels so different from his others and parse out what works here and what doesn’t. We look at the cast – notably Rod Steiger and James Coburn – and chat about their bad accents and what else they’re bringing to the table. (We also dig into the casting process to look at how they each got their roles.) We look at Ennio Morricone’s score and argue about whether it works or not. And we talk about the shifting tones within the film and debate if it works the way it’s constructed.

It’s a frustrating yet enjoyable film and certainly is one that gives us a lot of fodder for conversation. Check out the movie then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 15 Nov 2018 06:00:00 -0800 The Next Reel The Next Reel 3465 How does this film fit thematically with the other Once Upon a Time films? How are Rod Steiger and James Coburn in the film? And have you ever seen such disgusting, ugly eating? Tune in to this week’s show to get the answers to these questions and more. How does this film fit thematically with the other Once Upon a Time films? How are Rod Steiger and James Coburn in the film? And have you ever seen such disgusting, ugly eating? Tune in to this week’s show to get the answers to these questions and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Once Upon A Time In The West • The Next Reel 8 8 15 15 Once Upon A Time In The West • The Next Reel full ea2d5757-b3be-4003-a1b1-001364e1ea1c https://share.transistor.fm/s/812e05c0 "You don’t sell the dream of a lifetime."

Sergio Leone didn’t want to return to westerns after his Man With No Name trilogy – he already felt like made his western epic and wanted to move on to something else. When Paramount offered him a three picture deal with a big budget AND Henry Fonda though, he couldn’t pass it up and he found himself returning to the well once again. But would it work as well as his previous films did? Join us – Pete Wright and Andy Nelson – as we continue our celebration of films and series from 1968 by digging into Leone’s Once Upon a Time trilogy, starting it off in 1968 with his western masterpiece Once Upon a Time in the West.

We talk about why Leone decided to get back into westerns and how he and collaborators Bernardo Bertolucci and Dario Argento infused the project with elements from countless of their favorite westerns. We look at the patience of Leone’s storytelling and why it works so well here. We discuss the key actors – Henry Fonda, Charles Bronson, Claudia Cardinale and Jason Robards – and look at what they each bring to the table. We chat about Ennio Morricone and his themes for each of the principal characters and the luxury of having pre-recorded score to play on set. And we look at some of the marvelous locations they film in and why they work so well to create this western world.

It’s a strong entry into the western genre and into Leone’s oeuvre, and is a film we have a great time watching and discussing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> "You don’t sell the dream of a lifetime."

Sergio Leone didn’t want to return to westerns after his Man With No Name trilogy – he already felt like made his western epic and wanted to move on to something else. When Paramount offered him a three picture deal with a big budget AND Henry Fonda though, he couldn’t pass it up and he found himself returning to the well once again. But would it work as well as his previous films did? Join us – Pete Wright and Andy Nelson – as we continue our celebration of films and series from 1968 by digging into Leone’s Once Upon a Time trilogy, starting it off in 1968 with his western masterpiece Once Upon a Time in the West.

We talk about why Leone decided to get back into westerns and how he and collaborators Bernardo Bertolucci and Dario Argento infused the project with elements from countless of their favorite westerns. We look at the patience of Leone’s storytelling and why it works so well here. We discuss the key actors – Henry Fonda, Charles Bronson, Claudia Cardinale and Jason Robards – and look at what they each bring to the table. We chat about Ennio Morricone and his themes for each of the principal characters and the luxury of having pre-recorded score to play on set. And we look at some of the marvelous locations they film in and why they work so well to create this western world.

It’s a strong entry into the western genre and into Leone’s oeuvre, and is a film we have a great time watching and discussing. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 08 Nov 2018 06:00:00 -0800 The Next Reel The Next Reel 4054 Does Leone’s fourth western stand up to his earlier trilogy? How is Henry Fonda as the baddie? Can Leone handle a woman being one of the main characters? Tune in to this week’s show to hear these answers and more. Does Leone’s fourth western stand up to his earlier trilogy? How is Henry Fonda as the baddie? Can Leone handle a woman being one of the main characters? Tune in to this week’s show to hear these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Day of the Dead • The Next Reel 8 8 14 14 Day of the Dead • The Next Reel full 399bcf26-f20a-481b-a3ee-d3eca0d86ba8 https://share.transistor.fm/s/43836048 "Choke on ‘em! Choke on ‘em!"

When George Romero set out to make his final film in his original zombie trilogy, he had to cut his script back quite a bit to fit the budget he was given. While he said he still told the story he set out to tell, it leaves you wondering what elements of his story might have fallen by the wayside. Join us – Pete Wright and Andy Nelson – as we wrap up our the 50th anniversary celebration series on Romero’s Dead trilogy with his 1985 film Day of the Dead.

We talk about some of the elements that date this film, notably John Harrison’s score, and how they affect the film. We discuss some of the big acting in several of the key roles and if they work for us or not. We look at the various performers and what they bring to the table. We chat about the locations used and why they work for us. And we dig into Tom Savini’s horribly awesome effects and what we think of them (not to mention telling the infamous story of the pig intestines).

It’s definitely a gory film that isn’t for everybody, but it’s great to revisit with the others in the trilogy. We have a great time talking about it, so check it out then tune in to this week’s show!

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

Film Sundries

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]]> "Choke on ‘em! Choke on ‘em!"

When George Romero set out to make his final film in his original zombie trilogy, he had to cut his script back quite a bit to fit the budget he was given. While he said he still told the story he set out to tell, it leaves you wondering what elements of his story might have fallen by the wayside. Join us – Pete Wright and Andy Nelson – as we wrap up our the 50th anniversary celebration series on Romero’s Dead trilogy with his 1985 film Day of the Dead.

We talk about some of the elements that date this film, notably John Harrison’s score, and how they affect the film. We discuss some of the big acting in several of the key roles and if they work for us or not. We look at the various performers and what they bring to the table. We chat about the locations used and why they work for us. And we dig into Tom Savini’s horribly awesome effects and what we think of them (not to mention telling the infamous story of the pig intestines).

It’s definitely a gory film that isn’t for everybody, but it’s great to revisit with the others in the trilogy. We have a great time talking about it, so check it out then tune in to this week’s show!

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 Nov 2018 06:00:00 -0700 The Next Reel The Next Reel 3773 How does Romero’s final zombie film in his original trilogy hold up when compared to the other two? Do Tom Savini’s effects hold up? What about the story and acting? Tune in to this week’s show to get the answers to these questions and more! How does Romero’s final zombie film in his original trilogy hold up when compared to the other two? Do Tom Savini’s effects hold up? What about the story and acting? Tune in to this week’s show to get the answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Dawn of the Dead • The Next Reel 8 8 13 13 Dawn of the Dead • The Next Reel full 77d7846d-3703-41bc-bba4-34f4e9e613fb https://share.transistor.fm/s/2b41959d "They’re after the place. They don’t know why, they just remember – remember that they want to be in here."

It took George A. Romero 10 years to get back to the world of zombies that he’d created in 1968, and largely that was because he wasn’t that interested to return initially. It took a tour of a new local shopping mall and a call from Dario Argento to push him in the right direction. With his interest renewed, Romero and team went on to make one of the seminal zombie films – one that dealt with themes of the time and was riddled with fantastic makeup effects created by Tom Savini. Join us – Pete Wright and Andy Nelson – as we continue our Dead trilogy series with Romero’s 1978 film Dawn of the Dead.

We look at the themes Romero is tackling in this film and how those, paired with the story, allow for a wonderfully unique, funny and campy horror film. We talk about Savini and some of the amazing effects he achieved here. We discuss how the film came to be and why the word ‘living’ was not in the title. And we touch on the library tracks that fill the film and how Argento’s international cuts replaced much of it with score provided by Goblin.

It’s a wild ride of a film and we have a great time talking about it. Definitely give it a watch – but be forewarned that the gore factor is high with this one. After that, check out this week’s show! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> "They’re after the place. They don’t know why, they just remember – remember that they want to be in here."

It took George A. Romero 10 years to get back to the world of zombies that he’d created in 1968, and largely that was because he wasn’t that interested to return initially. It took a tour of a new local shopping mall and a call from Dario Argento to push him in the right direction. With his interest renewed, Romero and team went on to make one of the seminal zombie films – one that dealt with themes of the time and was riddled with fantastic makeup effects created by Tom Savini. Join us – Pete Wright and Andy Nelson – as we continue our Dead trilogy series with Romero’s 1978 film Dawn of the Dead.

We look at the themes Romero is tackling in this film and how those, paired with the story, allow for a wonderfully unique, funny and campy horror film. We talk about Savini and some of the amazing effects he achieved here. We discuss how the film came to be and why the word ‘living’ was not in the title. And we touch on the library tracks that fill the film and how Argento’s international cuts replaced much of it with score provided by Goblin.

It’s a wild ride of a film and we have a great time talking about it. Definitely give it a watch – but be forewarned that the gore factor is high with this one. After that, check out this week’s show! The Next Reel – when the movie ends, our conversation begins.

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 Oct 2018 06:00:00 -0700 The Next Reel The Next Reel 3962 Does George A. Romero keep up with his social commentary in his zombie follow-up? How does the zombie gore work in color? What’s up with The Gonk? Tune in to this week’s show to get these answers and more! Does George A. Romero keep up with his social commentary in his zombie follow-up? How does the zombie gore work in color? What’s up with The Gonk? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Night of the Living Dead • The Next Reel 8 8 12 12 Night of the Living Dead • The Next Reel full c8ac8efd-0cad-490a-b694-9e2227c41fc8 https://share.transistor.fm/s/daabe1b1 "Kill the brain and you kill the ghoul."

Zombies are commonplace nowadays, but in the mid 60s, they were more connected to voodoo stories. It wasn’t until George A. Romero’s Night of the Living Dead in 1968 when zombies as we know them today became firmly established. But how well does the film hold up when watching through today’s zombie-filled goggles? Join us – Pete Wright and Andy Nelson – as we continue celebrating 50th anniversaries of films and franchises by kicking off a series looking at Romero’s original Dead trilogy, starting with this film.

We talk about why zombies are such interesting creatures to use when looking at various elements of society for thematic statements. We look at the low budget nature with which Romero and his team used to craft this story and what that means to the overall film. We talk about some of the performers, notably Duane Jones, and what they brought to the table. We look at the various interpretations people make with this film and how the film was not made with those intentions, but how art is for the people and people take away from it anything they feel is valuable. And we walk through the struggles this film has had with copyright and what that has meant to this film and its releases.

It’s a fun film and one that essentially birthed the modern zombie film. We have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

Film Sundries

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]]> "Kill the brain and you kill the ghoul."

Zombies are commonplace nowadays, but in the mid 60s, they were more connected to voodoo stories. It wasn’t until George A. Romero’s Night of the Living Dead in 1968 when zombies as we know them today became firmly established. But how well does the film hold up when watching through today’s zombie-filled goggles? Join us – Pete Wright and Andy Nelson – as we continue celebrating 50th anniversaries of films and franchises by kicking off a series looking at Romero’s original Dead trilogy, starting with this film.

We talk about why zombies are such interesting creatures to use when looking at various elements of society for thematic statements. We look at the low budget nature with which Romero and his team used to craft this story and what that means to the overall film. We talk about some of the performers, notably Duane Jones, and what they brought to the table. We look at the various interpretations people make with this film and how the film was not made with those intentions, but how art is for the people and people take away from it anything they feel is valuable. And we walk through the struggles this film has had with copyright and what that has meant to this film and its releases.

It’s a fun film and one that essentially birthed the modern zombie film. We have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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 Oct 2018 06:00:00 -0700 The Next Reel The Next Reel 3785 Are fifty-year-old zombies scary today? How does the gore hold up? Did the actors really eat sheep intestines? Tune in to this week’s episode to find answers to these questions and more! Are fifty-year-old zombies scary today? How does the gore hold up? Did the actors really eat sheep intestines? Tune in to this week’s episode to find answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Danger: Diabolik • The Next Reel 8 8 11 11 Danger: Diabolik • The Next Reel full 07cfb0e6-f7b8-41bb-9ec9-feedeb063ab6 https://share.transistor.fm/s/25efeeab "Don’t come near, honey. Molten gold wouldn’t suit your skin."

Creating a movie from a comic book has obviously become a huge way to make money at the box office these days, but back in the late 60s, it seemed a bit riskier. Dino de Laurentiis wanted to make a film out of the incredibly popular Italian comic “Diabolik”, but the first try was bad and not worth finishing. It took a bit for people to really connect with the vision. So he dumped it and started again. Luckily, his second go-around – this time with director Mario Bava – worked. Join us – Pete Wright and Andy Nelson – as we wrap up our series celebrating 50th anniversaries of 1968 crime films with Bava’s Danger: Diabolik.

We talk about the crazy tone the film gives off and how it feels so much a part of its period while incredibly unique. We look at the over-the-top nature of the performances and how they work in the film, starting with John Phillip Law as the title character. We chat about the phenomenal production design and lively camera work, and how well the film works visually. We debate the quality of Ennio Morricone’s music and wonder if we’ll ever get the theme song out of our heads. And we wonder what other Bava films we need to see to really feel like we get what he’s going for in his body of work.

It’s a fun film that at least one of us liked, and is a film that feels like it’ll be an enjoyable one for repeat viewings. We have a great time chatting about it so check it out then tune in! And join our conversation with movie lovers from around the world on The Next Reel’s Discord channel! The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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]]> "Don’t come near, honey. Molten gold wouldn’t suit your skin."

Creating a movie from a comic book has obviously become a huge way to make money at the box office these days, but back in the late 60s, it seemed a bit riskier. Dino de Laurentiis wanted to make a film out of the incredibly popular Italian comic “Diabolik”, but the first try was bad and not worth finishing. It took a bit for people to really connect with the vision. So he dumped it and started again. Luckily, his second go-around – this time with director Mario Bava – worked. Join us – Pete Wright and Andy Nelson – as we wrap up our series celebrating 50th anniversaries of 1968 crime films with Bava’s Danger: Diabolik.

We talk about the crazy tone the film gives off and how it feels so much a part of its period while incredibly unique. We look at the over-the-top nature of the performances and how they work in the film, starting with John Phillip Law as the title character. We chat about the phenomenal production design and lively camera work, and how well the film works visually. We debate the quality of Ennio Morricone’s music and wonder if we’ll ever get the theme song out of our heads. And we wonder what other Bava films we need to see to really feel like we get what he’s going for in his body of work.

It’s a fun film that at least one of us liked, and is a film that feels like it’ll be an enjoyable one for repeat viewings. We have a great time chatting about it so check it out then tune in! And join our conversation with movie lovers from around the world on The Next Reel’s Discord channel! The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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]]> Thu, 11 Oct 2018 06:00:00 -0700 The Next Reel The Next Reel 3921 Would a super-villain really use something called Exhilarating Gas? How well does John Phillip Law work as Diabolik? Is this a film we’d watch again? Tune in to this week’s show to find out our answers to these questions and more! Would a super-villain really use something called Exhilarating Gas? How well does John Phillip Law work as Diabolik? Is this a film we’d watch again? Tune in to this week’s show to find out our answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Detective • The Next Reel 8 8 10 10 The Detective • The Next Reel full a4de6998-9cf2-43c8-ac03-de81bc24e479 https://share.transistor.fm/s/5059f3b8 "I believe in live and let live."

Frank Sinatra and his rat pack are found in specific types of films, so seeing him in this dark, realistic detective story seems like a bit of surprise. When you think back to his performances in films like From Here to Eternity and The Manchurian Candidate, however, it’s easier to see how Sinatra might fit in a film like Gordon Douglas’ 1968 The Detective. But how well does it hold up today? Join us – Pete Wright and Andy Nelson - as we continue celebrating 50th anniversaries and 1968 crime films with Douglas’ The Detective.

We talk about what an exciting surprise of a film this is and how it’s completely not what either of us were expecting. We look at some of the issues this film deals with – homosexuality, police brutality, corruption – and discuss what works and what doesn’t about some of them. We chat about the use of flashbacks and how they work in this film. We celebrate the fantastic cast, notably Sinatra, Lee Remick, Jacqueline Bisset, and Robert Duvall. We touch on how this film plays into the end of Sinatra’s marriage with Mia Farrow. We praise the fantastically bluesy score by Jerry Goldsmith. And we touch on the wonderful camerawork all throughout the film.

It’s a surprising film that’s well worth looking at. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> "I believe in live and let live."

Frank Sinatra and his rat pack are found in specific types of films, so seeing him in this dark, realistic detective story seems like a bit of surprise. When you think back to his performances in films like From Here to Eternity and The Manchurian Candidate, however, it’s easier to see how Sinatra might fit in a film like Gordon Douglas’ 1968 The Detective. But how well does it hold up today? Join us – Pete Wright and Andy Nelson - as we continue celebrating 50th anniversaries and 1968 crime films with Douglas’ The Detective.

We talk about what an exciting surprise of a film this is and how it’s completely not what either of us were expecting. We look at some of the issues this film deals with – homosexuality, police brutality, corruption – and discuss what works and what doesn’t about some of them. We chat about the use of flashbacks and how they work in this film. We celebrate the fantastic cast, notably Sinatra, Lee Remick, Jacqueline Bisset, and Robert Duvall. We touch on how this film plays into the end of Sinatra’s marriage with Mia Farrow. We praise the fantastically bluesy score by Jerry Goldsmith. And we touch on the wonderful camerawork all throughout the film.

It’s a surprising film that’s well worth looking at. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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

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]]> Thu, 04 Oct 2018 06:00:00 -0700 The Next Reel The Next Reel 3306 Does Sinatra hold his own as a down-and-dirty NYC detective? Could Lee Remick be any more marvelous? How does the film hold up 50 years later? Tune in to this week’s show to find out these answers and more. Does Sinatra hold his own as a down-and-dirty NYC detective? Could Lee Remick be any more marvelous? How does the film hold up 50 years later? Tune in to this week’s show to find out these answers and more. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Coogan's Bluff • The Next Reel 8 8 9 9 Coogan's Bluff • The Next Reel full db1b0d1b-a961-4be4-ae1b-1be94b16b198 https://share.transistor.fm/s/c39684a5 "Well, well, well, what have we got here? Buffalo Bill with the fancy hat!"

Don Siegel and Clint Eastwood worked with each other on five films, but before they first started, neither of them had heard of the other. Luckily, with a little homework, they both realized they enjoyed each other’s work and agreed to sign on to do Coogan’s Bluff together. Unfortunately for us, the film doesn’t hold up very well since it was first released 50 years ago. But are there still elements worth looking at? Join us – Pete Wright and Andy Nelson – as we continue our Crime Films from 1968 series with Siegel’s Coogan’s Bluff.

We talk about why this film doesn’t hold up nearly as well as Targets, Peter Bogdanovich’s film we discussed last week, and acknowledge it as a film of its time but not much more than that. We look at what Eastwood is bringing to the table as this country mouse coming to the big city and if it has any merit. We discuss several points of the script and look at why the screenplay falls flat and doesn’t bring anything new to the table in the world of cop action films. We chat about the camerawork and editing and look at several moments that stand out in largely mediocre work. And we look at how well the film did and ponder its controversial violence when compared to the violence in Targets.

It’s a rough film for us but one that certainly has its fans (largely because of Eastwood and/or Siegel). We still have a great time talking about it on this week’s show. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Don’t forget to join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

Film Sundries

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]]> "Well, well, well, what have we got here? Buffalo Bill with the fancy hat!"

Don Siegel and Clint Eastwood worked with each other on five films, but before they first started, neither of them had heard of the other. Luckily, with a little homework, they both realized they enjoyed each other’s work and agreed to sign on to do Coogan’s Bluff together. Unfortunately for us, the film doesn’t hold up very well since it was first released 50 years ago. But are there still elements worth looking at? Join us – Pete Wright and Andy Nelson – as we continue our Crime Films from 1968 series with Siegel’s Coogan’s Bluff.

We talk about why this film doesn’t hold up nearly as well as Targets, Peter Bogdanovich’s film we discussed last week, and acknowledge it as a film of its time but not much more than that. We look at what Eastwood is bringing to the table as this country mouse coming to the big city and if it has any merit. We discuss several points of the script and look at why the screenplay falls flat and doesn’t bring anything new to the table in the world of cop action films. We chat about the camerawork and editing and look at several moments that stand out in largely mediocre work. And we look at how well the film did and ponder its controversial violence when compared to the violence in Targets.

It’s a rough film for us but one that certainly has its fans (largely because of Eastwood and/or Siegel). We still have a great time talking about it on this week’s show. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Don’t forget to join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

Film Sundries

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]]> Thu, 27 Sep 2018 06:00:00 -0700 The Next Reel The Next Reel 3313 Is there any merit to Siegel’s and Eastwood’s first collaboration? How does the film hold up in Eastwood’s body of work? Did the film warrant the shift to the NYC party? Join us on this week’s show as we look for answers. Is there any merit to Siegel’s and Eastwood’s first collaboration? How does the film hold up in Eastwood’s body of work? Did the film warrant the shift to the NYC party? Join us on this week’s show as we look for answers. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Targets • The Next Reel 8 8 8 8 Targets • The Next Reel full 6b79c4a9-317b-427d-8497-671b7dea396f https://share.transistor.fm/s/c59695d1 "My kind of horror isn’t horror anymore."

One of Roger Corman’s claims to fame is that he’s never lost money on a movie, and one of the reasons that holds true is because he never spends much money on any of them. For beginning filmmakers looking to learn their craft and hopefully make it big, this is something they work with. Like many great filmmakers who got their start with Corman (another of his claims to fame), Peter Bogdanovich worked as a writer before being given a chance to write and direct his own feature for Corman, and right out of the gate, he proved himself a director worth discussing. Join us – Pete Wright and Andy Nelson – as we kick off our 1968 crime film series with Bogdanovich’s film Targets.

We talk about how effective and affecting this film still is 50 years after its release, and how shocking it is that it actually (and sadly) feels more relevant today. We look at the crazy way the film came to be – including Boris Karloff’s role in it. We chat about the powerful performance by Tim O’Kelly and look at why it’s so off-putting. We discuss the way the two stories are intercut and why it worked for us. And we look at some of the key crew members, including cinematographer László Kovács and the woman wearing many hats, Polly Platt.

It’s a powerful film that does a good job of disguising its low budget, and certainly provides for a great conversation on the show this week. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "My kind of horror isn’t horror anymore."

One of Roger Corman’s claims to fame is that he’s never lost money on a movie, and one of the reasons that holds true is because he never spends much money on any of them. For beginning filmmakers looking to learn their craft and hopefully make it big, this is something they work with. Like many great filmmakers who got their start with Corman (another of his claims to fame), Peter Bogdanovich worked as a writer before being given a chance to write and direct his own feature for Corman, and right out of the gate, he proved himself a director worth discussing. Join us – Pete Wright and Andy Nelson – as we kick off our 1968 crime film series with Bogdanovich’s film Targets.

We talk about how effective and affecting this film still is 50 years after its release, and how shocking it is that it actually (and sadly) feels more relevant today. We look at the crazy way the film came to be – including Boris Karloff’s role in it. We chat about the powerful performance by Tim O’Kelly and look at why it’s so off-putting. We discuss the way the two stories are intercut and why it worked for us. And we look at some of the key crew members, including cinematographer László Kovács and the woman wearing many hats, Polly Platt.

It’s a powerful film that does a good job of disguising its low budget, and certainly provides for a great conversation on the show this week. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 20 Sep 2018 06:00:00 -0700 The Next Reel The Next Reel 3560 How effective is Peter Bogdanovich’s first try at directing a film? Does Boris Karloff still provide the scares he once did? Is the film still relevant today? Tune in to this week’s show to hear our answers to these questions and more! How effective is Peter Bogdanovich’s first try at directing a film? Does Boris Karloff still provide the scares he once did? Is the film still relevant today? Tune in to this week’s show to hear our answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Battle for the Planet of the Apes • The Next Reel 8 8 7 7 Battle for the Planet of the Apes • The Next Reel full a6083f1b-e9b2-4d7b-b148-f038dcb3f1c8 https://share.transistor.fm/s/5bf72519 "Ape never kills ape."

Twentieth Century Fox had found great success with their Planet of the Apes franchise, but they also were learning that a continuous run of sequels would bring less and less money back in. So by the time they got to the fifth entry in the series, the budget was a pittance compared to that of the first film. This time, however, it really feels like the cheap end of a franchise. Join us – Pete Wright and Andy Nelson – as we wrap up our Apes series with J. Lee Thompson’s 1973 film, Battle for the Planet of the Apes.

We talk about the problems we have with this film and look at the likely source of our issues to be the screenwriters – John William Corrigan and Joyce Hooper Corrigan. We talk about Roddy McDowall returning to his role as Caesar and struggle with some of the ways his character is depicted. We discuss the concept of a battle for a planet, and compare that with what we get here – largely something that doesn’t feel that epic. We look at the budget cutbacks Thompson and his team continued to deal with in these films. We discuss the differences between the theatrical and extended cuts. And we look at logic problems found in the script all through the project and wonder what would’ve made it stronger.

It’s a disappointing ending for the franchise… until it kicks in again decades later. Still, for what we have here, it’s pretty rough. Still, we have a good time talking about it, so check it out (or not) and tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> "Ape never kills ape."

Twentieth Century Fox had found great success with their Planet of the Apes franchise, but they also were learning that a continuous run of sequels would bring less and less money back in. So by the time they got to the fifth entry in the series, the budget was a pittance compared to that of the first film. This time, however, it really feels like the cheap end of a franchise. Join us – Pete Wright and Andy Nelson – as we wrap up our Apes series with J. Lee Thompson’s 1973 film, Battle for the Planet of the Apes.

We talk about the problems we have with this film and look at the likely source of our issues to be the screenwriters – John William Corrigan and Joyce Hooper Corrigan. We talk about Roddy McDowall returning to his role as Caesar and struggle with some of the ways his character is depicted. We discuss the concept of a battle for a planet, and compare that with what we get here – largely something that doesn’t feel that epic. We look at the budget cutbacks Thompson and his team continued to deal with in these films. We discuss the differences between the theatrical and extended cuts. And we look at logic problems found in the script all through the project and wonder what would’ve made it stronger.

It’s a disappointing ending for the franchise… until it kicks in again decades later. Still, for what we have here, it’s pretty rough. Still, we have a good time talking about it, so check it out (or not) and tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 13 Sep 2018 06:00:00 -0700 The Next Reel The Next Reel 3622 How well does this film follow the unrated cut of the last film? Do the budget cuts show? Is Roddy McDowall still as good as ever or starting to show some boredom? Tune in to this week’s show to find out these answers and more! How well does this film follow the unrated cut of the last film? Do the budget cuts show? Is Roddy McDowall still as good as ever or starting to show some boredom? Tune in to this week’s show to find out these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Conquest of the Planet of the Apes • The Next Reel 8 8 6 6 Conquest of the Planet of the Apes • The Next Reel full f590a826-610f-4f94-9261-3cdef91581ca https://share.transistor.fm/s/207254ff "The savage must be shackled in chains. You are that beast, Caesar."

J. Lee Thompson was meant to direct the original Planet of the Apes film but wasn’t able to due to project conflicts. By the time the franchise got to the fourth film, Thompson was invited back to finally make his mark. The budget was lower than it had been previously, but he still did his best with what he had, and he made the darkest of the franchise. Join us – Pete Wright and Andy Nelson – as we continue our series on the original Planet of the Apes films with Thompson’s 1972 film Conquest for the Planet of the Apes.

We talk about the social commentary existing within this film and how well it works compared to the previous films. We look at the return of Ricardo Montalban and Roddy McDowall and the heart the two of them bring to this story, not to mention the frightening transition from innocent ape to revolutionary leader. We touch on the nature of the story here with the ape training montages and the big battle sequence near the end and debate how effective they are. We hit on the darkness of the film and discuss the two different cuts and how that darkness changes so much between versions. And we look at why the film ended up being made so cheaply but how well it did in the box office.

It’s a dark film but a fantastic entry to this franchise, and we have a great time talking about it. Tune in to this week’s show to find out more! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "The savage must be shackled in chains. You are that beast, Caesar."

J. Lee Thompson was meant to direct the original Planet of the Apes film but wasn’t able to due to project conflicts. By the time the franchise got to the fourth film, Thompson was invited back to finally make his mark. The budget was lower than it had been previously, but he still did his best with what he had, and he made the darkest of the franchise. Join us – Pete Wright and Andy Nelson – as we continue our series on the original Planet of the Apes films with Thompson’s 1972 film Conquest for the Planet of the Apes.

We talk about the social commentary existing within this film and how well it works compared to the previous films. We look at the return of Ricardo Montalban and Roddy McDowall and the heart the two of them bring to this story, not to mention the frightening transition from innocent ape to revolutionary leader. We touch on the nature of the story here with the ape training montages and the big battle sequence near the end and debate how effective they are. We hit on the darkness of the film and discuss the two different cuts and how that darkness changes so much between versions. And we look at why the film ended up being made so cheaply but how well it did in the box office.

It’s a dark film but a fantastic entry to this franchise, and we have a great time talking about it. Tune in to this week’s show to find out more! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 06 Sep 2018 06:00:00 -0700 The Next Reel The Next Reel 3304 How great is the return of both Ricardo Montalban and Roddy McDowall? What social commentary are we getting in this sequel? Could audiences handle the darker tone? Tune in to this week’s show to find out these answers and more! How great is the return of both Ricardo Montalban and Roddy McDowall? What social commentary are we getting in this sequel? Could audiences handle the darker tone? Tune in to this week’s show to find out these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Escape from the Planet of the Apes • The Next Reel 8 8 5 5 Escape from the Planet of the Apes • The Next Reel full a9409988-bcef-4811-9649-ea7ac90b37e6 https://share.transistor.fm/s/e85e1b1b "I did it because I like chimpanzees best of all apes, and you the best of all chimpanzees."

Twentieth Century Fox had found that cheap sequels could turn healthy profits so immediately booked Paul Dehn, the writer of Beneath the Planet of the Apes, to write a third in the series. Unfortunately, the second film ended with the planet being blown up. For Dehn, that was just a thrilling challenge to overcome, and overcome it he did. Join us – Pete Wright and Andy Nelson – as we continue our Planet of the Apes series with Don Taylor’s 1971 film Escape From the Planet of the Apes.

We talk about the tonal shifts all through the film as well as many of the story problems, yet how it still provides an incredibly fun experience. We look at the wonderful performances by Roddy McDowall and Kim Hunter as our two lead chimpanzees and give them credit for how affecting the film (and particularly the ending) is. We ponder some of the screenplay choices they used to retcon the series but find ourselves forgiving them because they end up working out pretty well. We touch on Jerry Goldsmith and his funky 70s score. And we marvel at the strength of the film’s ending and how well it works.

It’s a film that feels like it’s all over the place but is still an absolute joy to watch. We have a great time talking about it on this week’s show, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "I did it because I like chimpanzees best of all apes, and you the best of all chimpanzees."

Twentieth Century Fox had found that cheap sequels could turn healthy profits so immediately booked Paul Dehn, the writer of Beneath the Planet of the Apes, to write a third in the series. Unfortunately, the second film ended with the planet being blown up. For Dehn, that was just a thrilling challenge to overcome, and overcome it he did. Join us – Pete Wright and Andy Nelson – as we continue our Planet of the Apes series with Don Taylor’s 1971 film Escape From the Planet of the Apes.

We talk about the tonal shifts all through the film as well as many of the story problems, yet how it still provides an incredibly fun experience. We look at the wonderful performances by Roddy McDowall and Kim Hunter as our two lead chimpanzees and give them credit for how affecting the film (and particularly the ending) is. We ponder some of the screenplay choices they used to retcon the series but find ourselves forgiving them because they end up working out pretty well. We touch on Jerry Goldsmith and his funky 70s score. And we marvel at the strength of the film’s ending and how well it works.

It’s a film that feels like it’s all over the place but is still an absolute joy to watch. We have a great time talking about it on this week’s show, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 30 Aug 2018 06:00:00 -0700 The Next Reel The Next Reel 3301 Are the script’s retcons problematic or do they end up working? What about the tonal shifts? And could Kim Hunter be any more gosh-darned adorable? Tune in to this week’s show to get these answers and more! Are the script’s retcons problematic or do they end up working? What about the tonal shifts? And could Kim Hunter be any more gosh-darned adorable? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Beneath the Planet of the Apes • The Next Reel 8 8 4 4 Beneath the Planet of the Apes • The Next Reel full c581b9c4-82a0-4b1e-8383-34e4b1d165ce https://share.transistor.fm/s/86d6c44c "May the blessing of the Bomb Almighty and the fellowship of the Holy Fallout descend on us all this day and forevermore."

With the success of the first Planet of the Apes film, 20th Century Fox rushed a sequel into production, something that was usually reserved for b-run serials. That first film, however, was a good crossover property – it had the genre elements but was made on an A-list level. That gave Fox the confidence that a sequel could work. Join us – Pete Wright and Andy Nelson – as we continue our Planet of the Apes series with Ted Post’s 1970 film, Beneath the Planet of the Apes.

We talk about how well this film works – or doesn’t – as a followup to the first film and why it still stands out as a fun film to watch, at least for Andy. We look at how the story became what it was and why it ended up getting made at the budget level it was. We chat about our many problems with the story and debate if they’re intrinsic to the script or were partially caused by the lack of a budget. We chat about the cast – notably the new faces of James Franciscus, James Gregory, David Watson and the actors playing the underground mutants – and look at what they’re bringing to the table. We discuss the film’s messages and wonder if any of them are as strongly portrayed as the ones in the first film. And we deliberate on the crew, particularly the camerawork of Milton R. Krasner and the music of Leonard Rosenman, not to mention the mutant faces created by John Chambers.

It’s an interesting entry into the franchise and certainly leaves us wondering how they can make a sequel. Regardless, it’s a fun one to talk about, so tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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]]> "May the blessing of the Bomb Almighty and the fellowship of the Holy Fallout descend on us all this day and forevermore."

With the success of the first Planet of the Apes film, 20th Century Fox rushed a sequel into production, something that was usually reserved for b-run serials. That first film, however, was a good crossover property – it had the genre elements but was made on an A-list level. That gave Fox the confidence that a sequel could work. Join us – Pete Wright and Andy Nelson – as we continue our Planet of the Apes series with Ted Post’s 1970 film, Beneath the Planet of the Apes.

We talk about how well this film works – or doesn’t – as a followup to the first film and why it still stands out as a fun film to watch, at least for Andy. We look at how the story became what it was and why it ended up getting made at the budget level it was. We chat about our many problems with the story and debate if they’re intrinsic to the script or were partially caused by the lack of a budget. We chat about the cast – notably the new faces of James Franciscus, James Gregory, David Watson and the actors playing the underground mutants – and look at what they’re bringing to the table. We discuss the film’s messages and wonder if any of them are as strongly portrayed as the ones in the first film. And we deliberate on the crew, particularly the camerawork of Milton R. Krasner and the music of Leonard Rosenman, not to mention the mutant faces created by John Chambers.

It’s an interesting entry into the franchise and certainly leaves us wondering how they can make a sequel. Regardless, it’s a fun one to talk about, so tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

Film Sundries


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]]> Thu, 23 Aug 2018 06:00:00 -0700 The Next Reel The Next Reel 3369 Does this film live up to its predecessor? Does it make sense in the franchise? Did we really need to see apes in the sauna? Tune in to this week’s show to get answers to these questions and more! Does this film live up to its predecessor? Does it make sense in the franchise? Did we really need to see apes in the sauna? Tune in to this week’s show to get answers to these questions and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Planet of the Apes • The Next Reel 8 8 3 3 Planet of the Apes • The Next Reel full 005a5de9-46ac-498e-88e5-d9b660c566ef https://share.transistor.fm/s/a2960fae "Get your stinking paws off me, you damn dirty ape!"

Rod Serling discovered the strength of writing science fiction as a way to disguise commentary on society of the day which led to The Twilight Zone. His contributions to Franklin J. Schaffner’s science fiction film Planet of the Apes allowed him to do the same on a cinematic scale. With political, religious and social commentary, as well as commentary on nuclear war, Serling gave the series a definite point of view and contributed to the film becoming an incredible success. Join us – Pete Wright and Andy Nelson – as we kick off our 50th anniversary celebration of the Planet of the Apes series, starting with Schaffner’s 1968 film Planet of the Apes.

We talk about the messages in the film and how well they integrate with the story, as well as how some people very likely may find more problems with some of those messages. We discuss some of the basic premise of the story and how logical it is, and how much that really matters. We talk about Charlton Heston and his over-the-top performance, and why it works for some and not others. We touch on the others in the cast and revel in the work they do here. And we discuss the amazing makeup work done by John Chambers as well as the wild score by Jerry Goldsmith.

It’s a great film and we have a great conversation about it. Check it out! The Next Reel – when the movie ends, our conversation begins.

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]]> "Get your stinking paws off me, you damn dirty ape!"

Rod Serling discovered the strength of writing science fiction as a way to disguise commentary on society of the day which led to The Twilight Zone. His contributions to Franklin J. Schaffner’s science fiction film Planet of the Apes allowed him to do the same on a cinematic scale. With political, religious and social commentary, as well as commentary on nuclear war, Serling gave the series a definite point of view and contributed to the film becoming an incredible success. Join us – Pete Wright and Andy Nelson – as we kick off our 50th anniversary celebration of the Planet of the Apes series, starting with Schaffner’s 1968 film Planet of the Apes.

We talk about the messages in the film and how well they integrate with the story, as well as how some people very likely may find more problems with some of those messages. We discuss some of the basic premise of the story and how logical it is, and how much that really matters. We talk about Charlton Heston and his over-the-top performance, and why it works for some and not others. We touch on the others in the cast and revel in the work they do here. And we discuss the amazing makeup work done by John Chambers as well as the wild score by Jerry Goldsmith.

It’s a great film and we have a great conversation about it. Check it out! The Next Reel – when the movie ends, our conversation begins.

Film Sundries


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]]> Thu, 16 Aug 2018 06:00:00 -0700 The Next Reel The Next Reel 3593 Are these talking apes believable? How well does the message of the film hold up? Could Charlton Heston be any more over-the-top? Tune in to this week’s show to find out these answers and more! Are these talking apes believable? How well does the message of the film hold up? Could Charlton Heston be any more over-the-top? Tune in to this week’s show to find out these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright 2010: The Year We Make Contact • The Next Reel 8 8 2 2 2010: The Year We Make Contact • The Next Reel full 2b376b75-9d27-42cd-945d-ff5498077248 https://share.transistor.fm/s/351d12e8 "My God, it’s full of stars!"

After reading Arthur C. Clarke’s sequel to Stanley Kubrick’s film, director Peter Hyams was very interested in transforming it into a film. After getting the blessing from Clarke and Kubrick, he set to work. But inevitably, he was fighting an uphill battle – making a sequel to a film that many people consider to be one of the greats. In the end, the film was received well enough and turned a profit at the box office. But how well does it hold up today? Join us – Pete Wright and Andy Nelson – as we wrap up our Odyssey series with Hyams’ 1984 film 2010.

We talk about the struggle with this film and why it is problematic right out of the gate, and why the problems are exacerbated when sitting next to Kubrick’s film (even if it does feel closer to Clarke’s original vision). We chat about the nature of HAL in this film and debate whether it’s okay to have turned ‘him’ into a good guy here. We look at Roy Scheider’s performance here and struggle with it because of our great love for the man and the films he starred in before this one. And we discuss the special effects throughout this film – largely quite good.

It’s a frustrating film that hasn’t held up well over time, but it still makes for a fascinating discussion. Tune in to this week’s show to join the chat. The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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]]> "My God, it’s full of stars!"

After reading Arthur C. Clarke’s sequel to Stanley Kubrick’s film, director Peter Hyams was very interested in transforming it into a film. After getting the blessing from Clarke and Kubrick, he set to work. But inevitably, he was fighting an uphill battle – making a sequel to a film that many people consider to be one of the greats. In the end, the film was received well enough and turned a profit at the box office. But how well does it hold up today? Join us – Pete Wright and Andy Nelson – as we wrap up our Odyssey series with Hyams’ 1984 film 2010.

We talk about the struggle with this film and why it is problematic right out of the gate, and why the problems are exacerbated when sitting next to Kubrick’s film (even if it does feel closer to Clarke’s original vision). We chat about the nature of HAL in this film and debate whether it’s okay to have turned ‘him’ into a good guy here. We look at Roy Scheider’s performance here and struggle with it because of our great love for the man and the films he starred in before this one. And we discuss the special effects throughout this film – largely quite good.

It’s a frustrating film that hasn’t held up well over time, but it still makes for a fascinating discussion. Tune in to this week’s show to join the chat. The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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]]> Thu, 09 Aug 2018 06:00:00 -0700 The Next Reel The Next Reel 3564 Does this film stand up to Kubrick’s original? Is this where Roy Scheider started his career decline? Do the effects hold up? Tune in to this week’s show to get these answers and more! Does this film stand up to Kubrick’s original? Is this where Roy Scheider started his career decline? Do the effects hold up? Tune in to this week’s show to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright 2001: A Space Odyssey • The Next Reel 8 8 1 1 2001: A Space Odyssey • The Next Reel full 30a8a0a8-c9d7-4044-a070-8e5f54073962 https://share.transistor.fm/s/5b6a8327 "Dave, this conversation can serve no purpose anymore. Goodbye."

Before 1968, science fiction films were largely genre films that didn’t take themselves too seriously. The general consensus is that the change that allowed filmmakers to take science fiction seriously was Stanley Kubrick’s film 2001: A Space Odyssey. Upon its initial release, critics and audiences were very split on the film but it eventually found its audience (thanks to a lot of hippies smoking weed during screenings). The film has since been touted as one of the greatest films ever made. It’s influenced generations of filmmakers and storytellers. It’s allowed for hours upon hours of discussion and theorizing about things happening within the story. But it still has its detractors. It’s not a film for everyone – it can feel long and boring. There’s hardly any dialogue. And the film doesn’t engage the way the book did. Join us – Pete Wright and Andy Nelson – as we kick off a 50th anniversary celebration of films and series from 1968. And what a better way to start than with the films made from Clarke’s Odyssey series, beginning with Kubrick’s 1968 film 2001: A Space Odyssey.

We realize right away that we’re on opposite sides of the fence as to our opinions of this film and try to rationalize that. We look at what works in the film and what Kubrick and Clarke were trying to say. We talk about the effects and what Kubrick, paired with Douglas Trumbull and their team, were able to create. We look at the performances of the actors, starting with Daniel Richter – the Andy Serkis of Kubrick’s time. We ponder several of the various theories about the film and deliberate the nature of theories like these. And we duke it out in one of our most serious Flickchart battles as we try valiantly to get the film closer on our ranking to where we each personally rank the film. It’s a battle of the ages!

It’s a very divisive movie between us but that allows for a wonderful conversation about the movie. Check it out if you haven’t. Don’t be embarrassed if you’re one of the people who don’t click with it – you’re not alone. And if you do click with it, don’t make fun of those other people. Much. But what you should do is tune in to the show and enjoy the spirited chat! The Next Reel – when the movie ends, the conversation begins.

Film Sundries

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Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> "Dave, this conversation can serve no purpose anymore. Goodbye."

Before 1968, science fiction films were largely genre films that didn’t take themselves too seriously. The general consensus is that the change that allowed filmmakers to take science fiction seriously was Stanley Kubrick’s film 2001: A Space Odyssey. Upon its initial release, critics and audiences were very split on the film but it eventually found its audience (thanks to a lot of hippies smoking weed during screenings). The film has since been touted as one of the greatest films ever made. It’s influenced generations of filmmakers and storytellers. It’s allowed for hours upon hours of discussion and theorizing about things happening within the story. But it still has its detractors. It’s not a film for everyone – it can feel long and boring. There’s hardly any dialogue. And the film doesn’t engage the way the book did. Join us – Pete Wright and Andy Nelson – as we kick off a 50th anniversary celebration of films and series from 1968. And what a better way to start than with the films made from Clarke’s Odyssey series, beginning with Kubrick’s 1968 film 2001: A Space Odyssey.

We realize right away that we’re on opposite sides of the fence as to our opinions of this film and try to rationalize that. We look at what works in the film and what Kubrick and Clarke were trying to say. We talk about the effects and what Kubrick, paired with Douglas Trumbull and their team, were able to create. We look at the performances of the actors, starting with Daniel Richter – the Andy Serkis of Kubrick’s time. We ponder several of the various theories about the film and deliberate the nature of theories like these. And we duke it out in one of our most serious Flickchart battles as we try valiantly to get the film closer on our ranking to where we each personally rank the film. It’s a battle of the ages!

It’s a very divisive movie between us but that allows for a wonderful conversation about the movie. Check it out if you haven’t. Don’t be embarrassed if you’re one of the people who don’t click with it – you’re not alone. And if you do click with it, don’t make fun of those other people. Much. But what you should do is tune in to the show and enjoy the spirited chat! The Next Reel – when the movie ends, the conversation begins.

Film Sundries

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]]> Thu, 02 Aug 2018 06:00:00 -0700 The Next Reel The Next Reel 4514 Is 2001 really one of the greatest films ever made or could Kubrick have used a better editor? Does the monolith really represent the movie screen? Is HAL one of the cinema’s great villains? Tune in this week to get these answers and more! Is 2001 really one of the greatest films ever made or could Kubrick have used a better editor? Does the monolith really represent the movie screen? Is HAL one of the cinema’s great villains? Tune in this week to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Ocean's 8 • The Next Reel 7 7 49 49 Ocean's 8 • The Next Reel full f7ea3348-c160-4978-af62-634c575a2507 https://share.transistor.fm/s/33281dcb "A Him gets noticed. A Her gets ignored. And for once, we’d like to be ignored."

Steven Soderbergh never wanted to return to the helm for the Ocean’s franchise, but he was more than happy to get behind any future films, so when Warner Bros. said they wanted to return to the franchise with an all-woman cast in a spin-off, he signed on board as producer. Gary Ross and Olivia Milch were hired to write the script and Ross to direct, and with that, Ocean’s Eight was born. But will Ross and Milch be able to capture the fun and unbelievable heists that Soderbergh did in his original trilogy? Join us – Pete Wright and Andy Nelson – as we aim to find out as we wrap up the Ocean’s series with Ross’ 2018 film Ocean’s Eight.

We talk about how this film fits in the franchise and how well it works as part of that universe. We look at the struggles we have with the story and particular elements of the heist, which is particularly frustrating because we largely love the characters so much. We discuss the actresses playing the team, from Sandra Bullock and Cate Blanchett through to Awkwafina and Rihanna, and look at what they’re each bringing to the table. We debate if Helena Bonham Carter is playing too many crazy roles but revel in what she’s doing here. We try to figure out if this was an original script or based on a different property. And we go through what Ross is doing here as director and wonder if he’s just not bringing enough fun to the film, which is already struggling with a weaker script and diminishing what Soderbergh had created.

It’s still a fun film and feels a part of the franchise, even if it’s a blander entry. That being said, we have a great conversation about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "A Him gets noticed. A Her gets ignored. And for once, we’d like to be ignored."

Steven Soderbergh never wanted to return to the helm for the Ocean’s franchise, but he was more than happy to get behind any future films, so when Warner Bros. said they wanted to return to the franchise with an all-woman cast in a spin-off, he signed on board as producer. Gary Ross and Olivia Milch were hired to write the script and Ross to direct, and with that, Ocean’s Eight was born. But will Ross and Milch be able to capture the fun and unbelievable heists that Soderbergh did in his original trilogy? Join us – Pete Wright and Andy Nelson – as we aim to find out as we wrap up the Ocean’s series with Ross’ 2018 film Ocean’s Eight.

We talk about how this film fits in the franchise and how well it works as part of that universe. We look at the struggles we have with the story and particular elements of the heist, which is particularly frustrating because we largely love the characters so much. We discuss the actresses playing the team, from Sandra Bullock and Cate Blanchett through to Awkwafina and Rihanna, and look at what they’re each bringing to the table. We debate if Helena Bonham Carter is playing too many crazy roles but revel in what she’s doing here. We try to figure out if this was an original script or based on a different property. And we go through what Ross is doing here as director and wonder if he’s just not bringing enough fun to the film, which is already struggling with a weaker script and diminishing what Soderbergh had created.

It’s still a fun film and feels a part of the franchise, even if it’s a blander entry. That being said, we have a great conversation about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 28 Jun 2018 06:00:00 -0700 The Next Reel The Next Reel 3813 Do Sandra Bullock and her team work for this Ocean’s spinoff? Can Gary Ross bring the Soderbergh magic? Why does the film feel a bit more lackluster? Tune in to this week’s show to hear our thoughts on this and more! Do Sandra Bullock and her team work for this Ocean’s spinoff? Can Gary Ross bring the Soderbergh magic? Why does the film feel a bit more lackluster? Tune in to this week’s show to hear our thoughts on this and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Ocean's Thirteen • The Next Reel 7 7 48 48 Ocean's Thirteen • The Next Reel full eb3ba310-c24d-42a2-ac16-b63361bf4077 https://share.transistor.fm/s/572aef28 "There’s a code amongst guys that shook Sinatra’s hand!"

Even though Ocean’s Twelve was financially successful, it was largely disliked by audiences who saw it as a misfire. When the studio decided to make a follow-up, they returned the story to Vegas where the first film took place and made a film that largely feels like a return to form. But that doesn’t mean the film isn’t without its problems. Join us – Pete Wright and Andy Nelson – as we continue our Ocean’s series with Steven Soderbergh’s 2007 film Ocean’s Thirteen.

We talk about where the film falls on our own ranking of Soderbergh’s trilogy and ponder how anyone could see it any other way. We look at the direction they took the script with this one and look at all the various elements they amped up with ridiculous comedy, and how two of those moments feel very much like weak writing just to make the heist work. We look at the brilliant cast and discuss them, but notably point out Al Pacino added as the new villian and how wonderfully he works here. We also talk about the lack of women and why, also commenting on how wonderful it is to see Ellen Barkin again even if it’s a disappointingly written role. We look at what Soderbergh is doing here as cinematographer Peter Andrews on his last film shot on film. And we dig into the back story behind Linus’ fake nose and connections to Evel Knievel.

It’s a fun film with its own share of problems, but certainly a fitting entry into the Ocean’s franchise. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "There’s a code amongst guys that shook Sinatra’s hand!"

Even though Ocean’s Twelve was financially successful, it was largely disliked by audiences who saw it as a misfire. When the studio decided to make a follow-up, they returned the story to Vegas where the first film took place and made a film that largely feels like a return to form. But that doesn’t mean the film isn’t without its problems. Join us – Pete Wright and Andy Nelson – as we continue our Ocean’s series with Steven Soderbergh’s 2007 film Ocean’s Thirteen.

We talk about where the film falls on our own ranking of Soderbergh’s trilogy and ponder how anyone could see it any other way. We look at the direction they took the script with this one and look at all the various elements they amped up with ridiculous comedy, and how two of those moments feel very much like weak writing just to make the heist work. We look at the brilliant cast and discuss them, but notably point out Al Pacino added as the new villian and how wonderfully he works here. We also talk about the lack of women and why, also commenting on how wonderful it is to see Ellen Barkin again even if it’s a disappointingly written role. We look at what Soderbergh is doing here as cinematographer Peter Andrews on his last film shot on film. And we dig into the back story behind Linus’ fake nose and connections to Evel Knievel.

It’s a fun film with its own share of problems, but certainly a fitting entry into the Ocean’s franchise. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 21 Jun 2018 06:00:00 -0700 The Next Reel The Next Reel 3469 Does the heist come off as well as it does in the other films? How does Al Pacino work as the villain? Why are there so few women? And is that really Matt Damon’s nose? Tune in to this week’s show to find out these answers and more! Does the heist come off as well as it does in the other films? How does Al Pacino work as the villain? Why are there so few women? And is that really Matt Damon’s nose? Tune in to this week’s show to find out these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Ocean's Twelve • The Next Reel 7 7 47 47 Ocean's Twelve • The Next Reel full e9999936-8288-4157-9d41-c949340b5004 https://share.transistor.fm/s/dcce6b74 "I mean Danny, it was one job that we did together so I don’t know where this whole, like, proprietary stance comes from. It seems a little possessive."

The script for Ocean’s Twelve had a bit of a circuitous route to get to where it ended up. George Nolfi had sold his script entitled “Honor Among Thieves” to Warner Bros., but instead of making his film, the studio executives decided that his script would make for a great foundation to Soderbergh’s successful remake of the classic Rat Pack film Ocean’s 11. Nolfi rewrote it many times to shape the script, and ended up having to modify it many times afterward due to cast schedules and the like. What finally got made created quite a lot of complaints as it didn’t feel like it stood at the same level as Ocean’s Eleven. But is it that bad? Or just different and not what people were expecting? Join us – Pete Wright and Andy Nelson – as we continue our coverage of the Ocean’s series with Steven Soderbergh’s 2004 film Ocean’s Twelve.

We talk about why the film works and why it doesn’t, notably in comparison with the first film. And we have quite differing opinions on this. We look at how the story is structured and ponder if it would be stronger if there was more of Catherine Zeta-Jones’ character earlier on in the story outside of the opening. We look at the complexities and convolutions of the plot and the heists, wondering if it was all really necessary to make a cohesive story or if it benefits from being so complex. And we marvel at the prowess with which Soderbergh films his stories as DP.

He’s a fantastic filmmaker who make a largely contentious film that still has a lot of good going for it (and is still a fun-to-watch Soderbergh film at the end of the day). So check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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]]> "I mean Danny, it was one job that we did together so I don’t know where this whole, like, proprietary stance comes from. It seems a little possessive."

The script for Ocean’s Twelve had a bit of a circuitous route to get to where it ended up. George Nolfi had sold his script entitled “Honor Among Thieves” to Warner Bros., but instead of making his film, the studio executives decided that his script would make for a great foundation to Soderbergh’s successful remake of the classic Rat Pack film Ocean’s 11. Nolfi rewrote it many times to shape the script, and ended up having to modify it many times afterward due to cast schedules and the like. What finally got made created quite a lot of complaints as it didn’t feel like it stood at the same level as Ocean’s Eleven. But is it that bad? Or just different and not what people were expecting? Join us – Pete Wright and Andy Nelson – as we continue our coverage of the Ocean’s series with Steven Soderbergh’s 2004 film Ocean’s Twelve.

We talk about why the film works and why it doesn’t, notably in comparison with the first film. And we have quite differing opinions on this. We look at how the story is structured and ponder if it would be stronger if there was more of Catherine Zeta-Jones’ character earlier on in the story outside of the opening. We look at the complexities and convolutions of the plot and the heists, wondering if it was all really necessary to make a cohesive story or if it benefits from being so complex. And we marvel at the prowess with which Soderbergh films his stories as DP.

He’s a fantastic filmmaker who make a largely contentious film that still has a lot of good going for it (and is still a fun-to-watch Soderbergh film at the end of the day). So check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

Film Sundries


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]]> Thu, 14 Jun 2018 06:00:00 -0700 The Next Reel The Next Reel 3557 Does "Ocean's Twelve" hold up to everything started in the first film? Are there too many cons? And when did they really start? It’s a fun movie so check it out on this week’s show! Does "Ocean's Twelve" hold up to everything started in the first film? Are there too many cons? And when did they really start? It’s a fun movie so check it out on this week’s show! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Sound of Music — Catherine Hand • Movies We Like 3 3 4 4 The Sound of Music — Catherine Hand • Movies We Like full 666cb62f-c300-43fc-845b-b7ea6c514a77 https://share.transistor.fm/s/f719e9d9 "You brought music back into the house. I’d… forgotten."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, producer Catherine Hand joins us to talk about one of her favorite films, Robert Wise’s 1965 film The Sound of Music.

We talk about how the story made it from Maria Von Trapp’s memoirs about her family to the big screen, with several detours along the way. We chat about the movie’s longevity and why it’s had such a long life. We discuss the performances of Julie Andrews and Christopher Plummer, not to mention Plummer’s disdain for the project until recently. And we spend some time looking at Catherine’s career, notably her decades-long pursuit to bring A Wrinkle in Time to the big screen.

It’s a wonderful conversation with Catherine that ranges all over, so check out A Wrinkle in Time, revisit The Sound of Music, then tune in to the show!

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]]> "You brought music back into the house. I’d… forgotten."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, producer Catherine Hand joins us to talk about one of her favorite films, Robert Wise’s 1965 film The Sound of Music.

We talk about how the story made it from Maria Von Trapp’s memoirs about her family to the big screen, with several detours along the way. We chat about the movie’s longevity and why it’s had such a long life. We discuss the performances of Julie Andrews and Christopher Plummer, not to mention Plummer’s disdain for the project until recently. And we spend some time looking at Catherine’s career, notably her decades-long pursuit to bring A Wrinkle in Time to the big screen.

It’s a wonderful conversation with Catherine that ranges all over, so check out A Wrinkle in Time, revisit The Sound of Music, then tune in to the show!

Film Sundries


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]]> Tue, 12 Jun 2018 06:00:00 -0700 TruStory FM TruStory FM 4497 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, producer Catherine Hand joins us to talk about one of her favorite films, Robert Wise’s 1965 film The Sound of Music. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, producer Catherine Hand joins us to talk about one of her favorite Movies We Like, Catherine Hand No Andy Nelson Pete Wright Ocean's Eleven (2001) • The Next Reel 7 7 46 46 Ocean's Eleven (2001) • The Next Reel full 438540c4-52c1-4872-8c26-b8c09d73c963 https://share.transistor.fm/s/c08660de "It’ll be nice working with proper villains again."

The decision to remake Ocean’s 11 with an ensemble cast of stars led to an incredible amount of turnover as stars became attached then had to bail out because of other film commitments. But with the final eleven actors locked in as Danny Ocean’s team of thieves, not to mention Andy Garcia and Julia Roberts in supporting roles, it’s hard to imagine the film working with any other cast except George Clooney, Brad Pitt, Matt Damon and the rest of the gang. Join us – Pete Wright and Andy Nelson – as we continue our Ocean’s series with Steven Soderbergh’s 2001 remake, Ocean’s Eleven.

We talk about Pete’s love for the film and Andy’s initial feelings that contrast a bit with his recent watch. We look at what this film does better than the original, starting with team building. We chat about Julia Roberts’ element of the story and if it’s just a romance that is shoehorned in here or if it carries more weight. We look at the team and what we think of the main players. We discuss Soderbergh’s style and what he’s bringing to the table as director and shooter. And we ponder the lightness of this film and how well that works to keep people from worrying too much about the crimes taking place in the story.

It’s a fun, breezy film that is miles above its predecessor and shows Soderbergh continuing his work to always be doing something new and unique with his career. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> "It’ll be nice working with proper villains again."

The decision to remake Ocean’s 11 with an ensemble cast of stars led to an incredible amount of turnover as stars became attached then had to bail out because of other film commitments. But with the final eleven actors locked in as Danny Ocean’s team of thieves, not to mention Andy Garcia and Julia Roberts in supporting roles, it’s hard to imagine the film working with any other cast except George Clooney, Brad Pitt, Matt Damon and the rest of the gang. Join us – Pete Wright and Andy Nelson – as we continue our Ocean’s series with Steven Soderbergh’s 2001 remake, Ocean’s Eleven.

We talk about Pete’s love for the film and Andy’s initial feelings that contrast a bit with his recent watch. We look at what this film does better than the original, starting with team building. We chat about Julia Roberts’ element of the story and if it’s just a romance that is shoehorned in here or if it carries more weight. We look at the team and what we think of the main players. We discuss Soderbergh’s style and what he’s bringing to the table as director and shooter. And we ponder the lightness of this film and how well that works to keep people from worrying too much about the crimes taking place in the story.

It’s a fun, breezy film that is miles above its predecessor and shows Soderbergh continuing his work to always be doing something new and unique with his career. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> Thu, 07 Jun 2018 06:00:00 -0700 The Next Reel The Next Reel 3683 Is there anything about the original that’s superior to this version? How effective is the team and their heist? Is Julia Roberts even necessary? Tune in to this week’s show to find out this and more! Is there anything about the original that’s superior to this version? How effective is the team and their heist? Is Julia Roberts even necessary? Tune in to this week’s show to find out this and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Ocean's 11 (1960) • The Next Reel 7 7 45 45 Ocean's 11 (1960) • The Next Reel full d019e784-6cc1-459a-a9fa-35c3d438f781 https://share.transistor.fm/s/1c3e18c1 img

"You’re just in time for the jokes."

Frank Sinatra, Dean Martin and Sammy Davis, Jr. were a part of what people called ‘The Rat Pack,’ a group of friends who all started hanging out regularly back at Humphrey Bogart’s and Lauren Bacall’s place. The members changed over time, but Sinatra, Martin and Davis always seemed to be the core trio. The three only appeared in a handful of films together, and the one they’re most known for is the heist film Ocean’s 11. Join us – Pete Wright and Andy Nelson – as we kick off our Ocean’s series with Lewis Milestone’s original 1960 Rat Pack film, Ocean’s 11.

We talk about why the film doesn’t hold up very well for today’s audience and how it really takes someone who was much more connected to the Rat Pack group to really connect with this film today. We look at the script and its shift from drama to comedy, and why perhaps that shift during development left the script largely feeling disjointed and disconnected. We discuss the cast and try to answer why they’re largely uninteresting and unlikeable. We chat about the ending of the film and debate whether it’s effective or not. And we touch on the songs in the film – notably “Ain’t That a Kick in the Head” – and stew on why it wasn’t recognized by the Academy.

It’s a film that unfortunately feels very dated, which means it may only appeal to audiences who really were fans of the Rat Pack. That doesn’t stop us from having a great conversation about it! So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> img

"You’re just in time for the jokes."

Frank Sinatra, Dean Martin and Sammy Davis, Jr. were a part of what people called ‘The Rat Pack,’ a group of friends who all started hanging out regularly back at Humphrey Bogart’s and Lauren Bacall’s place. The members changed over time, but Sinatra, Martin and Davis always seemed to be the core trio. The three only appeared in a handful of films together, and the one they’re most known for is the heist film Ocean’s 11. Join us – Pete Wright and Andy Nelson – as we kick off our Ocean’s series with Lewis Milestone’s original 1960 Rat Pack film, Ocean’s 11.

We talk about why the film doesn’t hold up very well for today’s audience and how it really takes someone who was much more connected to the Rat Pack group to really connect with this film today. We look at the script and its shift from drama to comedy, and why perhaps that shift during development left the script largely feeling disjointed and disconnected. We discuss the cast and try to answer why they’re largely uninteresting and unlikeable. We chat about the ending of the film and debate whether it’s effective or not. And we touch on the songs in the film – notably “Ain’t That a Kick in the Head” – and stew on why it wasn’t recognized by the Academy.

It’s a film that unfortunately feels very dated, which means it may only appeal to audiences who really were fans of the Rat Pack. That doesn’t stop us from having a great conversation about it! So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 31 May 2018 06:00:00 -0700 The Next Reel The Next Reel 3580 Does the Rat Pack’s take on the Las Vegas heist hold up? How about the music? And does the ending work or ruin the film? Tune in to this week’s show to find out this and more! Does the Rat Pack’s take on the Las Vegas heist hold up? How about the music? And does the ending work or ruin the film? Tune in to this week’s show to find out this and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Predestination • The Next Reel 7 7 44 44 Predestination • The Next Reel full e2929eff-e595-48b2-89e9-65a0f1260029 https://share.transistor.fm/s/ab612173 "We were born into this job."

Time travel stories come in all shapes and sizes – some are more focused on the fun and entertainment. Others use the conceit to allow for explorations of themes and ideas. Robert A. Heinlein’s short story “—All You Zombies—” is more the latter, and the Spierig brothers – Michael and Peter – do a great job adapting it for the silver screen with their film Predestination. And while it’s easy to get lost in time loops and find fault in rules and story construction, this film is an easy one to enjoy with the paradoxes presented because of the themes and concepts it develops. Join us – Pete Wright and Andy Nelson – as we conclude our time travel series with the Spierig brothers’ 2014 film Predestination.

We talk about the nature of the film and why it works, even if the film does spend the first half of its running time setting things up. We look at the meaning of the word ‘predestination’ and what it means in context with this film and the ideas put forth. We chat about Ethan Hawke (busiest man in Hollywood) and how great he is here, and also about Sarah Snook, who really puts forth an incredibly challenging performance and nails every bit of it. We debate the strength of Noah Taylor’s character and if he’s really necessary for the story. And we discuss what the Spierig brothers bring to the table here and how well they work as writers, producers and directors, but also visual effects artists and composers.

There’s a lot to discuss in a film like this, and we have a fantastic time unpacking it. Check out the movie then tune in! The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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]]> "We were born into this job."

Time travel stories come in all shapes and sizes – some are more focused on the fun and entertainment. Others use the conceit to allow for explorations of themes and ideas. Robert A. Heinlein’s short story “—All You Zombies—” is more the latter, and the Spierig brothers – Michael and Peter – do a great job adapting it for the silver screen with their film Predestination. And while it’s easy to get lost in time loops and find fault in rules and story construction, this film is an easy one to enjoy with the paradoxes presented because of the themes and concepts it develops. Join us – Pete Wright and Andy Nelson – as we conclude our time travel series with the Spierig brothers’ 2014 film Predestination.

We talk about the nature of the film and why it works, even if the film does spend the first half of its running time setting things up. We look at the meaning of the word ‘predestination’ and what it means in context with this film and the ideas put forth. We chat about Ethan Hawke (busiest man in Hollywood) and how great he is here, and also about Sarah Snook, who really puts forth an incredibly challenging performance and nails every bit of it. We debate the strength of Noah Taylor’s character and if he’s really necessary for the story. And we discuss what the Spierig brothers bring to the table here and how well they work as writers, producers and directors, but also visual effects artists and composers.

There’s a lot to discuss in a film like this, and we have a fantastic time unpacking it. Check out the movie then tune in! The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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]]> Thu, 24 May 2018 06:00:00 -0700 The Next Reel The Next Reel 3689 How well do Ethan Hawke and Sarah Snook do in bringing this story to life? How close did the Spierig brothers’ script adhere to Robert A. Heinlein’s original short story? Is there a logic to the time travel rules here? Which came first, the chicken or the egg? Tune in to this week’s show to find out these answers and more! How well do Ethan Hawke and Sarah Snook do in bringing this story to life? How close did the Spierig brothers’ script adhere to Robert A. Heinlein’s original short story? Is there a logic to the time travel rules here? Which came first, the chicken or the film, filmcommentary, moviereview, movies, review Yes Andy Nelson Pete Wright Interstellar • The Next Reel 7 7 43 43 Interstellar • The Next Reel full 513ca681-8e44-41bf-b11b-63a6635743d5 https://share.transistor.fm/s/71dd4b40 "We used to look up in the sky and wonder at our place in the stars. Now, we just look down and worry about our place in the dirt."

Christopher Nolan certainly is a filmmaker with ambition. People may argue one way or the other about his story construction, or his editing style, or his attachment to film even, but it’s hard to argue that he’s not a filmmaker who is working hard to push big ideas out into the world of film. His 2014 film Interstellar, which he wrote with his brother Jonathan, pushes ideas about interstellar space travel, about space-time, about a dying Earth, about wormholes, about black holes – about leaving our planet – and creates a film that feels as much a scientific thesis as it does a story. Is it perfect? No. But the ambition and passion shine through in every frame. Join us – Pete Wright and Andy Nelson – as we continue our time travel series with Nolan’s film Interstellar.

We talk about how our feelings for this film have shifted over time – particularly Andy’s – and what our problems are with the film still. We look at the science behind this film and examine how it can be seen as a time travel movie in the first place. We talk about the performances, notably Matthew McConaughey’s, and what they do for the film. We dig into some of the theories and try to figure out exactly what they mean, because we swear we completely understood it while watching the film. We discuss the incredible imagery created by the camera team, the miniatures team, the visual effects team, the locations team and the production design team. We chat about Hans Zimmer and his music and how well it largely works in the film, and how it pairs interestingly with some edit choices. And we debate the choices the filmmakers use in the climax of the film.

It’s a challenging Hollywood film with big ideas and exciting themes, all laid out in a somewhat sloppy package. But there’s a lot going for it so it’s certainly worth a watch. Check it out for yourselves then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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]]> "We used to look up in the sky and wonder at our place in the stars. Now, we just look down and worry about our place in the dirt."

Christopher Nolan certainly is a filmmaker with ambition. People may argue one way or the other about his story construction, or his editing style, or his attachment to film even, but it’s hard to argue that he’s not a filmmaker who is working hard to push big ideas out into the world of film. His 2014 film Interstellar, which he wrote with his brother Jonathan, pushes ideas about interstellar space travel, about space-time, about a dying Earth, about wormholes, about black holes – about leaving our planet – and creates a film that feels as much a scientific thesis as it does a story. Is it perfect? No. But the ambition and passion shine through in every frame. Join us – Pete Wright and Andy Nelson – as we continue our time travel series with Nolan’s film Interstellar.

We talk about how our feelings for this film have shifted over time – particularly Andy’s – and what our problems are with the film still. We look at the science behind this film and examine how it can be seen as a time travel movie in the first place. We talk about the performances, notably Matthew McConaughey’s, and what they do for the film. We dig into some of the theories and try to figure out exactly what they mean, because we swear we completely understood it while watching the film. We discuss the incredible imagery created by the camera team, the miniatures team, the visual effects team, the locations team and the production design team. We chat about Hans Zimmer and his music and how well it largely works in the film, and how it pairs interestingly with some edit choices. And we debate the choices the filmmakers use in the climax of the film.

It’s a challenging Hollywood film with big ideas and exciting themes, all laid out in a somewhat sloppy package. But there’s a lot going for it so it’s certainly worth a watch. Check it out for yourselves then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

Film Sundries


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]]> Thu, 17 May 2018 06:00:00 -0700 The Next Reel The Next Reel 3914 Is Nolan’s film Interstellar underrated or overrated? How scientifically accurate are the elements portrayed in the film? Will traveling through a black hole really leave you in the back of a bookcase? Tune in to this week’s show to get these answers and more! Is Nolan’s film Interstellar underrated or overrated? How scientifically accurate are the elements portrayed in the film? Will traveling through a black hole really leave you in the back of a bookcase? Tune in to this week’s show to get these answers and film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright About Time • The Next Reel 7 7 42 42 About Time • The Next Reel full 3a90851d-0edf-4e3d-869f-acf69805767a https://share.transistor.fm/s/4c058f6d "All the time travel in the world can’t make someone love you."

If anyone has a handle on clever stories and quirky characters in romantic comedy dramas, it’s writer-director Richard Curtis. Whether it’s Four Weddings and a Funeral or Love, Actually or Notting Hill, he’s proven himself adept at writing (and sometimes directing) believable characters in charming situations falling in love with each other. Which is perhaps why his 2013 time travel film About Time is slightly frustrating. Yes, the rules absolutely work for a Curtis film, but when it comes to the time travel rules he sets up, he’s a lot more loose. But does it intrinsically ruin the film? Join us – Pete Wright and Andy Nelson – as we work to figure this out in our continuing time travel series with Curtis’ About Time.

We talk about the nature of the rules Curtis establishes and complain at length about them, but make sure to also look at the film from the point of view of those who are likely more Curtis’ audience – perhaps they wouldn’t care as much. We go on and on about Domnhall Gleeson, Rachel McAdams and Bill Nighy, three people all born to inhabit roles like these brilliantly. We debate the nature of the film and look at if Curtis’ story shift from meet-cute rom-com to a much headier family drama works for the film or against it. We ponder Curtis and his insistence to use cliche movie montage tropes. And we talk about the unique restaurant concept of dining in the dark and wonder how effective it was for the film.

It’s a cute film that’s got all the feels, even if it’s much sloppier than it needed to be. We have a great time talking about it and you’ll have a great time listening to it. The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "All the time travel in the world can’t make someone love you."

If anyone has a handle on clever stories and quirky characters in romantic comedy dramas, it’s writer-director Richard Curtis. Whether it’s Four Weddings and a Funeral or Love, Actually or Notting Hill, he’s proven himself adept at writing (and sometimes directing) believable characters in charming situations falling in love with each other. Which is perhaps why his 2013 time travel film About Time is slightly frustrating. Yes, the rules absolutely work for a Curtis film, but when it comes to the time travel rules he sets up, he’s a lot more loose. But does it intrinsically ruin the film? Join us – Pete Wright and Andy Nelson – as we work to figure this out in our continuing time travel series with Curtis’ About Time.

We talk about the nature of the rules Curtis establishes and complain at length about them, but make sure to also look at the film from the point of view of those who are likely more Curtis’ audience – perhaps they wouldn’t care as much. We go on and on about Domnhall Gleeson, Rachel McAdams and Bill Nighy, three people all born to inhabit roles like these brilliantly. We debate the nature of the film and look at if Curtis’ story shift from meet-cute rom-com to a much headier family drama works for the film or against it. We ponder Curtis and his insistence to use cliche movie montage tropes. And we talk about the unique restaurant concept of dining in the dark and wonder how effective it was for the film.

It’s a cute film that’s got all the feels, even if it’s much sloppier than it needed to be. We have a great time talking about it and you’ll have a great time listening to it. The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 10 May 2018 06:00:00 -0700 The Next Reel The Next Reel 3546 How well do Domnhall Gleeson and Rachel McAdams work as an on-screen pair? Does writer-director Richard Curtis do a good job with the time travel rules he establishes? And can Bill Nighy speak at our weddings? Join us this week to hear these answers and more! How well do Domnhall Gleeson and Rachel McAdams work as an on-screen pair? Does writer-director Richard Curtis do a good job with the time travel rules he establishes? And can Bill Nighy speak at our weddings? Join us this week to hear these answers and m film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Timecrimes • The Next Reel 7 7 41 41 Timecrimes • The Next Reel full c996ac37-9799-4a73-b5b3-8a7ac6e5cb9d https://share.transistor.fm/s/23dd98d0 "Right now, there are three of me. You’re going to help me get rid of the other two."

After receiving an Oscar nomination for his short film 7:35 de la mañana, Spanish director Nacho Vigalondo went to work using his moment of glory to get his first feature written and financed. As is so often the case, he finally got it released years later, but Timecrimes was critically acclaimed and became quite the sci-fi festival darling. Unfortunately, it wouldn’t get the push it needed for its theatrical release and it died a quiet death at the box office. Luckily, its quality has kept people talking about it and watching it. Join us – Pete Wright and Andy Nelson – as we kick off our Time Travel series with Vigalondo’s 2007 film Timecrimes.

We talk about the twisty, turny nature of this story and work to piece it all together so that we can really figure out which version of Héctor is which and what he’s up to – and we think we figured it out! We revel in the glory of the time travel paradoxes created by the film as it relates to fate versus free will. We ponder the allegorical reading of the film as a take on adultery. And we look at the performers and how their acting works in context of the story being presented.

It’s a glorious time travel movie that’s a thrill to watch and puzzle through, and a great way to kick off our series, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "Right now, there are three of me. You’re going to help me get rid of the other two."

After receiving an Oscar nomination for his short film 7:35 de la mañana, Spanish director Nacho Vigalondo went to work using his moment of glory to get his first feature written and financed. As is so often the case, he finally got it released years later, but Timecrimes was critically acclaimed and became quite the sci-fi festival darling. Unfortunately, it wouldn’t get the push it needed for its theatrical release and it died a quiet death at the box office. Luckily, its quality has kept people talking about it and watching it. Join us – Pete Wright and Andy Nelson – as we kick off our Time Travel series with Vigalondo’s 2007 film Timecrimes.

We talk about the twisty, turny nature of this story and work to piece it all together so that we can really figure out which version of Héctor is which and what he’s up to – and we think we figured it out! We revel in the glory of the time travel paradoxes created by the film as it relates to fate versus free will. We ponder the allegorical reading of the film as a take on adultery. And we look at the performers and how their acting works in context of the story being presented.

It’s a glorious time travel movie that’s a thrill to watch and puzzle through, and a great way to kick off our series, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 03 May 2018 06:00:00 -0700 The Next Reel The Next Reel 3340 Is the film really an allegory about adultery? When piecing it all through, does it make sense and hold up? Does our protagonist act of his own free will or is everything fated to happen? Tune in to this week’s show to hear our thoughts! Is the film really an allegory about adultery? When piecing it all through, does it make sense and hold up? Does our protagonist act of his own free will or is everything fated to happen? Tune in to this week’s show to hear our thoughts! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Giant • The Next Reel 7 7 40 40 Giant • The Next Reel full 9237cc79-1653-4b1d-81cf-1d38706e7673 https://share.transistor.fm/s/64caa011 "Who gets a hold of this much land unless they took it off someone else?"

Looking at the characters James Dean played in his three leading roles, it’s clear that he was excited to play complex characters that weren’t easy to define as simply ‘protagonist’ or ‘antagonist.’ In his final film, Giant, Dean plays a cowhand that could have easily become a love interest in the first half of the film before he takes a darker turn later on. After looking at his previous films, it seems absolutely like a role Dean would take. Join us – Pete Wright and Andy Nelson – as we wrap up our series on Dean’s three films with George Stevens’ 1956 epic Giant.

We talk about the length of the film and the need for this to be an epic that also suffered from epic length – does it help or hinder? We chat about Dean’s brilliant performance paired with the other performers in the project, notably Elizabeth Taylor and Rock Hudson. We also ponder the name ‘Bick’ quite a bit, pondering its evolution. We dig into the scene where Dean serves Taylor some tea and pull out some interesting tidbits. We debate whether Around the World in 80 Days should have beaten this out of a Best Picture Oscar. And we revel in some of the elements in this film – racism, women’s rights – that feel fresh to see in a film from the 50s (and a sad reminder that we still have a ways to go).

It’s not one of our favorites (certainly not Pete’s) but there is a lot of interesting stuff going on here and it makes for a great conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "Who gets a hold of this much land unless they took it off someone else?"

Looking at the characters James Dean played in his three leading roles, it’s clear that he was excited to play complex characters that weren’t easy to define as simply ‘protagonist’ or ‘antagonist.’ In his final film, Giant, Dean plays a cowhand that could have easily become a love interest in the first half of the film before he takes a darker turn later on. After looking at his previous films, it seems absolutely like a role Dean would take. Join us – Pete Wright and Andy Nelson – as we wrap up our series on Dean’s three films with George Stevens’ 1956 epic Giant.

We talk about the length of the film and the need for this to be an epic that also suffered from epic length – does it help or hinder? We chat about Dean’s brilliant performance paired with the other performers in the project, notably Elizabeth Taylor and Rock Hudson. We also ponder the name ‘Bick’ quite a bit, pondering its evolution. We dig into the scene where Dean serves Taylor some tea and pull out some interesting tidbits. We debate whether Around the World in 80 Days should have beaten this out of a Best Picture Oscar. And we revel in some of the elements in this film – racism, women’s rights – that feel fresh to see in a film from the 50s (and a sad reminder that we still have a ways to go).

It’s not one of our favorites (certainly not Pete’s) but there is a lot of interesting stuff going on here and it makes for a great conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 26 Apr 2018 06:00:00 -0700 The Next Reel The Next Reel 4092 How does James Dean fare opposite Elizabeth Taylor and Rock Hudson? Did this film need to be 3 ½ hours long? Where does the name ‘Bick’ come from? And where are all the giants? Tune in to this week’s episode to get these answers and more! How does James Dean fare opposite Elizabeth Taylor and Rock Hudson? Did this film need to be 3 ½ hours long? Where does the name ‘Bick’ come from? And where are all the giants? Tune in to this week’s episode to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Rebel Without A Cause • The Next Reel 7 7 39 39 Rebel Without A Cause • The Next Reel full d8ee86ed-9cda-4e80-a593-5f73cc36108a https://share.transistor.fm/s/ca092ef1 "You’re tearing me apart!"

Possibly James Dean’s most iconic role, Rebel Without a Cause hit theaters in the fall of 1955 – less than a month after Dean’s tragic car crash that took his life – and immediately found its audience. The movie was a success, thanks in a large part to all of the teens that connected with the characters and the story, seeing more of themselves on-screen than they had before. Dean’s death made the film something to talk about, but the fact that the film had something to say too has made it a classic. Join us – Pete Wright and Andy Nelson – as we continue our James Dean series with Nicholas Ray’s 1955 film Rebel Without a Cause.

We talk about how the film struck us and why, looking at how Ray sets his characters up in the opening sequence and allows them to develop their problems over the course of the film. We chat about the tragic trio of young actors helming this film – Dean, Natalie Wood and Sal Mineo – reflecting not just on the tragedy their characters work through in this film but also the horrible deaths they all suffered at young ages. We look at Ray as a director and how his passion for CinemaScope led to some brilliant images here, not to mention a huge following with European cinéastes who tagged him as one of the great auteurs. We continue our discussion about the CinemaScope images as we look at what cinematographer Ernest Haller brings to the table. And we look at how iconic this film has become and how it’s influenced the arts since its creation.

It’s a fascinating film that we thoroughly enjoy and have a great time talking about. Yes, some of the story and performances may be a bit laughable by today’s standards, but when taken in context of the time and what Ray was trying to say, it’s all in context and works to make Ray’s point. So give it a try, then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "You’re tearing me apart!"

Possibly James Dean’s most iconic role, Rebel Without a Cause hit theaters in the fall of 1955 – less than a month after Dean’s tragic car crash that took his life – and immediately found its audience. The movie was a success, thanks in a large part to all of the teens that connected with the characters and the story, seeing more of themselves on-screen than they had before. Dean’s death made the film something to talk about, but the fact that the film had something to say too has made it a classic. Join us – Pete Wright and Andy Nelson – as we continue our James Dean series with Nicholas Ray’s 1955 film Rebel Without a Cause.

We talk about how the film struck us and why, looking at how Ray sets his characters up in the opening sequence and allows them to develop their problems over the course of the film. We chat about the tragic trio of young actors helming this film – Dean, Natalie Wood and Sal Mineo – reflecting not just on the tragedy their characters work through in this film but also the horrible deaths they all suffered at young ages. We look at Ray as a director and how his passion for CinemaScope led to some brilliant images here, not to mention a huge following with European cinéastes who tagged him as one of the great auteurs. We continue our discussion about the CinemaScope images as we look at what cinematographer Ernest Haller brings to the table. And we look at how iconic this film has become and how it’s influenced the arts since its creation.

It’s a fascinating film that we thoroughly enjoy and have a great time talking about. Yes, some of the story and performances may be a bit laughable by today’s standards, but when taken in context of the time and what Ray was trying to say, it’s all in context and works to make Ray’s point. So give it a try, then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 19 Apr 2018 06:00:00 -0700 The Next Reel The Next Reel 4813 Does the icon James Dean deliver the goods that warrant his status? How believable are he and Natalie Wood together? How does Sal Mineo fit in with the pair? And what’s with Mr. Magoo’s crazy apron? Tune in to this week’s show to hear us chat about all this and more! Does the icon James Dean deliver the goods that warrant his status? How believable are he and Natalie Wood together? How does Sal Mineo fit in with the pair? And what’s with Mr. Magoo’s crazy apron? Tune in to this week’s show to hear us chat about all th film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright East of Eden • The Next Reel 7 7 38 38 East of Eden • The Next Reel full c154ec62-cdcc-4a1e-a364-1677468d1595 https://share.transistor.fm/s/717da5db "Someday, he’s gonna know who his real son is!"

James Dean was the lead in only three films released in 1955 and 1956. He died tragically in a car crash on September 30th, 1955, only ever getting to see one of his three films finished. What he never got to see is how the performances he gave in those three films left an indelible impression on cinema, creating a voice for teenagers of the day and a cult icon for decades since. Join us – Pete Wright and Andy Nelson – as we look back at James Dean’s career, kicking it off with Elia Kazan’s 1955 film East of Eden.

We talk about the adaptation from John Steinbeck’s novel, our thoughts on Steinbeck and this rather loose adaptation, and Kazan’s interpretation of it. We look at what Dean does here in the role of the bad son Cal opposite both Richard Davalos as his good brother Aron and his moralistic father Adam, played by Raymond Massey. We look at what the other performers bring to the table, notably Burl Ives, Julie Harris, Jo Van Fleet and Lois Smith, who is not only the last cast member still alive but also still working regularly. We marvel at the fantastic use of Cinemascope presented here as shot by Ted D. McCord. And we touch on why Kazan and Dean, both men who had problems with their own fathers, found such a connection to this story.

It’s a film that has its problems but largely is one that we enjoy – and certainly enjoy talking about. So read Steinbeck’s novel, check this out and tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "Someday, he’s gonna know who his real son is!"

James Dean was the lead in only three films released in 1955 and 1956. He died tragically in a car crash on September 30th, 1955, only ever getting to see one of his three films finished. What he never got to see is how the performances he gave in those three films left an indelible impression on cinema, creating a voice for teenagers of the day and a cult icon for decades since. Join us – Pete Wright and Andy Nelson – as we look back at James Dean’s career, kicking it off with Elia Kazan’s 1955 film East of Eden.

We talk about the adaptation from John Steinbeck’s novel, our thoughts on Steinbeck and this rather loose adaptation, and Kazan’s interpretation of it. We look at what Dean does here in the role of the bad son Cal opposite both Richard Davalos as his good brother Aron and his moralistic father Adam, played by Raymond Massey. We look at what the other performers bring to the table, notably Burl Ives, Julie Harris, Jo Van Fleet and Lois Smith, who is not only the last cast member still alive but also still working regularly. We marvel at the fantastic use of Cinemascope presented here as shot by Ted D. McCord. And we touch on why Kazan and Dean, both men who had problems with their own fathers, found such a connection to this story.

It’s a film that has its problems but largely is one that we enjoy – and certainly enjoy talking about. So read Steinbeck’s novel, check this out and tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 12 Apr 2018 06:00:00 -0700 The Next Reel The Next Reel 3917 Does James Dean’s acting style lend itself well to this story or is it too big? Is is okay to watch an Elia Kazan film still, knowing he named names? Does Julie Harris work here? And how great is it to see Louis Smith pop up in a small role? Tune in to this week’s show to dig in more with us! Does James Dean’s acting style lend itself well to this story or is it too big? Is is okay to watch an Elia Kazan film still, knowing he named names? Does Julie Harris work here? And how great is it to see Louis Smith pop up in a small role? Tune in to th film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright All That Jazz — Nic Sadler • Movies We Like 3 3 3 3 All That Jazz — Nic Sadler • Movies We Like full 2a7ffea1-3558-47ac-a71e-1d3492745793 https://share.transistor.fm/s/2c1ec520 "I think we just lost the family audience."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer and inventor Nic Sadler joins us to talk about one of his favorite films, Bob Fosse’s 1979 film All That Jazz.

We talk about the incredible honesty with which Fosse made this semi-autobiographical film and why it resonates so well with us. We discuss how challenging the film is and why that might be a good thing. We talk about the incredible editing by Alan Heim which the Motion Picture Editors Guild lists as the 4th best edited film, and why it sets a high bar. We of course chat about one of our favorites – Roy Scheider – and how he truly ruled the 70s. We dig into why cinematographer Giuseppe Rotunno shot scenes the way he did, notably the readthrough where Joe has his heart attack. And we talk to Sadler about his own cinematography, notably the recent film Coherence, and how the filmmakers accomplished so much with so little.

It’s a brilliant (but challenging) film that celebrates filmmaking as much as it shows the negative side of success. We have a blast talking about it with Sadler so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "I think we just lost the family audience."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer and inventor Nic Sadler joins us to talk about one of his favorite films, Bob Fosse’s 1979 film All That Jazz.

We talk about the incredible honesty with which Fosse made this semi-autobiographical film and why it resonates so well with us. We discuss how challenging the film is and why that might be a good thing. We talk about the incredible editing by Alan Heim which the Motion Picture Editors Guild lists as the 4th best edited film, and why it sets a high bar. We of course chat about one of our favorites – Roy Scheider – and how he truly ruled the 70s. We dig into why cinematographer Giuseppe Rotunno shot scenes the way he did, notably the readthrough where Joe has his heart attack. And we talk to Sadler about his own cinematography, notably the recent film Coherence, and how the filmmakers accomplished so much with so little.

It’s a brilliant (but challenging) film that celebrates filmmaking as much as it shows the negative side of success. We have a blast talking about it with Sadler so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Tue, 10 Apr 2018 06:00:00 -0700 TruStory FM TruStory FM 5181 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer and inventor Nic Sadler joins us to talk about one of his favorite films, Bob Fosse’s 1979 film All That Jazz. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer and inventor Nic Sadler joins us to talk about one Movies We Like, Nic Sadler No Andy Nelson Pete Wright Lady Vengeance • The Next Reel 7 7 37 37 Lady Vengeance • The Next Reel full aae79ad6-9f8a-4b21-8dfd-a610d76f71b8 https://share.transistor.fm/s/a15e59a0 "There’s no such thing as a perfect person."

After the box office failure of Sympathy for Mr. Vengeance and the box office success of Oldboy, Park Chan-Wook wanted to continue with the themes he’d been exploring of revenge but he wasn’t sure what angle to use. That’s when he struck on the idea of having a female protagonist. That, paired with the concept of justified vengeance, gave Park the idea he needed and Lady Vengeance was born. Join us – Pete Wright and Andy Nelson – as we wrap up our series on Park Chan-Wook’s unofficial vengeance trilogy with his 2005 film Lady Vengeance.

We talk about our feelings for the film and dig into why one of us really enjoyed the film and the other didn’t. (Hint: it largely centers around videos shown near the climax of the film.) We talk about Park and his cinematic style, looking at the successful elements that give so much life to his films, and the ones that are less successful, like his somewhat chaotic storytelling. We chat about the brilliant performance by Lee Yeong-Ae in the lead role and how she brings so much power to her performance. We touch on the cinematography by Chung Chung-hoon and why there is something really special with how Park works with his camera team. And we debate the concept of the ‘fade to black and white’ version that exists and ponder if we’ll ever get a chance to see it.

It’s a very divisive film that won’t be for everyone, but it made for a stimulating conversation. Check it out… if you think you’re up for it, then tune in! The Next Reel. When the movie ends, our conversation begins.

Film Sundries

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]]> "There’s no such thing as a perfect person."

After the box office failure of Sympathy for Mr. Vengeance and the box office success of Oldboy, Park Chan-Wook wanted to continue with the themes he’d been exploring of revenge but he wasn’t sure what angle to use. That’s when he struck on the idea of having a female protagonist. That, paired with the concept of justified vengeance, gave Park the idea he needed and Lady Vengeance was born. Join us – Pete Wright and Andy Nelson – as we wrap up our series on Park Chan-Wook’s unofficial vengeance trilogy with his 2005 film Lady Vengeance.

We talk about our feelings for the film and dig into why one of us really enjoyed the film and the other didn’t. (Hint: it largely centers around videos shown near the climax of the film.) We talk about Park and his cinematic style, looking at the successful elements that give so much life to his films, and the ones that are less successful, like his somewhat chaotic storytelling. We chat about the brilliant performance by Lee Yeong-Ae in the lead role and how she brings so much power to her performance. We touch on the cinematography by Chung Chung-hoon and why there is something really special with how Park works with his camera team. And we debate the concept of the ‘fade to black and white’ version that exists and ponder if we’ll ever get a chance to see it.

It’s a very divisive film that won’t be for everyone, but it made for a stimulating conversation. Check it out… if you think you’re up for it, then tune in! The Next Reel. When the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 05 Apr 2018 06:00:00 -0700 The Next Reel The Next Reel 4743 Is it possible to like a film that has such an offensive moment as this one does? Does Lee Yeong-Ae deliver the goods for her director? Was this trilogy secretly Park Chan-Wook’s way of taking vengeance on his audience? Tune in to this week’s show to find out! Is it possible to like a film that has such an offensive moment as this one does? Does Lee Yeong-Ae deliver the goods for her director? Was this trilogy secretly Park Chan-Wook’s way of taking vengeance on his audience? Tune in to this week’s show to find film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Oldboy • The Next Reel 7 7 36 36 Oldboy • The Next Reel full 4c77a8d5-83bc-432a-9145-6f1c664380db https://share.transistor.fm/s/c28da5b1 "I’m a sort of scholar, and my field of study is you."

After the box office failure of his previous film, Park Chan-Wook worked hard with his next script to make something that would really draw people in. He cast two of South Korea’s biggest stars to play the leads and based it on a successful manga comic, weaving a dark mystery together that was very operatic. And it worked! His 2003 film Oldboy was a huge box office success and garnered incredible praise for everyone involved. It also helped establish Park as a filmmaker of note. Join us — Pete Wright and Andy Nelson — as we continue our series on Park Chan-Wook’s Vengeance Trilogy with his film Oldboy.

We look at the nature of revenge taken in this film and how the truths of the characters contrast each other. We talk about the brilliant camerawork all through, notably the single-take hallway fight. We look at what Choi Min-Sik and Yu Ji-tae bring to the table as our protagonist and antagonist, and how there are definite comparisons to Oedipus and the Greek gods. We discuss the end of the film and how Park left it deliberately ambiguous. And we touch on the eating of live octopuses and why it can be deadly.

As crazy as this world is, it’s a film that is fully invested in making it real. We had a great time watching it and have an even better time talking about it. Check it out then tune in! The Next Reel — when the movie ends, our conversation begins.

Film Sundries

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]]> "I’m a sort of scholar, and my field of study is you."

After the box office failure of his previous film, Park Chan-Wook worked hard with his next script to make something that would really draw people in. He cast two of South Korea’s biggest stars to play the leads and based it on a successful manga comic, weaving a dark mystery together that was very operatic. And it worked! His 2003 film Oldboy was a huge box office success and garnered incredible praise for everyone involved. It also helped establish Park as a filmmaker of note. Join us — Pete Wright and Andy Nelson — as we continue our series on Park Chan-Wook’s Vengeance Trilogy with his film Oldboy.

We look at the nature of revenge taken in this film and how the truths of the characters contrast each other. We talk about the brilliant camerawork all through, notably the single-take hallway fight. We look at what Choi Min-Sik and Yu Ji-tae bring to the table as our protagonist and antagonist, and how there are definite comparisons to Oedipus and the Greek gods. We discuss the end of the film and how Park left it deliberately ambiguous. And we touch on the eating of live octopuses and why it can be deadly.

As crazy as this world is, it’s a film that is fully invested in making it real. We had a great time watching it and have an even better time talking about it. Check it out then tune in! The Next Reel — when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 29 Mar 2018 06:00:00 -0700 The Next Reel The Next Reel 4295 After the box office failure of his previous film, Park Chan-Wook worked hard with his next script to make something that would really draw people in. And it worked! His 2003 film 'Oldboy' was a huge box office success and garnered incredible praise for everyone involved. After the box office failure of his previous film, Park Chan-Wook worked hard with his next script to make something that would really draw people in. And it worked! His 2003 film 'Oldboy' was a huge box office success and garnered incredible praise for e film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Sympathy for Mr. Vengeance • The Next Reel 7 7 35 35 Sympathy for Mr. Vengeance • The Next Reel full 6fa23a94-bf02-4ddc-a08e-91f81861db4f https://share.transistor.fm/s/286ea922 "I’m not just any ordinary person."

Park Chan-Wook never set out to make a trilogy. His ‘vengeance trilogy,’ in fact, only was later dubbed that by international critics who felt the three films were connected through themes of revenge, violence, and salvation. Luckily, he was able to make the second and third films in this ‘trilogy’ because this first one didn’t connect with audiences and it lost money. Join us — Pete Wright and Andy Nelson — as we kick off a new series looking at Park Chan-Wook’s Vengeance Trilogy with his 2002 film Sympathy for Mr. Vengeance. 

We talk about the unique tone of the film, balancing absurdist humor with the dark themes of sacrifice, loss and revenge, and why that is possibly why audiences couldn’t connect with the film. We also look at the way that Park constructs films, and how his challenging storytelling style may also have kept audiences away. We chat about the editing, cinematography and script, looking at how they all come together to push the story forward in unexpected ways while allowing Park incredibly creative ways to show off his understanding of the language of cinema. We look at the interesting — and challenging — way the sound was designed and why it works in context of the film. And we look at some of the performances and why they work so well here. 

It’s a challenging film for sure, but one that we liked quite a bit. We have a great time talking about it here so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "I’m not just any ordinary person."

Park Chan-Wook never set out to make a trilogy. His ‘vengeance trilogy,’ in fact, only was later dubbed that by international critics who felt the three films were connected through themes of revenge, violence, and salvation. Luckily, he was able to make the second and third films in this ‘trilogy’ because this first one didn’t connect with audiences and it lost money. Join us — Pete Wright and Andy Nelson — as we kick off a new series looking at Park Chan-Wook’s Vengeance Trilogy with his 2002 film Sympathy for Mr. Vengeance. 

We talk about the unique tone of the film, balancing absurdist humor with the dark themes of sacrifice, loss and revenge, and why that is possibly why audiences couldn’t connect with the film. We also look at the way that Park constructs films, and how his challenging storytelling style may also have kept audiences away. We chat about the editing, cinematography and script, looking at how they all come together to push the story forward in unexpected ways while allowing Park incredibly creative ways to show off his understanding of the language of cinema. We look at the interesting — and challenging — way the sound was designed and why it works in context of the film. And we look at some of the performances and why they work so well here. 

It’s a challenging film for sure, but one that we liked quite a bit. We have a great time talking about it here so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 22 Mar 2018 06:00:00 -0700 The Next Reel The Next Reel 4188 Did Park Chan-Wook set out to make a challenging film or did it just naturally end up that way? Who is the eponymous character? And what is Park saying about the nature of revenge in film? Tune in to this week’s show to find out! Did Park Chan-Wook set out to make a challenging film or did it just naturally end up that way? Who is the eponymous character? And what is Park saying about the nature of revenge in film? Tune in to this week’s show to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Detroit • The Next Reel 7 7 34 34 Detroit • The Next Reel full eab5125f-43c2-4063-923e-3c8748542428 https://share.transistor.fm/s/b675917b "Everybody isn’t thieves and murderers."

It seems that after finding such success making films about real world situations in _The Hurt Locker_and Zero Dark Thirty, director Kathryn Bigelow and screenwriter Mark Boal wanted to keep going in that direction with their next project. They learned about the riots in Detroit in 1967 and, after doing many interviews, settled on a particular incident that took place at the Algiers Hotel. This ended up becoming the film Detroit, which was released almost to the day of the 50th anniversary of the incident. Join us – Pete Wright and Andy Nelson – as we close up this round of our Kathryn Bigelow series with her film from last year, Detroit.

We talk about how the film worked for us – Pete loved it, Andy really struggled with it – and debated about why that is. We look at the fantastic actors who carry this film – Algee Smith, Jacob Latimore, Jason Mitchell, John Boyega, Will Poulter, Hannah Murray and more – and discuss what they all bring to the table. We contemplate how the story was structured and debate if there might have been a different way to approach the story that could have made it more effective. And we touch on the cinematography by Barry Ackroyd and how the documentary handheld approach works really well with this story they’re telling.

There is plenty of debate as to whether this is a great film or a well-intentioned mess, but either way, it allows for a fantastic conversation. Check out the movie – it’s an important moment in American history even if you don’t end up liking the film – then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "Everybody isn’t thieves and murderers."

It seems that after finding such success making films about real world situations in _The Hurt Locker_and Zero Dark Thirty, director Kathryn Bigelow and screenwriter Mark Boal wanted to keep going in that direction with their next project. They learned about the riots in Detroit in 1967 and, after doing many interviews, settled on a particular incident that took place at the Algiers Hotel. This ended up becoming the film Detroit, which was released almost to the day of the 50th anniversary of the incident. Join us – Pete Wright and Andy Nelson – as we close up this round of our Kathryn Bigelow series with her film from last year, Detroit.

We talk about how the film worked for us – Pete loved it, Andy really struggled with it – and debated about why that is. We look at the fantastic actors who carry this film – Algee Smith, Jacob Latimore, Jason Mitchell, John Boyega, Will Poulter, Hannah Murray and more – and discuss what they all bring to the table. We contemplate how the story was structured and debate if there might have been a different way to approach the story that could have made it more effective. And we touch on the cinematography by Barry Ackroyd and how the documentary handheld approach works really well with this story they’re telling.

There is plenty of debate as to whether this is a great film or a well-intentioned mess, but either way, it allows for a fantastic conversation. Check out the movie – it’s an important moment in American history even if you don’t end up liking the film – then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 15 Mar 2018 06:00:00 -0700 The Next Reel The Next Reel 4167 Was this the right way to tell this story? How well do the actors carry the film? Why has this situation not been taught in history books? Join us on this week’s show to find out! Was this the right way to tell this story? How well do the actors carry the film? Why has this situation not been taught in history books? Join us on this week’s show to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Local Hero — Andy Nelson • Movies We Like 3 3 2 2 Local Hero — Andy Nelson • Movies We Like full 12959702-d6fb-4058-9169-ebee867110f3 https://share.transistor.fm/s/7846b593 "I’m watching the sky, sir, and it’s doing some amazing things!"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, one of the many Andy Nelsons in the film world — specifically Andy Nelson the re-recording mixer — joins us to talk about one of his favorite films, Bill Forsyth’s 1983 film Local Hero.

We talk about why the film resonates to this day and why the film is such a wonderful celebration of the little things, the details that make life so memorable. We chat about the cast and what they bring to the table, notably Peter Riegert and Burt Lancaster. We ponder the webbed feet of Jenny Seagrove and are presented with a new thought – what if it’s only how the character of Oldsen sees them? We look at the final moments of the film and why it breaks our hearts so much. We talk about Mark Knopfler’s wonderful score and why it hits so well for us. We debate the title and ponder who specifically is the eponymous character. And, of course, we chat with Nelson about his career and what specifically a re-recording mixer does.

It’s a magical little film that warms our hearts and provides for a wonderful conversation. Check it out then tune in! The Next Reel. When the movie ends, our conversation begins.

Film Sundries

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]]> "I’m watching the sky, sir, and it’s doing some amazing things!"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, one of the many Andy Nelsons in the film world — specifically Andy Nelson the re-recording mixer — joins us to talk about one of his favorite films, Bill Forsyth’s 1983 film Local Hero.

We talk about why the film resonates to this day and why the film is such a wonderful celebration of the little things, the details that make life so memorable. We chat about the cast and what they bring to the table, notably Peter Riegert and Burt Lancaster. We ponder the webbed feet of Jenny Seagrove and are presented with a new thought – what if it’s only how the character of Oldsen sees them? We look at the final moments of the film and why it breaks our hearts so much. We talk about Mark Knopfler’s wonderful score and why it hits so well for us. We debate the title and ponder who specifically is the eponymous character. And, of course, we chat with Nelson about his career and what specifically a re-recording mixer does.

It’s a magical little film that warms our hearts and provides for a wonderful conversation. Check it out then tune in! The Next Reel. When the movie ends, our conversation begins.

Film Sundries

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]]> Tue, 13 Mar 2018 06:00:00 -0700 TruStory FM TruStory FM 4362 What makes this Scottish town so stinkin’ charming? What’s up with the webbed feet? And what does a re-recording mixer actually do? Tune in to this episode of The Next Reel’s Speakeasy with re-recording mixer Andy Nelson to hear answers to these questions and more! What makes this Scottish town so stinkin’ charming? What’s up with the webbed feet? And what does a re-recording mixer actually do? Tune in to this episode of The Next Reel’s Speakeasy with re-recording mixer Andy Nelson to hear answers to these questions Movies We Like, Andrew Nelson No Andy Nelson Pete Wright Point Break • The Next Reel 7 7 33 33 Point Break • The Next Reel full 05c7dbd0-719b-4848-9120-96b4df674f27 https://share.transistor.fm/s/143bc3e1 "It’s a state of mind."

Kathryn Bigelow already showed everyone that she could handle action in her films with projects like Near Dark and Blue Steel when she and her husband-at-the-time James Cameron took on the task of doing rewrites to her new project Johnny Utah. With Patrick Swayze and Keanu Reeves coming on board to play the two leads, she was ready to prove herself yet again. And while she didn’t walk away with a film as successful as Cameron’s T2, she did end up with one of her highest grossing films and a cult classic that defined action films and surfing for years to come. Join us – Pete Wright and Andy Nelson – as we continue our Kathryn Bigelow series with her 1991 film Point Break.

We talk about how well this film holds up despite the years of mocking we gave it. We chat about Bigelow and how well she handles bank robbery action while balancing it brilliantly with the zen attitudes of the surfers. We look at what Reeves and Swayze bring to the table, as well as Lori Petty and national treasure Gary Busey. We compare the film with the 2015 remake, which largely doesn’t work as well as Bigelow’s film (even if it still is fun to watch). We discuss the foot chase sequence that involves a dog being thrown as well as the iconic moment of Reeves shooting his gun into the air and screaming “Arrrrhhh!”, and why the scene holds so much weight in this film and in action films to come. We touch on Swayze and his real skydiving moment that gives an authenticity to the film. And we revel in the delight of knowing about the cult play in which the Utah role is cast from the audience and asked to read their role from cue cards.

Point Break is a really fun film that is of its time without feeling dated. We have a great time talking about it and revel in the joy that it’s much better than we remembered. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "It’s a state of mind."

Kathryn Bigelow already showed everyone that she could handle action in her films with projects like Near Dark and Blue Steel when she and her husband-at-the-time James Cameron took on the task of doing rewrites to her new project Johnny Utah. With Patrick Swayze and Keanu Reeves coming on board to play the two leads, she was ready to prove herself yet again. And while she didn’t walk away with a film as successful as Cameron’s T2, she did end up with one of her highest grossing films and a cult classic that defined action films and surfing for years to come. Join us – Pete Wright and Andy Nelson – as we continue our Kathryn Bigelow series with her 1991 film Point Break.

We talk about how well this film holds up despite the years of mocking we gave it. We chat about Bigelow and how well she handles bank robbery action while balancing it brilliantly with the zen attitudes of the surfers. We look at what Reeves and Swayze bring to the table, as well as Lori Petty and national treasure Gary Busey. We compare the film with the 2015 remake, which largely doesn’t work as well as Bigelow’s film (even if it still is fun to watch). We discuss the foot chase sequence that involves a dog being thrown as well as the iconic moment of Reeves shooting his gun into the air and screaming “Arrrrhhh!”, and why the scene holds so much weight in this film and in action films to come. We touch on Swayze and his real skydiving moment that gives an authenticity to the film. And we revel in the delight of knowing about the cult play in which the Utah role is cast from the audience and asked to read their role from cue cards.

Point Break is a really fun film that is of its time without feeling dated. We have a great time talking about it and revel in the joy that it’s much better than we remembered. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 08 Mar 2018 06:00:00 -0800 The Next Reel The Next Reel 4287 What works better – Kathryn Bigelow’s action directing or the jiggly monkey technique? Who’s hunkier – Keanu Reeves or Patrick Swayze? What’s more thrilling – the surfing, the skydiving or the bank robbing? And can Gary Busey be in everything? Tune in to this week’s show about Point Break! What works better – Kathryn Bigelow’s action directing or the jiggly monkey technique? Who’s hunkier – Keanu Reeves or Patrick Swayze? What’s more thrilling – the surfing, the skydiving or the bank robbing? And can Gary Busey be in everything? Tune in to film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Near Dark • The Next Reel 7 7 32 32 Near Dark • The Next Reel full 85852b76-91b5-4af6-8ba8-e4b5b7f54b64 https://share.transistor.fm/s/88916de8 "Normal folks, they don’t spit out bullets when you shoot ‘em, no sir!"

When trying to figure out a way to stand out for her first solo directorial project, Kathryn Bigelow and her co-writer Eric Red decided to add elements of the vampire genre to the western they were developing. And thus, Near Dark was born. Unfortunately, her film came out a few months after the big vampire film of the year, The Lost Boys, and hers was lost in the shuffle. Despite that, her film still left enough of a mark that enabled her to get her career off the ground. Join us – Pete Wright and Andy Nelson – as we kick off the second part of our Kathryn Bigelow series with her 1987 film Near Dark.

We talk about our expectations of a film marketed as a vampire western, and how well the movie actually meets them. We look at the trio of actors ported over from James Cameron’s Aliens — Bill Paxton, Lance Henriksen, and Jenette Goldstein — and discuss how well they do here paired with the other actors. We debate the strengths of the film and the weaknesses, finding plenty of both, and argue about which outweigh the other. We chat about the vampire tropes introduced here and ponder if this film does anything new with the genre that we hadn’t seen before. We discuss how Bigelow handles the camera, the lighting, the action and more throughout the film, seeing a clear line to some of her later films. And we ponder the penchant Hollywood writers seem to have with the way romance works so quickly in movies (it’s shorthand, we get it, but seriously? Sometimes, it’s too much.)

It’s a film that has problems that certainly weigh Pete’s opinion of it down while Andy still finds it enjoyable despite its issues. Coming at the film from these two positions allows for a fantastic conversation, so check the movie out then tune in! The Next Reel — when the movie ends, our conversation begins.

Film Sundries

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]]> "Normal folks, they don’t spit out bullets when you shoot ‘em, no sir!"

When trying to figure out a way to stand out for her first solo directorial project, Kathryn Bigelow and her co-writer Eric Red decided to add elements of the vampire genre to the western they were developing. And thus, Near Dark was born. Unfortunately, her film came out a few months after the big vampire film of the year, The Lost Boys, and hers was lost in the shuffle. Despite that, her film still left enough of a mark that enabled her to get her career off the ground. Join us – Pete Wright and Andy Nelson – as we kick off the second part of our Kathryn Bigelow series with her 1987 film Near Dark.

We talk about our expectations of a film marketed as a vampire western, and how well the movie actually meets them. We look at the trio of actors ported over from James Cameron’s Aliens — Bill Paxton, Lance Henriksen, and Jenette Goldstein — and discuss how well they do here paired with the other actors. We debate the strengths of the film and the weaknesses, finding plenty of both, and argue about which outweigh the other. We chat about the vampire tropes introduced here and ponder if this film does anything new with the genre that we hadn’t seen before. We discuss how Bigelow handles the camera, the lighting, the action and more throughout the film, seeing a clear line to some of her later films. And we ponder the penchant Hollywood writers seem to have with the way romance works so quickly in movies (it’s shorthand, we get it, but seriously? Sometimes, it’s too much.)

It’s a film that has problems that certainly weigh Pete’s opinion of it down while Andy still finds it enjoyable despite its issues. Coming at the film from these two positions allows for a fantastic conversation, so check the movie out then tune in! The Next Reel — when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 01 Mar 2018 06:00:00 -0800 The Next Reel The Next Reel 4441 Is Kathryn Bigelow’s solo directorial debut worth checking out? Is there enough ‘western’ in this vampire western? Is it weird that Bigelow ported over three of the acting team from Aliens? And are some vampires weirdly more susceptible to catching fire than others? Tune in to this week’s show to get these answers and more! Is Kathryn Bigelow’s solo directorial debut worth checking out? Is there enough ‘western’ in this vampire western? Is it weird that Bigelow ported over three of the acting team from Aliens? And are some vampires weirdly more susceptible to catching fire t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Funny Girl • The Next Reel 7 7 31 31 Funny Girl • The Next Reel full 41d4d08c-1b21-4aad-acf9-7784e3c9b6ce https://share.transistor.fm/s/00ff9e05 "Hello, gorgeous."

Watching Funny Girl now, you would never guess that it was Barbra Streisand’s film debut. Sure, she originated the role on Broadway four years earlier, but performing on stage can be quite different than on film. Luckily, with William Wyler helming the project, she was in the right hands and delivered an iconic performance in a film that was a box office smash at the time. Join us – Pete Wright and Andy Nelson – as we conclude our Musicals From the 60s series with Wyler’s 1968 film Funny Girl.

We talk about Streisand and why she works so well in this film paired with Omar Sharif. We discuss the story and why it’s not nearly as memorable as the songs throughout, and we debate if a story more in line with the real relationship between Fanny Brice and Nick Arnstein would have worked better. We look at Wyler and what he’s bringing to the table, particularly with his cinematographer Harry Stradling Sr. We look at the production design and how it feels a bit uneven, fluctuating between very stagey sets and obvious location work. And we marvel at an amazing helicopter shot that stands out in a film with several cinematographic moments that are true highlights.

It’s a film that may be better remembered today for its music and for Streisand’s performance than for the story itself, but it’s still a very enjoyable watch. Check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "Hello, gorgeous."

Watching Funny Girl now, you would never guess that it was Barbra Streisand’s film debut. Sure, she originated the role on Broadway four years earlier, but performing on stage can be quite different than on film. Luckily, with William Wyler helming the project, she was in the right hands and delivered an iconic performance in a film that was a box office smash at the time. Join us – Pete Wright and Andy Nelson – as we conclude our Musicals From the 60s series with Wyler’s 1968 film Funny Girl.

We talk about Streisand and why she works so well in this film paired with Omar Sharif. We discuss the story and why it’s not nearly as memorable as the songs throughout, and we debate if a story more in line with the real relationship between Fanny Brice and Nick Arnstein would have worked better. We look at Wyler and what he’s bringing to the table, particularly with his cinematographer Harry Stradling Sr. We look at the production design and how it feels a bit uneven, fluctuating between very stagey sets and obvious location work. And we marvel at an amazing helicopter shot that stands out in a film with several cinematographic moments that are true highlights.

It’s a film that may be better remembered today for its music and for Streisand’s performance than for the story itself, but it’s still a very enjoyable watch. Check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 22 Feb 2018 06:00:00 -0800 The Next Reel The Next Reel 4455 Is this film memorable for its story or for Streisand’s performance? What does Omar Sharif bring to the table? Does William Wyler’s direction stand out as top notch? And which song is a better representation of Babs – ’People’ or ‘Don’t Rain on My Parade?’ Join us for this week’s show to find out! Is this film memorable for its story or for Streisand’s performance? What does Omar Sharif bring to the table? Does William Wyler’s direction stand out as top notch? And which song is a better representation of Babs – ’People’ or ‘Don’t Rain on My Parade? film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Thoroughly Modern Millie • The Next Reel 7 7 30 30 Thoroughly Modern Millie • The Next Reel full 207b6ffe-f6ac-40c0-84f4-7727d7c59b55 https://share.transistor.fm/s/30f079bb "Men say it’s criminal what women’ll do. What they’re forgetting is this is 1922."

By 1967, Julie Andrews was at the top of her game. Since Mary Poppins came out, she’d been in hit after hit, from The Sound of Music to Torn Curtain, so it was surely a thrill for her to jump into another musical – Thoroughly Modern Millie – with George Roy Hill, who had just directed her in Hawaii. Join us – Pete Wright and Andy Nelson – as we continue our Musicals From the 60s series with Hill’s 1967 film Thoroughly Modern Millie.

We talk about why the film works well for us, even though there are elements within that we struggle with. We compare it to the last film we discussed – The Young Girls of Rochefort – which had some similar elements, but which didn’t work nearly as well for us. We look at how well the cast works here, from Andrews to James Fox, from Mary Tyler Moore to Carol Channing, from John Gavin to Pat Morita. We look at what Hill brings to the table with the direction, and how well he works with cinematographer Russell Metty and editor Stuart Gilmore. We chat about the music – both songs from the past and original songs – as well as the original and adapted scores (and try to figure out who actually did what). And we ponder if the racial stereotypes here are better or worse than those in Gone With the Wind.

It’s a riotously fun film that certainly has issues but is worth checking out. We have a great time talking about it on the show this week. Give it a watch then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "Men say it’s criminal what women’ll do. What they’re forgetting is this is 1922."

By 1967, Julie Andrews was at the top of her game. Since Mary Poppins came out, she’d been in hit after hit, from The Sound of Music to Torn Curtain, so it was surely a thrill for her to jump into another musical – Thoroughly Modern Millie – with George Roy Hill, who had just directed her in Hawaii. Join us – Pete Wright and Andy Nelson – as we continue our Musicals From the 60s series with Hill’s 1967 film Thoroughly Modern Millie.

We talk about why the film works well for us, even though there are elements within that we struggle with. We compare it to the last film we discussed – The Young Girls of Rochefort – which had some similar elements, but which didn’t work nearly as well for us. We look at how well the cast works here, from Andrews to James Fox, from Mary Tyler Moore to Carol Channing, from John Gavin to Pat Morita. We look at what Hill brings to the table with the direction, and how well he works with cinematographer Russell Metty and editor Stuart Gilmore. We chat about the music – both songs from the past and original songs – as well as the original and adapted scores (and try to figure out who actually did what). And we ponder if the racial stereotypes here are better or worse than those in Gone With the Wind.

It’s a riotously fun film that certainly has issues but is worth checking out. We have a great time talking about it on the show this week. Give it a watch then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 15 Feb 2018 12:26:00 -0800 The Next Reel The Next Reel 4537 Could Julie Andrews do anything wrong in the 60s? Can Carol Channing really sing that low? Why couldn’t they have just given Pat Morita and Jack Soo names? Join us on this week’s show as we discuss Thoroughly Modern Millie! Could Julie Andrews do anything wrong in the 60s? Can Carol Channing really sing that low? Why couldn’t they have just given Pat Morita and Jack Soo names? Join us on this week’s show as we discuss Thoroughly Modern Millie! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Young Girls of Rochefort • The Next Reel 7 7 29 29 The Young Girls of Rochefort • The Next Reel full 240d7144-4cd0-4572-8a58-c03feb30e656 https://share.transistor.fm/s/2964da91 "Paris is small for a great passion like yours."

Jacques Demy already had great success with his 1964 musical The Umbrellas of Cherbourg when he stepped up to direct The Young Girls of Rochefort. Continuing his same colorful style, Rochefort explodes with pastels and a supersaturated palette, not exactly lining up with the styles preferred by Demy’s French New Wave pals. That being said, he still found ways to subvert the genre so well established by Hollywood. Join us – Pete Wright and Andy Nelson – as we continue our Musicals From the 60s series with Demy’s 1967 film The Young Girls of Rochefort.

We talk about the story and why it doesn’t work that well for us, even though the elements of subversion give us a bit more appreciation for what Demy was trying to do here. We chat about the great cast helmed by Catherine Deneuve and Françoise Dorléac and how well they do. We specifically discuss the three Americans who somehow found their way into this film – Gene Kelly, George Chakiris and Grover Dale. We look at Demy’s use of color and revel in the way he paints on screen with it. We ponder over the mysterious murder and debate as to why it’s in the film. And we revel in the glorious use of long takes all throughout the film and how the camerawork seems to be as choreographed as the dancing itself.

It’s a film with plenty of charm and dancing and singing and dancing and more and more and more. We struggled a bit with the film but it provided us with an interesting conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "Paris is small for a great passion like yours."

Jacques Demy already had great success with his 1964 musical The Umbrellas of Cherbourg when he stepped up to direct The Young Girls of Rochefort. Continuing his same colorful style, Rochefort explodes with pastels and a supersaturated palette, not exactly lining up with the styles preferred by Demy’s French New Wave pals. That being said, he still found ways to subvert the genre so well established by Hollywood. Join us – Pete Wright and Andy Nelson – as we continue our Musicals From the 60s series with Demy’s 1967 film The Young Girls of Rochefort.

We talk about the story and why it doesn’t work that well for us, even though the elements of subversion give us a bit more appreciation for what Demy was trying to do here. We chat about the great cast helmed by Catherine Deneuve and Françoise Dorléac and how well they do. We specifically discuss the three Americans who somehow found their way into this film – Gene Kelly, George Chakiris and Grover Dale. We look at Demy’s use of color and revel in the way he paints on screen with it. We ponder over the mysterious murder and debate as to why it’s in the film. And we revel in the glorious use of long takes all throughout the film and how the camerawork seems to be as choreographed as the dancing itself.

It’s a film with plenty of charm and dancing and singing and dancing and more and more and more. We struggled a bit with the film but it provided us with an interesting conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 08 Feb 2018 06:00:00 -0800 The Next Reel The Next Reel 4317 Is there really this much pastel in Rochefort? Could Catherine Deneuve have been any more adorable? What’s up with the ax murderer element? Join us this week to find out! Is there really this much pastel in Rochefort? Could Catherine Deneuve have been any more adorable? What’s up with the ax murderer element? Join us this week to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Mary Poppins • The Next Reel 7 7 28 28 Mary Poppins • The Next Reel full 763dd83e-f097-4a04-9456-c21a397c5666 https://share.transistor.fm/s/7393d5a9 "I feel what’s to happen all happened before."

Anyone who watched 2013’s Saving Mr. Banks knows what a difficult time Walt Disney had getting the rights to P.L. Travers’ “Mary Poppins” novels so he could make the cinematic adaptation. It’s quite a story, but what you don’t get from watching that film is the incredible experience of watching Mary Poppins itself. Sure, at a cursory glance, it’s a very episodic film with seemingly disconnected sequences of the titular character as she nannies the Banks children, Jane and Michael. But digging deeper, there’s quite a bit more there. What it seemed ol’ Uncle Walt did was make a film that had something to say to just about everybody. Join us – Pete Wright and Andy Nelson – as we kick off our Musicals From the 60s series with Robert Stevenson’s 1964 hit Mary Poppins.

We talk about the magic of this film and how our interpretations have evolved as we’ve grown up with it. We look at the casting which is practically perfect in every way, starting right at the top with Julie Andrews and Dick Van Dyke and going all the way down to Elsa Lanchester as Katie Nana (and beyond). We touch on the fabulous effects scattered all through the film, how Disney was always pushing the envelope with cinematic tricks and how his goal was to fool people constantly where just when they think they figure out how they did it, he does something else to mislead. We chat about the many incredible songs and why they work so well, as well as touching on some of our favorites. Specifically, we look at “Supercalifragilisticexpialodocious” in our Deep Scene Dive and why this silly song about a nonsense word has lasting impact through to the climax. And we ponder the possibilities of an Aliens/_Mary Poppins_ mashup as we struggle to add the movie to our Flickchart.

We have an absolutely delightful time with this film. It’s one for all ages (except for some grumpy Amazon reviewers). Definitely check it out, then tune in! The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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]]> "I feel what’s to happen all happened before."

Anyone who watched 2013’s Saving Mr. Banks knows what a difficult time Walt Disney had getting the rights to P.L. Travers’ “Mary Poppins” novels so he could make the cinematic adaptation. It’s quite a story, but what you don’t get from watching that film is the incredible experience of watching Mary Poppins itself. Sure, at a cursory glance, it’s a very episodic film with seemingly disconnected sequences of the titular character as she nannies the Banks children, Jane and Michael. But digging deeper, there’s quite a bit more there. What it seemed ol’ Uncle Walt did was make a film that had something to say to just about everybody. Join us – Pete Wright and Andy Nelson – as we kick off our Musicals From the 60s series with Robert Stevenson’s 1964 hit Mary Poppins.

We talk about the magic of this film and how our interpretations have evolved as we’ve grown up with it. We look at the casting which is practically perfect in every way, starting right at the top with Julie Andrews and Dick Van Dyke and going all the way down to Elsa Lanchester as Katie Nana (and beyond). We touch on the fabulous effects scattered all through the film, how Disney was always pushing the envelope with cinematic tricks and how his goal was to fool people constantly where just when they think they figure out how they did it, he does something else to mislead. We chat about the many incredible songs and why they work so well, as well as touching on some of our favorites. Specifically, we look at “Supercalifragilisticexpialodocious” in our Deep Scene Dive and why this silly song about a nonsense word has lasting impact through to the climax. And we ponder the possibilities of an Aliens/_Mary Poppins_ mashup as we struggle to add the movie to our Flickchart.

We have an absolutely delightful time with this film. It’s one for all ages (except for some grumpy Amazon reviewers). Definitely check it out, then tune in! The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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]]> Thu, 01 Feb 2018 06:00:00 -0800 The Next Reel The Next Reel 4535 Would Julie Andrews have been better in My Fair Lady? How bad is Dick Van Dyke’s cockney? Was casting the Bride of Frankenstein as an angry nanny an in-joke? And just how do those actors dance with animated characters? Tune in to this week’s show to find out! Would Julie Andrews have been better in My Fair Lady? How bad is Dick Van Dyke’s cockney? Was casting the Bride of Frankenstein as an angry nanny an in-joke? And just how do those actors dance with animated characters? Tune in to this week’s show to find film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A Good Day to Die Hard • The Next Reel 7 7 27 27 A Good Day to Die Hard • The Next Reel full 0034be89-c141-4961-90a3-eaa1269cddee https://share.transistor.fm/s/bbe899a4 "Do you know what I hate about the Americans? Everything. Especially cowboys."

With the surprise success of the fourth entry into the “Die Hard” franchise, it was inevitable that the studio would push for yet another film. It took six years, but eventually, they got it made. The script that was developed for the fifth film was the first one developed from an original idea in the franchise and was written by the scribe behind the theatrical adaptation of The A-Team. The director was brought on after making the adaptation of the video game Max Payne. It seems an odd pairing, but clearly, the producers felt they saw something on this team that they felt would bring something new to this franchise. Join us – Pete Wright and Andy Nelson – as we conclude our Die Hard series with John Moore’s 2013 film A Good Day to Die Hard.

We talk about Moore’s history, as well as that of writer Skip Woods, and try to figure out why they were the team brought on to make this film. We look at all of the elements that don’t work for us in this film but largely struggle most with the fact that they make McClane really unlikeable. We chat about Jai Courtney and why we really like him as McClane’s son, even if he wasn’t given a good script to really make his mark with. We also talk about Sebastian Koch, Mary Elizabeth Winstead, Yuliya Snigir, Rasha Bukvic and more as we look at what they bring to the table. We rank our favorite Yippee Ki-Yays and our franchise villains. And we dig into what works and what doesn’t in big action sequences like the car chase.

It’s a mess of a film that ruins so much of what’s great in the franchise, even while the filmmakers clearly still throw in references and callbacks as often as they can. We may not have liked it, but we have a great time talking about it. Check it out if you must, but tune in regardless! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "Do you know what I hate about the Americans? Everything. Especially cowboys."

With the surprise success of the fourth entry into the “Die Hard” franchise, it was inevitable that the studio would push for yet another film. It took six years, but eventually, they got it made. The script that was developed for the fifth film was the first one developed from an original idea in the franchise and was written by the scribe behind the theatrical adaptation of The A-Team. The director was brought on after making the adaptation of the video game Max Payne. It seems an odd pairing, but clearly, the producers felt they saw something on this team that they felt would bring something new to this franchise. Join us – Pete Wright and Andy Nelson – as we conclude our Die Hard series with John Moore’s 2013 film A Good Day to Die Hard.

We talk about Moore’s history, as well as that of writer Skip Woods, and try to figure out why they were the team brought on to make this film. We look at all of the elements that don’t work for us in this film but largely struggle most with the fact that they make McClane really unlikeable. We chat about Jai Courtney and why we really like him as McClane’s son, even if he wasn’t given a good script to really make his mark with. We also talk about Sebastian Koch, Mary Elizabeth Winstead, Yuliya Snigir, Rasha Bukvic and more as we look at what they bring to the table. We rank our favorite Yippee Ki-Yays and our franchise villains. And we dig into what works and what doesn’t in big action sequences like the car chase.

It’s a mess of a film that ruins so much of what’s great in the franchise, even while the filmmakers clearly still throw in references and callbacks as often as they can. We may not have liked it, but we have a great time talking about it. Check it out if you must, but tune in regardless! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 25 Jan 2018 06:00:00 -0800 The Next Reel The Next Reel 4635 Does Jai Courtney work as McClane Jr.? How many villains is too much? Did McClane really need to go to Russia? Tune in to this week’s show to find out more! Does Jai Courtney work as McClane Jr.? How many villains is too much? Did McClane really need to go to Russia? Tune in to this week’s show to find out more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Live Free or Die Hard • The Next Reel 7 7 26 26 Live Free or Die Hard • The Next Reel full 8e990ee2-6f2e-4181-b852-e33be59e08de https://share.transistor.fm/s/8fb7dbdb "You’re a Timex watch in a digital age."

Making a sequel is always a challenge, but making the fourth film in a franchise after a twelve-year hiatus seems like a recipe for disaster. Luckily, the team behind Live Free or Die Hard found a director who was a huge fan of the franchise and worked hard with his team to not just make a great film but to really make a sequel to the original film that was better than the others. Some people disagree but the box office shows that Len Wiseman’s take on the franchise was quite the success. Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with Wiseman’s 2007 film Live Free or Die Hard.

We talk about why we enjoy this film so much and why we think some people had real issues with Wiseman’s direction (even if we didn’t). We chat about how well Bruce Willis works as John McClane in this installment and why his turn as the older, non-tech savvy cop struggling with how his life has shaped up works so well for the film. We touch on the other actors in the film – Justin Long, Timothy Olyphant, Cliff Curtis, Mary Elizabeth Olmstead and more – and talk about what they bring to the table. We revel in the amount of practical effects and stuntwork this team puts forth, really wowing us with the lengths they would go to so they could make the film that much cooler. We look at the semi-vs-F35 sequence and ponder the absurdities of the action in context of the franchise. We look at the brilliant parkour stunts done by Cyril Raffaelli and dig a bit into the history of it. And we look at the variety of “Yippie-ki-yays” in the series and rank ‘em.

It’s a fun film with a lot going for it, and certainly stands out as the best film since the first one. We have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

 

Film Sundries

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]]> "You’re a Timex watch in a digital age."

Making a sequel is always a challenge, but making the fourth film in a franchise after a twelve-year hiatus seems like a recipe for disaster. Luckily, the team behind Live Free or Die Hard found a director who was a huge fan of the franchise and worked hard with his team to not just make a great film but to really make a sequel to the original film that was better than the others. Some people disagree but the box office shows that Len Wiseman’s take on the franchise was quite the success. Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with Wiseman’s 2007 film Live Free or Die Hard.

We talk about why we enjoy this film so much and why we think some people had real issues with Wiseman’s direction (even if we didn’t). We chat about how well Bruce Willis works as John McClane in this installment and why his turn as the older, non-tech savvy cop struggling with how his life has shaped up works so well for the film. We touch on the other actors in the film – Justin Long, Timothy Olyphant, Cliff Curtis, Mary Elizabeth Olmstead and more – and talk about what they bring to the table. We revel in the amount of practical effects and stuntwork this team puts forth, really wowing us with the lengths they would go to so they could make the film that much cooler. We look at the semi-vs-F35 sequence and ponder the absurdities of the action in context of the franchise. We look at the brilliant parkour stunts done by Cyril Raffaelli and dig a bit into the history of it. And we look at the variety of “Yippie-ki-yays” in the series and rank ‘em.

It’s a fun film with a lot going for it, and certainly stands out as the best film since the first one. We have a great time talking about it on the show this week, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

 

Film Sundries

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]]> Thu, 18 Jan 2018 06:00:00 -0800 The Next Reel The Next Reel 5019 How does Bruce Willis work as the older John McClane? How is Mac Justin Long as his sidekick? And did Maggie Q really do her own stunts? We talk about all this and more on this week’s show! How does Bruce Willis work as the older John McClane? How is Mac Justin Long as his sidekick? And did Maggie Q really do her own stunts? We talk about all this and more on this week’s show! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Dunkirk — Toby Oliver • Movies We Like 3 3 1 1 Dunkirk — Toby Oliver • Movies We Like full 8fc8904a-d49d-499c-a3ef-d948ef7d65ff https://share.transistor.fm/s/e525958f "We let you all down, didn’t we?"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Toby Oliver joins us to talk about one of his favorite films, Christopher Nolan’s 2017 film Dunkirk.

We talk about Nolan’s decision to shoot on IMAX 65mm largely and how this affected the overall tone of the film and informed some of their decisions as to how it was shot. We chat about the nature of the story told across three separate time windows and how the structure gave us a fascinating perspective on how to look at this war story. We discuss the use of mostly new faces for the cast, barring a few key roles, and how that works effectively in a story with no real protagonist. We touch on Hans Zimmer and his tonal score and why it, paired with the incessant use of a ticking sound, is such a key part of the film. And we talk about Nolan’s insistence on using practical effects and why it likely helped inform the performances throughout the film by having real elements to which to react.

It’s a fascinating and powerful war film that feels very different and will be one to stand the test of time. We have a great time talking about it with Toby Oliver, as well as touching on his career. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "We let you all down, didn’t we?"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Toby Oliver joins us to talk about one of his favorite films, Christopher Nolan’s 2017 film Dunkirk.

We talk about Nolan’s decision to shoot on IMAX 65mm largely and how this affected the overall tone of the film and informed some of their decisions as to how it was shot. We chat about the nature of the story told across three separate time windows and how the structure gave us a fascinating perspective on how to look at this war story. We discuss the use of mostly new faces for the cast, barring a few key roles, and how that works effectively in a story with no real protagonist. We touch on Hans Zimmer and his tonal score and why it, paired with the incessant use of a ticking sound, is such a key part of the film. And we talk about Nolan’s insistence on using practical effects and why it likely helped inform the performances throughout the film by having real elements to which to react.

It’s a fascinating and powerful war film that feels very different and will be one to stand the test of time. We have a great time talking about it with Toby Oliver, as well as touching on his career. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Tue, 16 Jan 2018 06:00:00 -0800 TruStory FM TruStory FM 3767 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Toby Oliver joins us to talk about one of his favorite films, Christopher Nolan’s 2017 film Dunkirk. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Toby Oliver joins us to talk about one of his favor Movies We Like, Toby Oliver No Andy Nelson Pete Wright Die Hard With a Vengeance • The Next Reel 7 7 25 25 Die Hard With a Vengeance • The Next Reel full 3f2fb1ef-fca2-4d30-a569-70d3ea9a5011 https://share.transistor.fm/s/66d7c31d "Simon says."

When Jonathan Hensleigh’s spec script ‘Simon Says’ was bought by Twentieth Century Fox to be turned into a Die Hard sequel, he was thrilled. After all, his deal with Warner Bros. to turn it into a Lethal Weapon sequel had collapsed. What it meant, though, is finding a way to rework half of the script to make it fit something that would happen in John McClane’s world. For the most part, things work well, and with John McTiernan returning to the franchise, it’s a solid entry. But could it have been better? Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with McTiernan’s 1995 film Die Hard With a Vengeance.

We talk about the incredible strengths the script and film have right out of the gate but how things slip quite a bit in the second half, even if it’s still a lot of fun. We discuss the buddy relationship brought forth this time with Bruce Willis and Samuel L. Jackson and why it works. We debate some dated elements of the script regarding arguments about race and quips about homosexuality. We look at the incredible stunt work paired with patient camera and editing to bring the maniacal drive through Central Park to the screen. We ponder how well the alternate ending could’ve worked because at least it brings back the riddle elements to the close. And we chat about some of the frustrating music Michael Kamen wrote for the film, sounding like bad 90s Eric Serra score.

It’s a fun film that has its faults but also has an incredibly strong first half. We have a great time talking about it on the show this week, so tune in then check it out! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "Simon says."

When Jonathan Hensleigh’s spec script ‘Simon Says’ was bought by Twentieth Century Fox to be turned into a Die Hard sequel, he was thrilled. After all, his deal with Warner Bros. to turn it into a Lethal Weapon sequel had collapsed. What it meant, though, is finding a way to rework half of the script to make it fit something that would happen in John McClane’s world. For the most part, things work well, and with John McTiernan returning to the franchise, it’s a solid entry. But could it have been better? Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with McTiernan’s 1995 film Die Hard With a Vengeance.

We talk about the incredible strengths the script and film have right out of the gate but how things slip quite a bit in the second half, even if it’s still a lot of fun. We discuss the buddy relationship brought forth this time with Bruce Willis and Samuel L. Jackson and why it works. We debate some dated elements of the script regarding arguments about race and quips about homosexuality. We look at the incredible stunt work paired with patient camera and editing to bring the maniacal drive through Central Park to the screen. We ponder how well the alternate ending could’ve worked because at least it brings back the riddle elements to the close. And we chat about some of the frustrating music Michael Kamen wrote for the film, sounding like bad 90s Eric Serra score.

It’s a fun film that has its faults but also has an incredibly strong first half. We have a great time talking about it on the show this week, so tune in then check it out! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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Support The Next Reel Family of Film Shows:

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]]> Thu, 11 Jan 2018 06:00:00 -0800 The Next Reel The Next Reel 4159 How well do Bruce Willis and Samuel L. Jackson work together on screen? Would a straight-up version of the original script have been better? What about the alternate ending? Tune in to this week’s show to get our thoughts! How well do Bruce Willis and Samuel L. Jackson work together on screen? Would a straight-up version of the original script have been better? What about the alternate ending? Tune in to this week’s show to get our thoughts! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Die Hard 2 • The Next Reel 7 7 24 24 Die Hard 2 • The Next Reel full 2cf80a75-45fd-4b34-9cb7-a77caaa0753a https://share.transistor.fm/s/1c6be311 "We are just up to our neck in terrorists again, John!"

Joel Silver was never a producer to shy away from giving the audience more of what they wanted. For the sequel to his 1988 action hit Die Hard, he tapped into director Renny Harlin and together, they pushed for more action, more humor, more stunts and… more of everything else the audiences got in the first film. But does that make a good sequel? Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with Harlin’s 1990 film Die Hard 2.

We talk about the overall tone of the movie, what works with it and what doesn’t, and what may be forgivable in context of this being an over-the-top action film. We chat about how McClane is largely more unlikeable in this film and blame the writers with taking him down this road. We discuss the nature of terrorist films as summer entertainment – something John McTiernan had issue with when making the first film – and ponder if this film really kicked off a trend that made this kind of violence more okay for summer popcorn fare. We laugh at some of the more nonsensical plot elements scattered throughout this film and debate where the line is for one’s suspension of disbelief in a movie like this. And we praise Michael Kamen’s use of music throughout, even when he has to bring John Sibelius’ ‘Finlandia’ in for the parade of planes.

It’s a film that is full of problems that may or may not bother you – we certainly don’t come to any consensus here – but it’s still a fun entry into the Die Hard franchise. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "We are just up to our neck in terrorists again, John!"

Joel Silver was never a producer to shy away from giving the audience more of what they wanted. For the sequel to his 1988 action hit Die Hard, he tapped into director Renny Harlin and together, they pushed for more action, more humor, more stunts and… more of everything else the audiences got in the first film. But does that make a good sequel? Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with Harlin’s 1990 film Die Hard 2.

We talk about the overall tone of the movie, what works with it and what doesn’t, and what may be forgivable in context of this being an over-the-top action film. We chat about how McClane is largely more unlikeable in this film and blame the writers with taking him down this road. We discuss the nature of terrorist films as summer entertainment – something John McTiernan had issue with when making the first film – and ponder if this film really kicked off a trend that made this kind of violence more okay for summer popcorn fare. We laugh at some of the more nonsensical plot elements scattered throughout this film and debate where the line is for one’s suspension of disbelief in a movie like this. And we praise Michael Kamen’s use of music throughout, even when he has to bring John Sibelius’ ‘Finlandia’ in for the parade of planes.

It’s a film that is full of problems that may or may not bother you – we certainly don’t come to any consensus here – but it’s still a fun entry into the Die Hard franchise. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 04 Jan 2018 06:00:00 -0800 The Next Reel The Next Reel 4878 Does Renny Harlin amp this sequel up appropriately or does it go too far? Should John McClane be this unlikeable? And do the bad guys really ‘die harder’? Tune in to this week’s show to find out! Does Renny Harlin amp this sequel up appropriately or does it go too far? Should John McClane be this unlikeable? And do the bad guys really ‘die harder’? Tune in to this week’s show to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Die Hard • The Next Reel 7 7 23 23 Die Hard • The Next Reel full 74ed2638-5df1-42a6-ae49-4d6a835455e6 https://share.transistor.fm/s/5c3c564a "Now I have a machine gun. Ho-ho-ho."

‘Tis the holiday season, and what better way to kick it off than with everybody’s favorite Christmas action classic, Die Hard. John McTiernan had done Predator beforehand and proved he was the perfect person to helm this action thriller. But would an adaptation from a book about terrorism make for entertaining summer fare? Join us – Pete Wright and Andy Nelson – as we kick off our Die Hard series with McTiernan’s 1988 blockbuster Die Hard.

We talk about the adaptation from the original novel and why the terrorism elements were dropped in favor of the robbery elements. We also talk about why Frank Sinatra was the first person the studio went to when offering actors the chance to play John McClane. We look at what the film did for Bruce Willis’ career and why he was such a gamble to helm an action thriller that now seems like such a no-brainer. We discuss Jan de Bont’s cinematography and Michael Kamen’s score, not to mention the wonderful effects work that Thaine Morris put together. And we chat about the legacy the film has had and how it made pitching similar action films so easy (it’s Die Hard on a (fill in the blank)).

We love this movie which we definitely think is a Christmas movie. It’s one of our favorites and we’re thrilled to get a chance to talk about it. Put the movie on with the age-appropriate family for the holiday (definitely not the three-year-olds) then tune in to the show! The Next Reel – when the movie ends, our conversation begins.

Film Sundries


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]]> "Now I have a machine gun. Ho-ho-ho."

‘Tis the holiday season, and what better way to kick it off than with everybody’s favorite Christmas action classic, Die Hard. John McTiernan had done Predator beforehand and proved he was the perfect person to helm this action thriller. But would an adaptation from a book about terrorism make for entertaining summer fare? Join us – Pete Wright and Andy Nelson – as we kick off our Die Hard series with McTiernan’s 1988 blockbuster Die Hard.

We talk about the adaptation from the original novel and why the terrorism elements were dropped in favor of the robbery elements. We also talk about why Frank Sinatra was the first person the studio went to when offering actors the chance to play John McClane. We look at what the film did for Bruce Willis’ career and why he was such a gamble to helm an action thriller that now seems like such a no-brainer. We discuss Jan de Bont’s cinematography and Michael Kamen’s score, not to mention the wonderful effects work that Thaine Morris put together. And we chat about the legacy the film has had and how it made pitching similar action films so easy (it’s Die Hard on a (fill in the blank)).

We love this movie which we definitely think is a Christmas movie. It’s one of our favorites and we’re thrilled to get a chance to talk about it. Put the movie on with the age-appropriate family for the holiday (definitely not the three-year-olds) then tune in to the show! The Next Reel – when the movie ends, our conversation begins.

Film Sundries


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]]> Thu, 28 Dec 2017 06:00:00 -0800 The Next Reel The Next Reel 5325 Does John McClane represent the perfect everyday action hero? Is Hans Gruber one of cinema’s greatest villains? Why does this film work so well and still hold up? And does anyone talk to themselves as well as Bruce Willis? Join us on this week’s show to find out! Does John McClane represent the perfect everyday action hero? Is Hans Gruber one of cinema’s greatest villains? Why does this film work so well and still hold up? And does anyone talk to themselves as well as Bruce Willis? Join us on this week’s show to f film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Girl Who Kicked the Hornet’s Nest • The Next Reel 7 7 22 22 The Girl Who Kicked the Hornet’s Nest • The Next Reel full 10f93aa0-2554-41f0-908c-bf742764cbf9 https://share.transistor.fm/s/28438aa7 "I’m a survivor, as you should know by now."

Stieg Larsson had plans to write an entire series of Millennium novels, but unfortunately died having only written three of them. Because of this, they’re often referred to as the Millennium trilogy. Sure, they have the same characters largely and are centered around the Millennium magazine, but it’s not really a trilogy per se. That being said, when making the three films, it didn’t stop the team from shooting them all back to back to keep the story as cohesive as possible. While it’s great having the three Swedish films feel so much of a whole, it is a challenge seeing this as a trilogy. It doesn’t help that the third film, Daniel Alfredson’s 2009 The Girl Who Kicked the Hornets’ Nest, starts to feel a bit like the storytellers are stretching credulity a bit. Join us – Pete Wright and Andy Nelson – as we wrap up our series on the Millennium ‘trilogy’ with Alfredson’s film.

We talk about the basic struggles we have with the film, even if we still largely enjoy it. We look at the struggles all trilogies seem to face and how that often is expounded when they shoot them back to back. We talk about the cast and how well they do, most notably the women throughout. We look at the courtroom scene and Dr. Teleborian’s takedown, discussing the camerawork and performances and how that scene stands out as quite effective. And we come back around to talking about Noomi Rapace and Michael Nyqvist and how great they are in their roles.

While we have issues with this film, it’s still one we enjoy and would return to. It’s a series of films that’s dark but definitely worth checking out. So check it out! Then tune in. The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "I’m a survivor, as you should know by now."

Stieg Larsson had plans to write an entire series of Millennium novels, but unfortunately died having only written three of them. Because of this, they’re often referred to as the Millennium trilogy. Sure, they have the same characters largely and are centered around the Millennium magazine, but it’s not really a trilogy per se. That being said, when making the three films, it didn’t stop the team from shooting them all back to back to keep the story as cohesive as possible. While it’s great having the three Swedish films feel so much of a whole, it is a challenge seeing this as a trilogy. It doesn’t help that the third film, Daniel Alfredson’s 2009 The Girl Who Kicked the Hornets’ Nest, starts to feel a bit like the storytellers are stretching credulity a bit. Join us – Pete Wright and Andy Nelson – as we wrap up our series on the Millennium ‘trilogy’ with Alfredson’s film.

We talk about the basic struggles we have with the film, even if we still largely enjoy it. We look at the struggles all trilogies seem to face and how that often is expounded when they shoot them back to back. We talk about the cast and how well they do, most notably the women throughout. We look at the courtroom scene and Dr. Teleborian’s takedown, discussing the camerawork and performances and how that scene stands out as quite effective. And we come back around to talking about Noomi Rapace and Michael Nyqvist and how great they are in their roles.

While we have issues with this film, it’s still one we enjoy and would return to. It’s a series of films that’s dark but definitely worth checking out. So check it out! Then tune in. The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 21 Dec 2017 06:00:00 -0800 The Next Reel The Next Reel 4037 Does Lisbeth finally win out? How does Noomi do in the role over the three films? Are they going to remake this? Tune in this week to find out!! Does Lisbeth finally win out? How does Noomi do in the role over the three films? Are they going to remake this? Tune in this week to find out!! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Girl Who Played with Fire • The Next Reel 7 7 21 21 The Girl Who Played with Fire • The Next Reel full 029ca54d-66f1-4578-a814-b2c49ac2624a https://share.transistor.fm/s/328b0ffe "Hello, Papa."

Stieg Larsson’s second novel in the Millennium trilogy, “The Girl Who Played With Fire,” saw the continuation of the story of Lisbeth Salander and Mikael Blomqvist while they try to stop a sex trafficking ring in Sweden. The whole trilogy of books was a massive success, but the film version was given half the budget of the first film for some reason, while also being paired with a different director. Perhaps the producers knew the book wasn’t quite as good as the first one? Perhaps they figured they could spend less because people would be seeing it anyway? Whatever the reasons, it seems a bit like the ugly red-headed stepchild. But director Daniel Alfredson still put together an effective film, even if it feels a bit average at times. Join us – Pete Wright and Andy Nelson – as we continue our series on the Millennium trilogy with Alfredson’s 2009 take on The Girl Who Played With Fire.

We talk about the overall feel of the film and try to gauge why it doesn’t feel as fresh or original as the first film. We discuss the inevitable effects that a much lower budget has on those making the film and ponder if that affected Alfredson. We debate about Alfredson as a director and wonder what he’s bringing to the table. We are still thrilled with Noomi Rapace and Michael Nyqvist as Lisbeth and Mikael, even if there are elements about them that can be more frustrating here. We look at Peter Mokrosinski’s cinematography and look at where it works and where it doesn’t. And we look at the script and how the adaptation works, questioning whether some of the poorer elements were thrust on the filmmakers by Larsson’s source material.

On the whole, we enjoy the film but not on the level of the first entry. Still, it allows for a great conversation, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins. 

Film Sundries

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]]> "Hello, Papa."

Stieg Larsson’s second novel in the Millennium trilogy, “The Girl Who Played With Fire,” saw the continuation of the story of Lisbeth Salander and Mikael Blomqvist while they try to stop a sex trafficking ring in Sweden. The whole trilogy of books was a massive success, but the film version was given half the budget of the first film for some reason, while also being paired with a different director. Perhaps the producers knew the book wasn’t quite as good as the first one? Perhaps they figured they could spend less because people would be seeing it anyway? Whatever the reasons, it seems a bit like the ugly red-headed stepchild. But director Daniel Alfredson still put together an effective film, even if it feels a bit average at times. Join us – Pete Wright and Andy Nelson – as we continue our series on the Millennium trilogy with Alfredson’s 2009 take on The Girl Who Played With Fire.

We talk about the overall feel of the film and try to gauge why it doesn’t feel as fresh or original as the first film. We discuss the inevitable effects that a much lower budget has on those making the film and ponder if that affected Alfredson. We debate about Alfredson as a director and wonder what he’s bringing to the table. We are still thrilled with Noomi Rapace and Michael Nyqvist as Lisbeth and Mikael, even if there are elements about them that can be more frustrating here. We look at Peter Mokrosinski’s cinematography and look at where it works and where it doesn’t. And we look at the script and how the adaptation works, questioning whether some of the poorer elements were thrust on the filmmakers by Larsson’s source material.

On the whole, we enjoy the film but not on the level of the first entry. Still, it allows for a great conversation, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins. 

Film Sundries

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]]> Thu, 14 Dec 2017 06:00:00 -0800 The Next Reel The Next Reel 4077 Is this film as good as its predecessor? Will Lisbeth ever let down her steel wall? And is it worth it seeing a more Millennium-centric story? Tune in this week to find out! Is this film as good as its predecessor? Will Lisbeth ever let down her steel wall? And is it worth it seeing a more Millennium-centric story? Tune in this week to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Comscore's Paul Degarabedian • Behind the Sites 1 1 5 5 Comscore's Paul Degarabedian • Behind the Sites full 645cff4f-b087-4fbc-8944-a8ff4787ae79 https://share.transistor.fm/s/a27aba98 As part of our ongoing series on the people behind the sites and services that serve the film-loving community, today we’re talking to Paul Dergarabedian, the senior media analyst for comScore. You may not be familiar with comScore but you’re likely familiar with reports on how well any particular movie did on any given weekend. comScore is the company that gathers all of that information from the movie theatres, organizes the statistics into useful information, and gets it back to the studios so they know how well their movies did. Paul works as the frontman for the company and is often seen as the face of the numbers in interviews far and wide. Paul joins us to talk about the exciting world of film statistics, how he got started in the business and his love for film.


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]]> As part of our ongoing series on the people behind the sites and services that serve the film-loving community, today we’re talking to Paul Dergarabedian, the senior media analyst for comScore. You may not be familiar with comScore but you’re likely familiar with reports on how well any particular movie did on any given weekend. comScore is the company that gathers all of that information from the movie theatres, organizes the statistics into useful information, and gets it back to the studios so they know how well their movies did. Paul works as the frontman for the company and is often seen as the face of the numbers in interviews far and wide. Paul joins us to talk about the exciting world of film statistics, how he got started in the business and his love for film.


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]]> Sun, 10 Dec 2017 03:00:00 -0800 TruStory FM TruStory FM 4417 Andy & Pete are joined by Paul Dergarabedian from comScore to talk about film analytics, how he got started in the business and his love for film. Andy & Pete are joined by Paul Dergarabedian from comScore to talk about film analytics, how he got started in the business and his love for film. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Girl With The Dragon Tattoo (2009) • The Next Reel 7 7 20 20 The Girl With The Dragon Tattoo (2009) • The Next Reel full ece5b330-7091-4346-939b-22d9c9a45730 https://share.transistor.fm/s/d07be4b1 "Whatever it is that you’ve been through, you don’t have to tell me. I’m just glad you’re here."

With the international success of Stieg Larsson’s novel “Men Who Hate Women” and its sequels, it was inevitable that a cinematic version would be made. The three films that make up Larsson’s ‘Millennium Trilogy’ were made back to back and were all released in Sweden in 2009 before making their way around the world to financial and critical success. The first film, Niels Arden Oplev’s The Girl With the Dragon Tattoo, introduced the world cinematically to both Lisbeth Salander and the actress who portrayed her – Noomie Rapace. Her work to bring Salander to life is largely what makes this trilogy stand out as one worth talking about. Join us – Pete Wright and Andy Nelson – as we kick off a series about the three films in the Millennium Trilogy with Oplev’s 2009 film The Girl With the Dragon Tattoo.

We talk about the story and why it largely works so well – Lisbeth Salander. We look at Rapace as Salander and how well she does with Michael Nyqvist playing the man who brings her in to help him solve this case. We look at what Oplev does here cinematically and make some comparisons with the 2011 David Fincher remake. We chat about some of the violence with the story and debate what it does for the story itself. And we touch on some of the differences between the original cut and the extended TV cuts.

It’s a dark film but certainly one worth watching. We love the mystery presented here, but more importantly, we love that this film gave us Noomi Rapace. We have a great time talking about this movie, so check it out then tune in!

Film Sundries

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]]> "Whatever it is that you’ve been through, you don’t have to tell me. I’m just glad you’re here."

With the international success of Stieg Larsson’s novel “Men Who Hate Women” and its sequels, it was inevitable that a cinematic version would be made. The three films that make up Larsson’s ‘Millennium Trilogy’ were made back to back and were all released in Sweden in 2009 before making their way around the world to financial and critical success. The first film, Niels Arden Oplev’s The Girl With the Dragon Tattoo, introduced the world cinematically to both Lisbeth Salander and the actress who portrayed her – Noomie Rapace. Her work to bring Salander to life is largely what makes this trilogy stand out as one worth talking about. Join us – Pete Wright and Andy Nelson – as we kick off a series about the three films in the Millennium Trilogy with Oplev’s 2009 film The Girl With the Dragon Tattoo.

We talk about the story and why it largely works so well – Lisbeth Salander. We look at Rapace as Salander and how well she does with Michael Nyqvist playing the man who brings her in to help him solve this case. We look at what Oplev does here cinematically and make some comparisons with the 2011 David Fincher remake. We chat about some of the violence with the story and debate what it does for the story itself. And we touch on some of the differences between the original cut and the extended TV cuts.

It’s a dark film but certainly one worth watching. We love the mystery presented here, but more importantly, we love that this film gave us Noomi Rapace. We have a great time talking about this movie, so check it out then tune in!

Film Sundries

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]]> Thu, 07 Dec 2017 06:00:00 -0800 The Next Reel The Next Reel 4182 Could anyone but Noomi Rapace have brought Lisbeth Salander to life so well? Does the director deliver a story told as cinematically as David Fincher? What’s better – the original or extended edition? Get answers to these questions and more in this week’s show! Could anyone but Noomi Rapace have brought Lisbeth Salander to life so well? Does the director deliver a story told as cinematically as David Fincher? What’s better – the original or extended edition? Get answers to these questions and more in this week’s film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Labyrinth • The Next Reel 7 7 19 19 Labyrinth • The Next Reel full d25af6da-3743-4cbf-9c40-33c4ddb54d44 https://share.transistor.fm/s/9c6bef74 "Turn back, Sarah. Turn back before it’s too late!"

After working on The Dark Crystal together, Jim Henson and Brian Froud wanted to do another project together, but they had a few stipulations. One, they didn’t want to tell a story that was so dark. Two, they didn’t want it to be all puppets – they wanted to include people as well. After locking those in, they came up with a concept that included goblins stealing a baby, and away they went. Steal away with us – Pete Wright and Andy Nelson – as we add another Listener’s Choice episode with Henson’s 1986 film Labyrinth, selected by Melanie from Melbourne!

We talk to Melanie about why she picked this film for us to discuss. We dig into our own histories with the movie and Andy acknowledges that some of his 13-year-old self may be coloring his view on the film today. We look at the film overall, both at what works and what doesn’t. We chat about Jennifer Connelly and David Bowie and look at what they’re each bringing to the table. We also talk about the slew of puppeteers working hard to make this world come to life through many types of puppetry. We debate the quality of Bowie’s music in the film, regardless of how catchy it may be. We look at some bigger issues going on in the film regarding adolescence and leaving childish ways behind (not to mention the timely lenses of seeing the film as a story about an older man lusting after a much younger girl). We look at Henson as a director and wonder if he might be more of a technician who brings amazing puppets to life than a director. We debate if the film feels cohesive or feels too disjointed. And we try to not comment on Bowie’s pants but find we can’t help ourselves.

It’s a film that one of us loves and the other finds fairly middle-ground, but one that warrants a fantastic discussion. So check it out (or don’t – it’s up to you) then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "Turn back, Sarah. Turn back before it’s too late!"

After working on The Dark Crystal together, Jim Henson and Brian Froud wanted to do another project together, but they had a few stipulations. One, they didn’t want to tell a story that was so dark. Two, they didn’t want it to be all puppets – they wanted to include people as well. After locking those in, they came up with a concept that included goblins stealing a baby, and away they went. Steal away with us – Pete Wright and Andy Nelson – as we add another Listener’s Choice episode with Henson’s 1986 film Labyrinth, selected by Melanie from Melbourne!

We talk to Melanie about why she picked this film for us to discuss. We dig into our own histories with the movie and Andy acknowledges that some of his 13-year-old self may be coloring his view on the film today. We look at the film overall, both at what works and what doesn’t. We chat about Jennifer Connelly and David Bowie and look at what they’re each bringing to the table. We also talk about the slew of puppeteers working hard to make this world come to life through many types of puppetry. We debate the quality of Bowie’s music in the film, regardless of how catchy it may be. We look at some bigger issues going on in the film regarding adolescence and leaving childish ways behind (not to mention the timely lenses of seeing the film as a story about an older man lusting after a much younger girl). We look at Henson as a director and wonder if he might be more of a technician who brings amazing puppets to life than a director. We debate if the film feels cohesive or feels too disjointed. And we try to not comment on Bowie’s pants but find we can’t help ourselves.

It’s a film that one of us loves and the other finds fairly middle-ground, but one that warrants a fantastic discussion. So check it out (or don’t – it’s up to you) then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 30 Nov 2017 06:00:00 -0800 The Next Reel The Next Reel 5978 Is this film less dark than The Dark Crystal? Does David Bowie feel like the goblin king? How good is Jennifer Connelly’s acting here? And why is Bowie wearing those pants? Tune in to be a part of the discussion! Is this film less dark than The Dark Crystal? Does David Bowie feel like the goblin king? How good is Jennifer Connelly’s acting here? And why is Bowie wearing those pants? Tune in to be a part of the discussion! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Treknology: The Science of Star Trek with Dr. Ethan Siegel • The Next Reel 7 7 18 18 Treknology: The Science of Star Trek with Dr. Ethan Siegel • The Next Reel full fc2ff421-9618-4c26-9c91-ff9e04e298aa https://share.transistor.fm/s/9447feeb What’s this? More Trek? We can’t get enough of it! This week, Ethan Siegel joins Pete to talk about the science of Star Trek, talking through those questions that stumped us during our film series. From space propulsion to transporters, energy fields to sliding doors, Ethan builds a bridge connecting the fantastic technology that provides the foundation for the Trek future, back to the practical science of today.

Who is Ethan Siegel? He’s a Ph.D. astrophysicist, author, and science communicator, who professes physics and astronomy at various colleges. He has won numerous awards for science writing since 2008 for his blog, “Starts With A Bang,” including the award for best science blog by the Institute of Physics. His two books, Treknology: The Science of Star Trek from Tricorders to Warp Drive, and Beyond the Galaxy: How humanity looked beyond our Milky Way and discovered the entire Universe, are available wherever books are sold.

Links & Notes

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]]> What’s this? More Trek? We can’t get enough of it! This week, Ethan Siegel joins Pete to talk about the science of Star Trek, talking through those questions that stumped us during our film series. From space propulsion to transporters, energy fields to sliding doors, Ethan builds a bridge connecting the fantastic technology that provides the foundation for the Trek future, back to the practical science of today.

Who is Ethan Siegel? He’s a Ph.D. astrophysicist, author, and science communicator, who professes physics and astronomy at various colleges. He has won numerous awards for science writing since 2008 for his blog, “Starts With A Bang,” including the award for best science blog by the Institute of Physics. His two books, Treknology: The Science of Star Trek from Tricorders to Warp Drive, and Beyond the Galaxy: How humanity looked beyond our Milky Way and discovered the entire Universe, are available wherever books are sold.

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]]> Tue, 28 Nov 2017 06:00:00 -0800 Ethan Siegel, Pete Wright Ethan Siegel, Pete Wright 4207 What’s this? More Trek? We can’t get enough of it! This week, author Ethan Siegel joins Pete to talk about the science of Star Trek, talking through those questions that stumped us during our film series. What’s this? More Trek? We can’t get enough of it! This week, author Ethan Siegel joins Pete to talk about the science of Star Trek, talking through those questions that stumped us during our film series. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Wild Tales • The Next Reel 7 7 17 17 Wild Tales • The Next Reel full 32155c6d-e53b-4da5-b045-3d6b9c68e218 https://share.transistor.fm/s/7d3e4a56 "I’m submitting a complaint, exercising my rights as a citizen. That makes me a criminal?"

Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel

There are many anthology films out in the universe, some better than others. It’s the better ones that have strong connective tissues tying the various short stories together. Sometimes, those ones are directed by many people, sometimes by the same person. When Damián Szifron realized he’d written a bunch of short stories that were all thematically similar, he thought back to TV anthology shows he loved like “Amazing Stories” or “Alfred Hitchcock Presents” and decided to make an anthology film. With the thematic connections between these films, he’s turned out an incredibly strong movie that’s not only become the most seen film in Argentina but also an incredible financial success. Join us – Pete Wright and Andy Nelson – as we wrap up our series on Argentinean actor Ricardo Darín with Szifron’s 2014 film Wild Tales.

We talk about what makes a good anthology film and why so many don’t succeed as well as this one does. We look at each of the six stories and debate which are the best and why. We look at Darín and his character Simón and how “Bombita” became such an iconic Robin Hood type of figure for the people of Argentina. We discuss why Szifron’s film succeeds even though there isn’t an overarching story connecting everything together. And we talk about how this film really seemed to take Argentina by storm and look at why people reacted to this film the way they did.

It’s a fantastic anthology movie, it’s a fantastic film, and Darín is fantastic in it. We have a great time discussing it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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]]> "I’m submitting a complaint, exercising my rights as a citizen. That makes me a criminal?"

Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel

There are many anthology films out in the universe, some better than others. It’s the better ones that have strong connective tissues tying the various short stories together. Sometimes, those ones are directed by many people, sometimes by the same person. When Damián Szifron realized he’d written a bunch of short stories that were all thematically similar, he thought back to TV anthology shows he loved like “Amazing Stories” or “Alfred Hitchcock Presents” and decided to make an anthology film. With the thematic connections between these films, he’s turned out an incredibly strong movie that’s not only become the most seen film in Argentina but also an incredible financial success. Join us – Pete Wright and Andy Nelson – as we wrap up our series on Argentinean actor Ricardo Darín with Szifron’s 2014 film Wild Tales.

We talk about what makes a good anthology film and why so many don’t succeed as well as this one does. We look at each of the six stories and debate which are the best and why. We look at Darín and his character Simón and how “Bombita” became such an iconic Robin Hood type of figure for the people of Argentina. We discuss why Szifron’s film succeeds even though there isn’t an overarching story connecting everything together. And we talk about how this film really seemed to take Argentina by storm and look at why people reacted to this film the way they did.

It’s a fantastic anthology movie, it’s a fantastic film, and Darín is fantastic in it. We have a great time discussing it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries


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]]> Thu, 23 Nov 2017 06:00:00 -0800 The Next Reel The Next Reel 3996 Does this anthology film stand out in the sea of anthology films? Which story is the best? Do we all have a little “Bombita” living inside us? And who wants wedding cake? Tune in to find out! Does this anthology film stand out in the sea of anthology films? Which story is the best? Do we all have a little “Bombita” living inside us? And who wants wedding cake? Tune in to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Secret in Their Eyes • The Next Reel 7 7 16 16 The Secret in Their Eyes • The Next Reel full da88c24a-8bb9-4179-8873-5fa7e80e89e3 https://share.transistor.fm/s/631c2822 "Memories are all we end up with."

Anyone who has seen a Ricardo Darín film knows he has very expressive eyes. The actors in the 2009 film El Secreto de Sus Ojos, or The Secret in Their Eyes, had to have more than just expressive eyes, though. They had to be able to carry heavy amounts of subtext in their eyes. And while director Juan José Campanella’s film is largely a detective story as Darín and his team work to solve a cold case, it’s also a story about unrequited love. Luckily, Campanella had worked with Darín before so he knew Darín could do it. And Darín pulls it off effortlessly, along with his costars Soledad Villamil and Guillermo Francella. Join us — Pete Wright and Andy Nelson — as we continue our series on actor Ricardo Darín with Campanella’s 2009 film The Secret in Their Eyes.

We talk about how well this film works for us and what Campanella achieves with this magnificent film. We look at the work Darín, Villamil and Francella bring to the table, not to mention their costars Pablo Rago, Mario Alarcón, Javier Godino and Carla Quevedo. We revel in the spectacular cinematography throughout the film from director of photography Félix Monti, discussing how they frame shots, the narrow depth of field, handheld shots and more. We look at the complexities involved in creating the spectacular stadium scene, and we contrast that with discussions about some smaller scenes. We discuss some of the themes of the film and how well they are balanced across the story, and we briefly discuss the American remake and why it doesn’t work for Andy.

It’s a fascinating film that sticks with you long after it ends. We love it and by now have fallen completely for the wonderful onscreen presence of Darín. He’s a brilliant actor and we had a great time talking about this film of his. So what are you waiting for? Watch this movie then tune in! The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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]]> "Memories are all we end up with."

Anyone who has seen a Ricardo Darín film knows he has very expressive eyes. The actors in the 2009 film El Secreto de Sus Ojos, or The Secret in Their Eyes, had to have more than just expressive eyes, though. They had to be able to carry heavy amounts of subtext in their eyes. And while director Juan José Campanella’s film is largely a detective story as Darín and his team work to solve a cold case, it’s also a story about unrequited love. Luckily, Campanella had worked with Darín before so he knew Darín could do it. And Darín pulls it off effortlessly, along with his costars Soledad Villamil and Guillermo Francella. Join us — Pete Wright and Andy Nelson — as we continue our series on actor Ricardo Darín with Campanella’s 2009 film The Secret in Their Eyes.

We talk about how well this film works for us and what Campanella achieves with this magnificent film. We look at the work Darín, Villamil and Francella bring to the table, not to mention their costars Pablo Rago, Mario Alarcón, Javier Godino and Carla Quevedo. We revel in the spectacular cinematography throughout the film from director of photography Félix Monti, discussing how they frame shots, the narrow depth of field, handheld shots and more. We look at the complexities involved in creating the spectacular stadium scene, and we contrast that with discussions about some smaller scenes. We discuss some of the themes of the film and how well they are balanced across the story, and we briefly discuss the American remake and why it doesn’t work for Andy.

It’s a fascinating film that sticks with you long after it ends. We love it and by now have fallen completely for the wonderful onscreen presence of Darín. He’s a brilliant actor and we had a great time talking about this film of his. So what are you waiting for? Watch this movie then tune in! The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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]]> Thu, 16 Nov 2017 06:00:00 -0800 The Next Reel The Next Reel 4531 Who killed Liliana Coloto and what was their motivation? Did this film deserve its Best Foreign Language Film Oscar? How does Ricardo Darín stack up in a period piece? Tune in to this week’s show to find out! Who killed Liliana Coloto and what was their motivation? Did this film deserve its Best Foreign Language Film Oscar? How does Ricardo Darín stack up in a period piece? Tune in to this week’s show to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Son of the Bride • The Next Reel 7 7 15 15 Son of the Bride • The Next Reel full b798925f-3f29-4be0-86a5-44439b62bf09 https://share.transistor.fm/s/640f709d "When nothing can be worse than what happened, you feel powerful."

Juan José Campanella had developed a career bouncing back and forth between the US, where he would direct episodes of TV shows, and Argentina, where he was starting his feature film directing career. After his Argentinean feature film debut in 1999, he tapped his leading man – Ricardo Darín – to star in his next feature, El Hijo de la Novia, or The Son of the Bride, before he headed back to the States for more TV work. With a touching story about a man in a midlife crisis (if you look at it in the most basic sense), Campanella created a story that speaks to the honesty of love, of growing older, of the effects of diseases like Alzheimer’s, of friendship – of life – and gave us a beautiful film. Join us – Pete Wright and Andy Nelson – as we continue our series on Argentinean actor Ricardo Darín with his 2001 film Son of the Bride.

We talk about Darín and why he works so well in this role, despite the fact that he starts off as largely unlikeable. We talk about the others in the cast too – Héctor Alterio, Norma Aleandro, Natalia Verbeke and Eduardo Blanco – and what they all bring to the table here. We look at how Campanella structures his scenes and why they often work so well, despite being surrounded by a story that otherwise could become maudlin very quickly. We chat about Daniel Shulman’s cinematography, with a camera that often feels like it’s dancing, and about Camilo Antoloni’s editing, with a balance of edits that complements the shots. And we debate about the character of Juan Carlos and if his comedic elements worked or ended up being too much for us.

It’s a delightful film that touches the heart full of wonderful performances. We have a great time talking about this one. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "When nothing can be worse than what happened, you feel powerful."

Juan José Campanella had developed a career bouncing back and forth between the US, where he would direct episodes of TV shows, and Argentina, where he was starting his feature film directing career. After his Argentinean feature film debut in 1999, he tapped his leading man – Ricardo Darín – to star in his next feature, El Hijo de la Novia, or The Son of the Bride, before he headed back to the States for more TV work. With a touching story about a man in a midlife crisis (if you look at it in the most basic sense), Campanella created a story that speaks to the honesty of love, of growing older, of the effects of diseases like Alzheimer’s, of friendship – of life – and gave us a beautiful film. Join us – Pete Wright and Andy Nelson – as we continue our series on Argentinean actor Ricardo Darín with his 2001 film Son of the Bride.

We talk about Darín and why he works so well in this role, despite the fact that he starts off as largely unlikeable. We talk about the others in the cast too – Héctor Alterio, Norma Aleandro, Natalia Verbeke and Eduardo Blanco – and what they all bring to the table here. We look at how Campanella structures his scenes and why they often work so well, despite being surrounded by a story that otherwise could become maudlin very quickly. We chat about Daniel Shulman’s cinematography, with a camera that often feels like it’s dancing, and about Camilo Antoloni’s editing, with a balance of edits that complements the shots. And we debate about the character of Juan Carlos and if his comedic elements worked or ended up being too much for us.

It’s a delightful film that touches the heart full of wonderful performances. We have a great time talking about this one. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 09 Nov 2017 06:00:00 -0800 The Next Reel The Next Reel 4076 Does Ricardo Darín deliver yet again with Son of the Bride? How is the rest of the cast? How does the film handle Alzheimer’s and old age? Tune in to this week’s show to find out! Does Ricardo Darín deliver yet again with Son of the Bride? How is the rest of the cast? How does the film handle Alzheimer’s and old age? Tune in to this week’s show to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Nine Queens • The Next Reel 7 7 14 14 Nine Queens • The Next Reel full 54d15a19-92e5-4674-bd5c-6f9590707716 https://share.transistor.fm/s/b6751c70 "Of course I can buy it, but I can also not buy it as everybody else would do if they could."

Ricardo Darín was pretty much born into acting. Coming from a pair of actor parents, he started on Argentine television when he was just a boy and grew up in the industry, finding lots of success in TV, film, and theatre. But it was his role as con artist Marcos in Fabián Bielinsky’s film Nueve Reinas – or Nine Queens – that really cemented his role as one of Argentina’s key leading men. Join us – Pete Wright and Andy Nelson – as we kick off a new series celebrating the work of the fantastic Ricardo Darín starting with Bielinsky’s 2000 film Nine Queens.

We talk about Darín and how wonderful he is in this film, while we also ponder why it is perhaps that such a brilliant actor hasn’t tried to make the crossover into English language films. We discuss how Bielinsky got this film made after years of having no luck selling the script. We look at what cinematographer Marcelo Camorino is doing throughout the film with wonderful steadicam shots paired with long lens shots that really give the film a sense of voyeurism. We touch on the score by César Lerner and how it has a wide variety of styles throughout that pairs very effectively with the twists and turns of the con story. And we revel in said story, thrilled to see a con story work so effectively while also allowing for moments of small character beats that builds a stronger foundation for the script.

It’s a wonderful film that gets everything right, giving us a lot to look forward to in this series. So check out this movie then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "Of course I can buy it, but I can also not buy it as everybody else would do if they could."

Ricardo Darín was pretty much born into acting. Coming from a pair of actor parents, he started on Argentine television when he was just a boy and grew up in the industry, finding lots of success in TV, film, and theatre. But it was his role as con artist Marcos in Fabián Bielinsky’s film Nueve Reinas – or Nine Queens – that really cemented his role as one of Argentina’s key leading men. Join us – Pete Wright and Andy Nelson – as we kick off a new series celebrating the work of the fantastic Ricardo Darín starting with Bielinsky’s 2000 film Nine Queens.

We talk about Darín and how wonderful he is in this film, while we also ponder why it is perhaps that such a brilliant actor hasn’t tried to make the crossover into English language films. We discuss how Bielinsky got this film made after years of having no luck selling the script. We look at what cinematographer Marcelo Camorino is doing throughout the film with wonderful steadicam shots paired with long lens shots that really give the film a sense of voyeurism. We touch on the score by César Lerner and how it has a wide variety of styles throughout that pairs very effectively with the twists and turns of the con story. And we revel in said story, thrilled to see a con story work so effectively while also allowing for moments of small character beats that builds a stronger foundation for the script.

It’s a wonderful film that gets everything right, giving us a lot to look forward to in this series. So check out this movie then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 02 Nov 2017 06:00:00 -0700 The Next Reel The Next Reel 3833 Is Ricardo Darín as effective a con artist as he thinks he is? Is this stamp con game he’s playing with Gastón Pauls going to work? And do we buy into this con game? Check out this week’s show to find out! Is Ricardo Darín as effective a con artist as he thinks he is? Is this stamp con game he’s playing with Gastón Pauls going to work? And do we buy into this con game? Check out this week’s show to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek Beyond • The Next Reel 7 7 13 13 Star Trek Beyond • The Next Reel full a9892aa2-8b1f-40d5-8dd9-0492bcc064ac https://share.transistor.fm/s/5a72e3e0 "This is where the frontier pushes back."

With JJ Abrams busy working on that other space franchise, the new Trek film needed a new director. And who better to bring on board than Justin Lin, the man who rejuvenated the Fast & Furious franchise. Yes, it meant he was going to bring his big action directing to this franchise. But was that a bad thing? It also meant there would be fewer lens flares. Was that a good thing? More importantly, it was Paramount’s opportunity to celebrate 50 years since Gene Roddenberry’s “Star Trek” started airing on TV, creating this future world that drew so many people to it. Join us – Pete Wright and Andy Nelson – as we close out our massive series with Lin’s 2016 film Star Trek Beyond.

We look at why we love this film so much, particularly since there are so many problems scattered throughout that we have with it. We contemplate Simon Pegg’s and Doug Jung’s script, wondering if perhaps Scotty might be stretching his legs more than he normally would because he’s writing it. We debate whether Idris Elba’s character Krall needed to have as much makeup as he has and if his motivations really make enough sense in the film for us not to worry about it. We discuss the spaceport Yorktown and revel in the beauty of it, notably because so much of it was filmed in Dubai. We ponder the future of the franchise, wondering how they’re going to bring Chris Hemsworth back in the next one. And we praise Michael Giacchino and his beautiful score for this film, notably his somber use of his Star Trek theme as well as the new Yorktown theme he develops.

All in all, it’s been a fun franchise to dig into for the last 13 weeks, and this film was exactly the finish we needed – a film that may have issues but has its heart in the right place. We have a great time talking about it on this week’s show. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> "This is where the frontier pushes back."

With JJ Abrams busy working on that other space franchise, the new Trek film needed a new director. And who better to bring on board than Justin Lin, the man who rejuvenated the Fast & Furious franchise. Yes, it meant he was going to bring his big action directing to this franchise. But was that a bad thing? It also meant there would be fewer lens flares. Was that a good thing? More importantly, it was Paramount’s opportunity to celebrate 50 years since Gene Roddenberry’s “Star Trek” started airing on TV, creating this future world that drew so many people to it. Join us – Pete Wright and Andy Nelson – as we close out our massive series with Lin’s 2016 film Star Trek Beyond.

We look at why we love this film so much, particularly since there are so many problems scattered throughout that we have with it. We contemplate Simon Pegg’s and Doug Jung’s script, wondering if perhaps Scotty might be stretching his legs more than he normally would because he’s writing it. We debate whether Idris Elba’s character Krall needed to have as much makeup as he has and if his motivations really make enough sense in the film for us not to worry about it. We discuss the spaceport Yorktown and revel in the beauty of it, notably because so much of it was filmed in Dubai. We ponder the future of the franchise, wondering how they’re going to bring Chris Hemsworth back in the next one. And we praise Michael Giacchino and his beautiful score for this film, notably his somber use of his Star Trek theme as well as the new Yorktown theme he develops.

All in all, it’s been a fun franchise to dig into for the last 13 weeks, and this film was exactly the finish we needed – a film that may have issues but has its heart in the right place. We have a great time talking about it on this week’s show. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 26 Oct 2017 06:00:00 -0700 The Next Reel The Next Reel 5617 Does the theme of unity come through well enough? Is the Yorktown the coolest spaceport ever made? Does Idris Elba really need that much makeup? Tune in to this week’s show to find out! Does the theme of unity come through well enough? Is the Yorktown the coolest spaceport ever made? Does Idris Elba really need that much makeup? Tune in to this week’s show to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek Into Darkness • The Next Reel 7 7 12 12 Star Trek Into Darkness • The Next Reel full c09ca024-8f11-4628-9d68-7952e88925b4 https://share.transistor.fm/s/182af8df Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel

"My name is Khan."

When Paramount asked JJ Abrams and his team behind the 2009 Star Trek reboot to get started on a sequel, they took a while trying to break the story. From interviews, it sounded like they had well over 50 iterations of the story before they finally came up with the idea they went with. With all that time and those iterations, though, it struck many people as odd that they ended up deciding to tell a story that brought back Khan Noonien Singh, the antagonist from Star Trek II: The Wrath of Khan, as the villain. While the film is entertaining, it also feels unfresh because it’s retreading familiar territory. But that didn’t stop it from making its money back at the box office as it quickly earned the highest gross of any Trek film. But does that mean it’s good or just successful? Join us – Pete Wright and Andy Nelson – as we get near the end of our Star Trek series with JJ Abrams’ 2013 film Star Trek Into Darkness.

We talk about our problems with this film and try to evaluate why they may not be problems for those not as familiar with the earlier Trek lore. We look at how, at least for long-time Trek fans, this script makes it feel less like an homage to great elements in the past and more like a ripoff of a better story. We discuss our frustration with elements in the film, such as the treatment of female characters, the lack of understanding of the Prime Directive, the reliance on screenplay tropes like the departure of a betrayed friend, and more. We also look at elements of the film that we really like, such as the incredible world that starts us off, and the trip from ship to ship. And we dig deep into the opening sequence, introducing us to a primitive culture on a really cool planet.

While this film frustrates us on a number of levels, it still makes for a great conversation. So check it out, then tune in! The Next Reel: when the movie ends, our conversation begins.

Film Sundries

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]]> Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel

"My name is Khan."

When Paramount asked JJ Abrams and his team behind the 2009 Star Trek reboot to get started on a sequel, they took a while trying to break the story. From interviews, it sounded like they had well over 50 iterations of the story before they finally came up with the idea they went with. With all that time and those iterations, though, it struck many people as odd that they ended up deciding to tell a story that brought back Khan Noonien Singh, the antagonist from Star Trek II: The Wrath of Khan, as the villain. While the film is entertaining, it also feels unfresh because it’s retreading familiar territory. But that didn’t stop it from making its money back at the box office as it quickly earned the highest gross of any Trek film. But does that mean it’s good or just successful? Join us – Pete Wright and Andy Nelson – as we get near the end of our Star Trek series with JJ Abrams’ 2013 film Star Trek Into Darkness.

We talk about our problems with this film and try to evaluate why they may not be problems for those not as familiar with the earlier Trek lore. We look at how, at least for long-time Trek fans, this script makes it feel less like an homage to great elements in the past and more like a ripoff of a better story. We discuss our frustration with elements in the film, such as the treatment of female characters, the lack of understanding of the Prime Directive, the reliance on screenplay tropes like the departure of a betrayed friend, and more. We also look at elements of the film that we really like, such as the incredible world that starts us off, and the trip from ship to ship. And we dig deep into the opening sequence, introducing us to a primitive culture on a really cool planet.

While this film frustrates us on a number of levels, it still makes for a great conversation. So check it out, then tune in! The Next Reel: when the movie ends, our conversation begins.

Film Sundries

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]]> Thu, 19 Oct 2017 06:00:00 -0700 The Next Reel The Next Reel 4524 Does Star Trek Into Darkness stand out as anything more than a fantastic-looking retread? Is Uhura’s role diminished to be the worrying partner? Would it have still worked if Cumberbatch wasn’t Khan? Tune in this week to get our thoughts on these questions and more! Does Star Trek Into Darkness stand out as anything more than a fantastic-looking retread? Is Uhura’s role diminished to be the worrying partner? Would it have still worked if Cumberbatch wasn’t Khan? Tune in this week to get our thoughts on these question film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek • The Next Reel 7 7 11 11 Star Trek • The Next Reel full 9d81c501-a560-4a1b-8bc7-8cd839ca9e98 https://share.transistor.fm/s/6523314b Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel

"Your father was the captain of a starship for twelve minutes. He saved 800 lives, including your mother’s and yours. I dare you to do better."

With the financial disappointment of Star Trek: Nemesis, Paramount wasn’t so sure they would return to the well again. But in 2005, when Viacom/Paramount split from CBS, they had to get a movie in the works or risk losing rights to the property. Hence, Star Trek was born. But screenwriters Robert Orci, Alex Kurtzman and director JJ Abrams didn’t want to continue the story from where it left off – they felt it had been played out. They went back to one of the early ideas to have Kirk and Spock in their Academy years. Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with Abrams’ 2009 film Star Trek.

We talk about the nature of this reboot, which is a bit more a rebirth or a timeline shift, and how well that works for us. We discuss the cast and how they all feel in the roles they inhabit. We look at the redesigned ship and how logical its interiors are in context of its exteriors. We chat about the kinetic energy Abrams brings to the film, and how well that works with Dan Mindel’s cinematography. We touch on Michael Giacchino’s score and what we think of it in context of the film as well as how well it stacks up to the rest of the music in the franchise thus far. And we look at the script and how wonderfully it develops the characters from their origins, notably Kirk and Spock.

We have a great time with this film – certainly one that stands out in the franchise. If you have been avoiding this series because you’re not a Trek fan, this might be the one worth trying to see what you think. Regardless, tune in to this week’s show!

Film Sundries


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"Your father was the captain of a starship for twelve minutes. He saved 800 lives, including your mother’s and yours. I dare you to do better."

With the financial disappointment of Star Trek: Nemesis, Paramount wasn’t so sure they would return to the well again. But in 2005, when Viacom/Paramount split from CBS, they had to get a movie in the works or risk losing rights to the property. Hence, Star Trek was born. But screenwriters Robert Orci, Alex Kurtzman and director JJ Abrams didn’t want to continue the story from where it left off – they felt it had been played out. They went back to one of the early ideas to have Kirk and Spock in their Academy years. Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with Abrams’ 2009 film Star Trek.

We talk about the nature of this reboot, which is a bit more a rebirth or a timeline shift, and how well that works for us. We discuss the cast and how they all feel in the roles they inhabit. We look at the redesigned ship and how logical its interiors are in context of its exteriors. We chat about the kinetic energy Abrams brings to the film, and how well that works with Dan Mindel’s cinematography. We touch on Michael Giacchino’s score and what we think of it in context of the film as well as how well it stacks up to the rest of the music in the franchise thus far. And we look at the script and how wonderfully it develops the characters from their origins, notably Kirk and Spock.

We have a great time with this film – certainly one that stands out in the franchise. If you have been avoiding this series because you’re not a Trek fan, this might be the one worth trying to see what you think. Regardless, tune in to this week’s show!

Film Sundries


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]]> Thu, 12 Oct 2017 06:00:00 -0700 The Next Reel The Next Reel 5217 Does JJ Abrams give us more of what came before or breathe fresh life into the franchise? How well does this cast hold up? Does it feel like a Star Trek film? Tune in this week to get these answers and more! Does JJ Abrams give us more of what came before or breathe fresh life into the franchise? How well does this cast hold up? Does it feel like a Star Trek film? Tune in this week to get these answers and more! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek: Nemesis • The Next Reel 7 7 10 10 Star Trek: Nemesis • The Next Reel full 7890190a-0f75-4c7b-a3bd-4b0ebc6b2508 https://share.transistor.fm/s/d3023116 Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel

"I’m afraid you won’t survive to witness the victory of the echo over the voice."

Star Trek: Insurrection was a success at the box office, but not so much that the studio felt the need to get another Star Trek film into production right away. In fact, there didn’t seem to be much motivation to make one. That is until John Logan met Brent Spiner and the two not only hit it off but also became intent on writing the next film for the franchise. Once they found the right story, everyone got on board and _Star Trek: Nemesis _was born. But was there an audience for another Star Trek film or were people worn out with franchise fatigue? And could the team deliver a film that warranted its existence? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with the final of the Next Generation films, Stuart Baird’s 2002 film Star Trek: Nemesis.

We talk about our memories of the film and how those memories may have shifted on this latest viewing, and why we think that is. We look at Tom Hardy as a young Jean-Luc Picard and talk about his effectiveness with this portrayal. We get a bit nerdy as we discuss Romulan history, the Remans and where they fit in, and how all of this works together in context for the story presented here. We chat about the look of the film, relishing in the darkness presented here by cinematographer Jeffrey L. Kimball, and how it works well with Herman Zimmerman’s sets and Jerry Goldsmith’s score. We look at elements within the film that relate to the story of duality going on here, notably with Picard/Shinzon, Data/B-4 and the Romulans/Remans; and we ponder how well some of those choices work for us. And we take a look at how we feel about the TNG films and how they work for us as a body of work as compared with the films from the original crew.

On the whole, we both had a much better time with this film than we’d remembered. We know it’s a much-maligned film, but we feel there’s more merit than we’d remembered. Check it out and see how it holds up for you, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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]]> Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel

"I’m afraid you won’t survive to witness the victory of the echo over the voice."

Star Trek: Insurrection was a success at the box office, but not so much that the studio felt the need to get another Star Trek film into production right away. In fact, there didn’t seem to be much motivation to make one. That is until John Logan met Brent Spiner and the two not only hit it off but also became intent on writing the next film for the franchise. Once they found the right story, everyone got on board and _Star Trek: Nemesis _was born. But was there an audience for another Star Trek film or were people worn out with franchise fatigue? And could the team deliver a film that warranted its existence? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with the final of the Next Generation films, Stuart Baird’s 2002 film Star Trek: Nemesis.

We talk about our memories of the film and how those memories may have shifted on this latest viewing, and why we think that is. We look at Tom Hardy as a young Jean-Luc Picard and talk about his effectiveness with this portrayal. We get a bit nerdy as we discuss Romulan history, the Remans and where they fit in, and how all of this works together in context for the story presented here. We chat about the look of the film, relishing in the darkness presented here by cinematographer Jeffrey L. Kimball, and how it works well with Herman Zimmerman’s sets and Jerry Goldsmith’s score. We look at elements within the film that relate to the story of duality going on here, notably with Picard/Shinzon, Data/B-4 and the Romulans/Remans; and we ponder how well some of those choices work for us. And we take a look at how we feel about the TNG films and how they work for us as a body of work as compared with the films from the original crew.

On the whole, we both had a much better time with this film than we’d remembered. We know it’s a much-maligned film, but we feel there’s more merit than we’d remembered. Check it out and see how it holds up for you, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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]]> Thu, 05 Oct 2017 06:00:00 -0700 The Next Reel The Next Reel 5148 Is Tom Hardy a good choice to be Patrick Stewart’s clone? Does this story of the Romulans make a good entry? Did we need to see another version of Data? Tune in to this week’s show to find out! Is Tom Hardy a good choice to be Patrick Stewart’s clone? Does this story of the Romulans make a good entry? Did we need to see another version of Data? Tune in to this week’s show to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek: Insurrection • The Next Reel 7 7 9 9 Star Trek: Insurrection • The Next Reel full 90d2276b-90b8-44de-bce2-7aacd0cb4781 https://share.transistor.fm/s/60fdf4cd ”How many people does it take, Admiral, before it becomes wrong?"

With the success of Star Trek: First Contact, a more action-oriented Star Trek film, the team behind it wanted their next film to be lighter in tone and more character-driven. To a certain extent, that’s exactly what audiences got, and a lot of people were disappointed because they were expecting so much more. Join us — Pete Wright and Andy Nelson — as we continue our Star Trek series with Jonathan Frakes’s 1998 film: Star Trek: Insurrection.

We talk about why this film seems a bit divisive with fans, and look at what works for us as well as what doesn’t. We chat about the nature of the script and if there was a fresh and exciting story buried in there. We look at what Frakes and co. bring to the table here and ponder why it feels more like a two-part TV episode than a movie. And we revel in the brilliance of F. Murray Abraham as Rua’fo, not just performance-wise but also with Michael Westmore’s brilliant makeup effects.

It’s a fairly middling film that has its moments of greatness that are often burdened by its moments of nonsense. Regardless, we have a great time talking about this one, so check it out!

Film Sundries


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]]> ”How many people does it take, Admiral, before it becomes wrong?"

With the success of Star Trek: First Contact, a more action-oriented Star Trek film, the team behind it wanted their next film to be lighter in tone and more character-driven. To a certain extent, that’s exactly what audiences got, and a lot of people were disappointed because they were expecting so much more. Join us — Pete Wright and Andy Nelson — as we continue our Star Trek series with Jonathan Frakes’s 1998 film: Star Trek: Insurrection.

We talk about why this film seems a bit divisive with fans, and look at what works for us as well as what doesn’t. We chat about the nature of the script and if there was a fresh and exciting story buried in there. We look at what Frakes and co. bring to the table here and ponder why it feels more like a two-part TV episode than a movie. And we revel in the brilliance of F. Murray Abraham as Rua’fo, not just performance-wise but also with Michael Westmore’s brilliant makeup effects.

It’s a fairly middling film that has its moments of greatness that are often burdened by its moments of nonsense. Regardless, we have a great time talking about this one, so check it out!

Film Sundries


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]]> Thu, 28 Sep 2017 23:00:00 -0700 The Next Reel The Next Reel 4719 Is the fountain of youth an admirable quest for the Enterprise team? Is this film better or worse than remembered? And how awesome is F. Murray Abraham? Tune in to this week’s show to join the chat! Is the fountain of youth an admirable quest for the Enterprise team? Is this film better or worse than remembered? And how awesome is F. Murray Abraham? Tune in to this week’s show to join the chat! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek: First Contact • The Next Reel 7 7 8 8 Star Trek: First Contact • The Next Reel full e2ada6b1-d9ea-4096-9605-6b6ac7c56e95 https://share.transistor.fm/s/d98516ee Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel

"The line must be drawn here!"

The introduction of the Borg as an antagonist on “Star Trek: The Next Generation” gave the crew of the Enterprise – and the teams on subsequent shows – one of their greatest villains. Not only are they a terrifying collective, assimilating everyone they come into contact with, but they thematically are the antithesis of everything the franchise has come to represent about technology and the future. Because of all of this, they seemed a natural element to include in the TNG cinematic stories. But the studio wanted them to include a way to personify the villain more than they ever did in the show. The filmmakers also wanted to make a time travel film. With all of these elements, were they able to pull it together to make a cohesive film? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with Jonathan Frakes’ 1996 film Star Trek: First Contact.

We talk about the Borg as a whole, both in the TV shows and this film, and debate how well they’re served with some of their rules and with the addition of the Borg queen. We praise the brilliant performances of the additional actors brought into the fold in this film – Alfre Woodard, James Cromwell and Alice Krige (even Neal McDonough) – and how we relish some of their scenes with our Enterprise crew. (Woodard’s scenes with Patrick Stewart all stand out as 5-star Star Trek.) We go through problems we have with the script, notably the introduction of the Borg queen and the lack of and conflict in the storyline on Earth, and debate what could have improved the movie. We look at what some of the crew, primarily cinematographer Matthew F. Leonetti, composer Jerry Goldsmith and production designer Herman F. Zimmerman, bring to the table. And we run through a list of items in the film – items like Geordi’s ocular implants, the escape pods and Cromwell’s dancing – to find out if we loved it or hated it.

It’s a fun film that makes for an exciting watch, though with more visible problems that we’re seeing now. Still, we have a great time talking about it on this week’s show. So watch the film then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries


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]]> Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel

"The line must be drawn here!"

The introduction of the Borg as an antagonist on “Star Trek: The Next Generation” gave the crew of the Enterprise – and the teams on subsequent shows – one of their greatest villains. Not only are they a terrifying collective, assimilating everyone they come into contact with, but they thematically are the antithesis of everything the franchise has come to represent about technology and the future. Because of all of this, they seemed a natural element to include in the TNG cinematic stories. But the studio wanted them to include a way to personify the villain more than they ever did in the show. The filmmakers also wanted to make a time travel film. With all of these elements, were they able to pull it together to make a cohesive film? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with Jonathan Frakes’ 1996 film Star Trek: First Contact.

We talk about the Borg as a whole, both in the TV shows and this film, and debate how well they’re served with some of their rules and with the addition of the Borg queen. We praise the brilliant performances of the additional actors brought into the fold in this film – Alfre Woodard, James Cromwell and Alice Krige (even Neal McDonough) – and how we relish some of their scenes with our Enterprise crew. (Woodard’s scenes with Patrick Stewart all stand out as 5-star Star Trek.) We go through problems we have with the script, notably the introduction of the Borg queen and the lack of and conflict in the storyline on Earth, and debate what could have improved the movie. We look at what some of the crew, primarily cinematographer Matthew F. Leonetti, composer Jerry Goldsmith and production designer Herman F. Zimmerman, bring to the table. And we run through a list of items in the film – items like Geordi’s ocular implants, the escape pods and Cromwell’s dancing – to find out if we loved it or hated it.

It’s a fun film that makes for an exciting watch, though with more visible problems that we’re seeing now. Still, we have a great time talking about it on this week’s show. So watch the film then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries


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]]> Thu, 21 Sep 2017 06:00:00 -0700 The Next Reel The Next Reel 5348 Was the Borg a strong enough villain or did they need the Borg Queen for the film? How well integrated is the first contact storyline? Tune in to this week’s show to get in on the conversation! Was the Borg a strong enough villain or did they need the Borg Queen for the film? How well integrated is the first contact storyline? Tune in to this week’s show to get in on the conversation! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek: Generations • The Next Reel 7 7 7 7 Star Trek: Generations • The Next Reel full 2fe30a2d-47bf-44b9-913f-2ed6f6fe0b89 https://share.transistor.fm/s/3303b7ca "Who am I to argue with the captain of the Enterprise?"

After seven successful seasons of “Star Trek: The Next Generation,” it was time for their voyage to the big screen. For the first foray into the cinemas, the TNG team pulled several key crew from the show – notably the writers and director. Unfortunately, it made for a film that felt a bit like an expanded episode of the TV series, albeit made with a bigger budget. It also is mired by one of the more convoluted elements in any of the franchise films – the Nexus. Does that make it the worst of the franchise? Or does it have merits? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with David Carson’s 1994 film Star Trek: Generations.

We talk about the frustrations we have with this film and why the Nexus is such a problematic element within the story. We look at Ronald D. Moore and Brannon Braga – the two screenwriters – and ponder why they struggled so much with the concept and what they could’ve done differently to make an arguably better film. We debate the decision to bring Carson, Braga, Moore and even composer Dennis McCarthy, over from the TV show and why this decision may have lent to the small scope feel of the film. We relish in the relationship between Captain Picard and Data, notably in their conversation in Stellar Cartography, and what it brings forth in their relationship. And we complain about many other story issues we have with this film, looking at whether the issues here make it a better or worse film that Star Trek V.

It’s an interesting film to discuss that’s full of frustrations and missed opportunities. Regardless, we have a great time talking about it so check out the movie (or don’t) then tune in to this week’s show! The Next Reel: when the movie ends, our conversation begins.

Film Sundries

Do you like getting the good stuff before everyone else? Support The Next Reel on Patreon and get access to the show Drafts Podcast Feed! — http://patreon.com/thenextreel


Support The Next Reel Family of Film Shows:

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]]> "Who am I to argue with the captain of the Enterprise?"

After seven successful seasons of “Star Trek: The Next Generation,” it was time for their voyage to the big screen. For the first foray into the cinemas, the TNG team pulled several key crew from the show – notably the writers and director. Unfortunately, it made for a film that felt a bit like an expanded episode of the TV series, albeit made with a bigger budget. It also is mired by one of the more convoluted elements in any of the franchise films – the Nexus. Does that make it the worst of the franchise? Or does it have merits? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with David Carson’s 1994 film Star Trek: Generations.

We talk about the frustrations we have with this film and why the Nexus is such a problematic element within the story. We look at Ronald D. Moore and Brannon Braga – the two screenwriters – and ponder why they struggled so much with the concept and what they could’ve done differently to make an arguably better film. We debate the decision to bring Carson, Braga, Moore and even composer Dennis McCarthy, over from the TV show and why this decision may have lent to the small scope feel of the film. We relish in the relationship between Captain Picard and Data, notably in their conversation in Stellar Cartography, and what it brings forth in their relationship. And we complain about many other story issues we have with this film, looking at whether the issues here make it a better or worse film that Star Trek V.

It’s an interesting film to discuss that’s full of frustrations and missed opportunities. Regardless, we have a great time talking about it so check out the movie (or don’t) then tune in to this week’s show! The Next Reel: when the movie ends, our conversation begins.

Film Sundries

Do you like getting the good stuff before everyone else? Support The Next Reel on Patreon and get access to the show Drafts Podcast Feed! — http://patreon.com/thenextreel


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]]> Thu, 14 Sep 2017 06:00:00 -0700 The Next Reel The Next Reel 5110 Does Data’s emotion chip make for a better or worse character when used? Just what kind of torture was Soran performing on Geordi? Why does Guinan conveniently appear in the Nexus? Tune in to this week’s show to get in on the conversation! Does Data’s emotion chip make for a better or worse character when used? Just what kind of torture was Soran performing on Geordi? Why does Guinan conveniently appear in the Nexus? Tune in to this week’s show to get in on the conversation! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek VI: The Undiscovered Country • The Next Reel 7 7 6 6 Star Trek VI: The Undiscovered Country • The Next Reel full 933e2ae4-1d5b-49e9-8f56-39754b8dc6d2 https://share.transistor.fm/s/1bad93a7 "We will not be the instigators of full scale war on the eve of universal peace!"

Even though “Star Trek: The Next Generation” was entering its fifth season and Star Trek V: The Final Frontier had underperformed, Paramount wanted to bring back the original crew of the Enterprise for one last hurrah to celebrate the 25th anniversary of the franchise. To write and helm the film, they turned to the man who arguably made the best film thus far, Star Trek II: The Wrath of Khan. Nicholas Meyer co-wrote it and ended up directing it as well, making a film that stands out as one of the high points of the franchise. Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with Meyer’s 1991 film Star Trek VI: The Undiscovered Country.

We talk about what this film means for the original crew and how it works as their final send-off. We look at the Shakespeare elements, along with other nods to world history, and discuss them in context of this universe – does it make sense for other races to be quoting ancient Earthlings – versus in context of us as viewers of the film. We dig deep into the scene when Spock double mind melds Kim Cattrall’s Valeris, how well that scene works for us and why. We discuss the context of the world at the time Meyer and team wrote and made this film and how well that connection benefits the story. We discuss Cliff Eidelman’s music and why it works so well, even if he largely stays away from the themes already built into the series. And we talk about the fantastic Klingon makeup done throughout the film and why we think it works so well.

It’s a film that stands out as Pete’s favorite of the franchise and one well worth talking about. Definitely check this one out. It’s well worth it. Then tune into the show! The Next Reel – when the movie ends, our conversation begins.

Film Sundries


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]]> "We will not be the instigators of full scale war on the eve of universal peace!"

Even though “Star Trek: The Next Generation” was entering its fifth season and Star Trek V: The Final Frontier had underperformed, Paramount wanted to bring back the original crew of the Enterprise for one last hurrah to celebrate the 25th anniversary of the franchise. To write and helm the film, they turned to the man who arguably made the best film thus far, Star Trek II: The Wrath of Khan. Nicholas Meyer co-wrote it and ended up directing it as well, making a film that stands out as one of the high points of the franchise. Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with Meyer’s 1991 film Star Trek VI: The Undiscovered Country.

We talk about what this film means for the original crew and how it works as their final send-off. We look at the Shakespeare elements, along with other nods to world history, and discuss them in context of this universe – does it make sense for other races to be quoting ancient Earthlings – versus in context of us as viewers of the film. We dig deep into the scene when Spock double mind melds Kim Cattrall’s Valeris, how well that scene works for us and why. We discuss the context of the world at the time Meyer and team wrote and made this film and how well that connection benefits the story. We discuss Cliff Eidelman’s music and why it works so well, even if he largely stays away from the themes already built into the series. And we talk about the fantastic Klingon makeup done throughout the film and why we think it works so well.

It’s a film that stands out as Pete’s favorite of the franchise and one well worth talking about. Definitely check this one out. It’s well worth it. Then tune into the show! The Next Reel – when the movie ends, our conversation begins.

Film Sundries


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]]> Thu, 07 Sep 2017 06:00:00 -0700 The Next Reel The Next Reel 5517 Does Nicholas Meyer return to make the best film of the franchise? Is Shakespeare really better in the original Klingon? Are Uhura’s earpieces actually comfortable? Tune in to our show to find out! Does Nicholas Meyer return to make the best film of the franchise? Is Shakespeare really better in the original Klingon? Are Uhura’s earpieces actually comfortable? Tune in to our show to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek V: The Final Frontier • The Next Reel 7 7 5 5 Star Trek V: The Final Frontier • The Next Reel full f49ce261-6e49-4190-88c5-de4e4952bb09 https://share.transistor.fm/s/33c010db "I don’t want my pain taken away! I need my pain!"

Leonard Nimoy had directed two Star Trek films so naturally, William Shatner wanted to give it a go. He even had a great concept for a story – the crew of the Enterprise goes on a quest to find God. Unfortunately, with a writers strike hitting Hollywood at the time, with an effects company that couldn’t deliver, and with a studio demanding as much humor as they could cram into the script, Shatner’s vision was muddled and became what many consider to be the worst of the original cast films in the franchise. But is it really that bad? Is it possible to get past the terrible humor and find a compelling story? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series and look for these answers and more in Shatner’s 1989 film Star Trek V: The Final Frontier.”

We talk about the overall problems we have with this film but how the story itself is actually quite compelling. We look at how the relationship between Kirk, Spock, and McCoy is developed in this film and what elements of that development work for us. We chat about the character of Sybok and the problem he created for many ardent fans – a laughing Vulcan! We shake our heads at much of the bad comedy and screenwriting that nearly buries the fascinating story in nonsense (and some would say DID bury it (buried alive…)). We look at the style and verve that Shatner infused in the film with the lighting and camera work, not to mention the incredible score he gets out of Jerry Goldsmith, returning to the franchise. And we ponder the merits of the Kraft Marshmallow (marshmelon?) Dispenser in all of its glory.

It’s an incredibly problematic film that represents some of the franchise’s worst… but also some of its best. We have a great time chatting about it so check it out then tune in! When the movie ends, our conversation begins.

Film Sundries

Do you like getting the good stuff before everyone else? Support The Next Reel on Patreon and get access to the show Drafts Podcast Feed! — http://patreon.com/thenextreel


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]]> "I don’t want my pain taken away! I need my pain!"

Leonard Nimoy had directed two Star Trek films so naturally, William Shatner wanted to give it a go. He even had a great concept for a story – the crew of the Enterprise goes on a quest to find God. Unfortunately, with a writers strike hitting Hollywood at the time, with an effects company that couldn’t deliver, and with a studio demanding as much humor as they could cram into the script, Shatner’s vision was muddled and became what many consider to be the worst of the original cast films in the franchise. But is it really that bad? Is it possible to get past the terrible humor and find a compelling story? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series and look for these answers and more in Shatner’s 1989 film Star Trek V: The Final Frontier.”

We talk about the overall problems we have with this film but how the story itself is actually quite compelling. We look at how the relationship between Kirk, Spock, and McCoy is developed in this film and what elements of that development work for us. We chat about the character of Sybok and the problem he created for many ardent fans – a laughing Vulcan! We shake our heads at much of the bad comedy and screenwriting that nearly buries the fascinating story in nonsense (and some would say DID bury it (buried alive…)). We look at the style and verve that Shatner infused in the film with the lighting and camera work, not to mention the incredible score he gets out of Jerry Goldsmith, returning to the franchise. And we ponder the merits of the Kraft Marshmallow (marshmelon?) Dispenser in all of its glory.

It’s an incredibly problematic film that represents some of the franchise’s worst… but also some of its best. We have a great time chatting about it so check it out then tune in! When the movie ends, our conversation begins.

Film Sundries

Do you like getting the good stuff before everyone else? Support The Next Reel on Patreon and get access to the show Drafts Podcast Feed! — http://patreon.com/thenextreel


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]]> Thu, 31 Aug 2017 06:00:00 -0700 The Next Reel The Next Reel 4728 Is this movie really as bad as we remember? Can the story survive the bad humor burying it (alive)? And where does Uhura get her fans? Tune in to this week’s show to find out! Is this movie really as bad as we remember? Can the story survive the bad humor burying it (alive)? And where does Uhura get her fans? Tune in to this week’s show to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek IV: The Voyage Home • The Next Reel 7 7 4 4 Star Trek IV: The Voyage Home • The Next Reel full 427a6456-7ed2-4a9e-9ad1-90f3748648df https://share.transistor.fm/s/63b2cf3a "Who would send a probe hundreds of light years to talk to a whale?"

With the success of their pair of Star Trek films under their belt, director Leonard Nimoy and producer Harve Bennett were asked once again to return to the well and bring forth yet another Star Trek story. This time, Nimoy had more free reign to make the film he wanted to make, and he and Bennett thought it would be nice to make something a bit lighter. Also? They wanted to feature time travel. So they put their heads together and came up with what we now know and love to be Star Trek IV: The Voyage Home. The film ended up wrapping things up nicely from the previous two films and became the closing entry of an unintentional trilogy that works well in the context of the three films and as a stand alone entry. But how well do the comedy stylings hold up with a modern eye? Join us — Pete Wright and Andy Nelson — as we continue our Star Trek series with Nimoy’s 1986 film Star Trek IV: The Voyage Home.

We talk about what works in this film – the characters, the whales, the probe, the future – and what doesn’t – all of the slapstick in the present paired with a problematic screenplay – and why it still works for us. We look at the incredible effects from the team at ILM all through the film and how they were really continuing to do things here they hadn’t before. We chat about the core team and look briefly at Nichelle Nichols and her background. We debate the quality of the cinematography by Don Peterman and the score by Leonard Rosenman and ponder if either of a quality that warranted an Oscar nomination. And we look at the trailer, debating if it was any good or told us too much.

It’s a fun, light film as promised, but one that may not feel as appropriate in the franchise. Still, we have a fantastic time chatting about it. So check out the film – again or for the first time – and tune in! When the movie ends, our conversation begins.

Film Sundries

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]]> "Who would send a probe hundreds of light years to talk to a whale?"

With the success of their pair of Star Trek films under their belt, director Leonard Nimoy and producer Harve Bennett were asked once again to return to the well and bring forth yet another Star Trek story. This time, Nimoy had more free reign to make the film he wanted to make, and he and Bennett thought it would be nice to make something a bit lighter. Also? They wanted to feature time travel. So they put their heads together and came up with what we now know and love to be Star Trek IV: The Voyage Home. The film ended up wrapping things up nicely from the previous two films and became the closing entry of an unintentional trilogy that works well in the context of the three films and as a stand alone entry. But how well do the comedy stylings hold up with a modern eye? Join us — Pete Wright and Andy Nelson — as we continue our Star Trek series with Nimoy’s 1986 film Star Trek IV: The Voyage Home.

We talk about what works in this film – the characters, the whales, the probe, the future – and what doesn’t – all of the slapstick in the present paired with a problematic screenplay – and why it still works for us. We look at the incredible effects from the team at ILM all through the film and how they were really continuing to do things here they hadn’t before. We chat about the core team and look briefly at Nichelle Nichols and her background. We debate the quality of the cinematography by Don Peterman and the score by Leonard Rosenman and ponder if either of a quality that warranted an Oscar nomination. And we look at the trailer, debating if it was any good or told us too much.

It’s a fun, light film as promised, but one that may not feel as appropriate in the franchise. Still, we have a fantastic time chatting about it. So check out the film – again or for the first time – and tune in! When the movie ends, our conversation begins.

Film Sundries

Consider supporting the show by becoming a member at http://patreon.com/thenextreel.


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]]> Thu, 24 Aug 2017 06:00:00 -0700 The Next Reel The Next Reel 5605 Does time travel really work? How does the crew of the Enterprise survive in 1986? And were the whales perhaps just ordering dinner? Tune in this week to find out! Does time travel really work? How does the crew of the Enterprise survive in 1986? And were the whales perhaps just ordering dinner? Tune in this week to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek III: The Search for Spock • The Next Reel 7 7 3 3 Star Trek III: The Search for Spock • The Next Reel full c77bb045-33e8-40ee-92da-b49db83ba2fa https://share.transistor.fm/s/768c0fc2 "My God, Bones, what have I done?"

Because of the critical and financial success of Star Trek II: The Wrath of Khan, Paramount quickly put plans into action for part three, telling Harve Bennett to get them a script as quickly as he could. And he did. Soon, they had brought Leonard Nimoy on to direct, feeling okay that he could handle it since his part of Spock had such a diminished role in the film. And two years later, they had a film in theatres. But does it work? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with Leonard Nimoy’s 1984 film Star Trek III: The Search for Spock.

We talk about the elements of the film that work for us – the incredible ship modelwork, the destruction of the Enterprise, the parts of canon introduced here – and we talk about what didn’t work, which generally focuses on the script. We chat about Nimoy as a director and what he and Bennett brought to the table here – notably their senses of humor – and why that largely doesn’t work for us. We discuss the sequence where Kirk makes the fateful decision to blow up the Enterprise in order to escape the clutches of the Klingons and look at what the team is bringing to the table in that sequence. We touch on James Horner’s score, continuing from the previous film, and love how much it helps build the destruction of the Enterprise. And we ponder the theme so beautifully illustrated in the previous film about the needs of the many outweighing the needs of the few, and how this film bungles up that entire message.

It’s a frustrating film to watch but one we still enjoy, probably in part because it helps connect the dots within this mini franchise trilogy. We have a great time talking about it on the show this week so check it out then tune in! The Next Reel. When the movie ends, our conversation begins.

Film Sundries

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]]> "My God, Bones, what have I done?"

Because of the critical and financial success of Star Trek II: The Wrath of Khan, Paramount quickly put plans into action for part three, telling Harve Bennett to get them a script as quickly as he could. And he did. Soon, they had brought Leonard Nimoy on to direct, feeling okay that he could handle it since his part of Spock had such a diminished role in the film. And two years later, they had a film in theatres. But does it work? Join us – Pete Wright and Andy Nelson – as we continue our Star Trek series with Leonard Nimoy’s 1984 film Star Trek III: The Search for Spock.

We talk about the elements of the film that work for us – the incredible ship modelwork, the destruction of the Enterprise, the parts of canon introduced here – and we talk about what didn’t work, which generally focuses on the script. We chat about Nimoy as a director and what he and Bennett brought to the table here – notably their senses of humor – and why that largely doesn’t work for us. We discuss the sequence where Kirk makes the fateful decision to blow up the Enterprise in order to escape the clutches of the Klingons and look at what the team is bringing to the table in that sequence. We touch on James Horner’s score, continuing from the previous film, and love how much it helps build the destruction of the Enterprise. And we ponder the theme so beautifully illustrated in the previous film about the needs of the many outweighing the needs of the few, and how this film bungles up that entire message.

It’s a frustrating film to watch but one we still enjoy, probably in part because it helps connect the dots within this mini franchise trilogy. We have a great time talking about it on the show this week so check it out then tune in! The Next Reel. When the movie ends, our conversation begins.

Film Sundries

We love Hangouts! Support The Next Reel on Patreon and get an invitation to our members only live chat before we record an episode of The Film Board! — http://patreon.com/thenextreel


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]]> Thu, 17 Aug 2017 06:00:00 -0700 The Next Reel The Next Reel 4672 Does this film work as a sequel? Should Harve Bennett have hired a different writer? When they go searching for Spock, do they actually find him? Tune in this week to find out! Does this film work as a sequel? Should Harve Bennett have hired a different writer? When they go searching for Spock, do they actually find him? Tune in this week to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek II: The Wrath of Khan • The Next Reel 7 7 2 2 Star Trek II: The Wrath of Khan • The Next Reel full 27b49ca6-76ed-4bd2-b7f3-64690f2ad892 https://share.transistor.fm/s/0d7b684f "You are my superior officer. You are also my friend. I have been, and always shall be, yours."

The ‘failure’ of the first Star Trek film put Paramount in the frame of mind where they needed to do a few things if they were to keep the franchise moving forward. 1) Drop the budget to something much more meager. 2) Add some action to the story. 3) Get rid of the needy creator and producer Gene Roddenberry. They did all three and luckily, the pieces fell into place in a way where they truly ended up with one of the great sci-fi films of all time and arguably the best in the franchise. It’s possible it could’ve been a disaster, but director Nicholas Meyer paired with new producer Harve Bennett – both new to the world of Trek – seemed to approach it the right way. Join us – Pete Wright and Andy Nelson – as we continue our Star Trek marathon with Nicholas Meyer’s 1982 film Star Trek II: The Wrath of Khan.

We talk about the risk of telling a story that is essentially a sequel to a TV episode that ran 15 years earlier, yet how well it works (and the fact that it still can work for you if you never saw that episode). We chat about the ousting of Roddenberry and how Bennett’s and Meyer’s approach seemed to work well for the franchise, especially certain nautical and militaristic elements Meyer wanted to add. We look at what Industrial Light & Magic brought to the table, notably the Genesis effect video but also all the incredible model work (all done at the same time as Poltergeist and E.T.: The Extra-Terrestrial). We look at the story of Khan and discuss why it works so well here, paired with themes of friendship and aging, etc. And we dig deep into a scene where Khan steals the Genesis device and he and Kirk have an incredible com-to-com monologue-off.

It’s a brilliant film and has stood the test of time with its action-packed, tense, funny, dramatic, operatic, heartbreaking story and one we have a great time discussing. So check out the movie – watch it again if you’ve seen it already because it’s really that good – then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

Want to join us for an episode? Support The Next Reel on Patreon to automatically be entered into our regular Listener’s Choice drawings! — http://patreon.com/thenextreel


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]]> "You are my superior officer. You are also my friend. I have been, and always shall be, yours."

The ‘failure’ of the first Star Trek film put Paramount in the frame of mind where they needed to do a few things if they were to keep the franchise moving forward. 1) Drop the budget to something much more meager. 2) Add some action to the story. 3) Get rid of the needy creator and producer Gene Roddenberry. They did all three and luckily, the pieces fell into place in a way where they truly ended up with one of the great sci-fi films of all time and arguably the best in the franchise. It’s possible it could’ve been a disaster, but director Nicholas Meyer paired with new producer Harve Bennett – both new to the world of Trek – seemed to approach it the right way. Join us – Pete Wright and Andy Nelson – as we continue our Star Trek marathon with Nicholas Meyer’s 1982 film Star Trek II: The Wrath of Khan.

We talk about the risk of telling a story that is essentially a sequel to a TV episode that ran 15 years earlier, yet how well it works (and the fact that it still can work for you if you never saw that episode). We chat about the ousting of Roddenberry and how Bennett’s and Meyer’s approach seemed to work well for the franchise, especially certain nautical and militaristic elements Meyer wanted to add. We look at what Industrial Light & Magic brought to the table, notably the Genesis effect video but also all the incredible model work (all done at the same time as Poltergeist and E.T.: The Extra-Terrestrial). We look at the story of Khan and discuss why it works so well here, paired with themes of friendship and aging, etc. And we dig deep into a scene where Khan steals the Genesis device and he and Kirk have an incredible com-to-com monologue-off.

It’s a brilliant film and has stood the test of time with its action-packed, tense, funny, dramatic, operatic, heartbreaking story and one we have a great time discussing. So check out the movie – watch it again if you’ve seen it already because it’s really that good – then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

Want to join us for an episode? Support The Next Reel on Patreon to automatically be entered into our regular Listener’s Choice drawings! — http://patreon.com/thenextreel


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]]> Thu, 10 Aug 2017 06:00:00 -0700 The Next Reel The Next Reel 4349 Is Khan one of the greatest villains of all time? Did Gene Roddenberry really ruin the ending for audiences? Does it matter if Khan and Kirk are ever in the same room? Tune in this week to find out! Is Khan one of the greatest villains of all time? Did Gene Roddenberry really ruin the ending for audiences? Does it matter if Khan and Kirk are ever in the same room? Tune in this week to find out! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Star Trek: The Motion Picture • The Next Reel 7 7 1 1 Star Trek: The Motion Picture • The Next Reel full 11cb658d-001a-497c-b1b3-f0399a9b8544 https://share.transistor.fm/s/195ee045 "The creator has not answered."

It wasn’t until syndication that Paramount realized that it had a property they could continue milking in Gene Roddenberry’s Star Trek TV series. Even then, however, they struggled to get a film adaptation made. After dropping the idea and settling for a new TV series called Star Trek: Phase II which they began developing, the theatrical releases of Star Wars and Close Encounters made them realize that science fiction movies could work. So back to the drawing board they went and after a few years, Paramount was ready to release Robert Wise’s Star Trek: The Motion Picture in theatres. It proved successful and spawned a massive franchise that has found legions of fans worldwide. Yet Wise’s film still has its detractors – whether it’s the pacing, the acting, or the plot, there are those who dislike the film. So is it a worthy start to the film franchise? Join us – Pete Wright and Andy Nelson – as we kick off our biggest series to date – The Star Trek series – with 1979’s Star Trek: The Motion Picture.

We look at the film’s trailer and talk about who it was marketed to and why it worked. We discuss the pacing of the film and why it’s caused such dislike for the film, even if it doesn’t sound like it was entirely intentional. We look intently at one scene and discuss the actors, the camerawork, direction, themes and everything else to see how that one scene fits in context of the overall film. We chat about split diopters and how frequent they are in the film. And we look at how well the film did (hint: well enough to birth a franchise!).

We have a great time starting up this new series with one of the more divisive films of the franchise. Definitely check it out (but bring your coffee!) then tune in! The Next Reel. When the movie ends, our conversation begins.

 

Film Sundries

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]]> "The creator has not answered."

It wasn’t until syndication that Paramount realized that it had a property they could continue milking in Gene Roddenberry’s Star Trek TV series. Even then, however, they struggled to get a film adaptation made. After dropping the idea and settling for a new TV series called Star Trek: Phase II which they began developing, the theatrical releases of Star Wars and Close Encounters made them realize that science fiction movies could work. So back to the drawing board they went and after a few years, Paramount was ready to release Robert Wise’s Star Trek: The Motion Picture in theatres. It proved successful and spawned a massive franchise that has found legions of fans worldwide. Yet Wise’s film still has its detractors – whether it’s the pacing, the acting, or the plot, there are those who dislike the film. So is it a worthy start to the film franchise? Join us – Pete Wright and Andy Nelson – as we kick off our biggest series to date – The Star Trek series – with 1979’s Star Trek: The Motion Picture.

We look at the film’s trailer and talk about who it was marketed to and why it worked. We discuss the pacing of the film and why it’s caused such dislike for the film, even if it doesn’t sound like it was entirely intentional. We look intently at one scene and discuss the actors, the camerawork, direction, themes and everything else to see how that one scene fits in context of the overall film. We chat about split diopters and how frequent they are in the film. And we look at how well the film did (hint: well enough to birth a franchise!).

We have a great time starting up this new series with one of the more divisive films of the franchise. Definitely check it out (but bring your coffee!) then tune in! The Next Reel. When the movie ends, our conversation begins.

 

Film Sundries

We love Hangouts! Support The Next Reel on Patreon and get an invitation to our members only live chat before we record an episode of The Film Board! http://patreon.com/thenextreel


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]]> Thu, 03 Aug 2017 06:00:00 -0700 The Next Reel The Next Reel 4364 Is this a worthy start to a massive film franchise? Do the ‘79 effects hold up today? Is Shatner over the top? Why the love for split diopters? Tune in to dig in with us! Is this a worthy start to a massive film franchise? Do the ‘79 effects hold up today? Is Shatner over the top? Why the love for split diopters? Tune in to dig in with us! film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Scott Pilgrim vs. the World • The Next Reel 6 6 52 52 Scott Pilgrim vs. the World • The Next Reel full b6975bd3-b7b6-4b76-8635-4290c138fe93 https://share.transistor.fm/s/94c71d53 "Prepare to feel the wrath of the League of Evil Exes!"

After making Shaun of the Dead, Edgar Wright signed on to direct the adaptation of Bryan Lee O’Malley’s graphic novel “Scott Pilgrim’s Precious Little Life” but due to project delays, it would be another six years before his film would hit the screen. In the interim, Wright would continue his Cornetto trilogy with Hot Fuzz and O’Malley would nearly finish writing the other five volumes of his “Scott Pilgrim” series. That time also allowed Wright, O’Malley and screenwriter Michael Bacall to get the screenplay just right. Unfortunately, when the film was released in theaters, it never found its audience. But like any good cult film does, it has since found its legions of fans and supporters, proving that Wright and co. know how to put together a top-notch film even if it loses money at the box office. Join us – Pete Wright and Andy Nelson – as we do our second Listener’s Choice episode of the year with listener Nick Langdon’s pick, Wright’s 2010 film Scott Pilgrim vs. the World.

We talk about Wright’s style and all the visual, aural, animated and graphic tricks all through the film that work incredibly well for us, and marvel at how well Wright really taps into the world of these characters. We discuss the actors – from Michael Cera and Mary Elizabeth Winstead to Brandon Routh, Chris Evans and Jason Schwartzman – and look at what they bring to the table. We touch on the production and how all the different departments really came together to deliver something wholly unique. And we chat with Langdon about why he picked this movie and why it’s something special to him.

We have a great time discussing this film and everything Wright and team create for us. It’s a marvelous film and one well worth discussing. So check it out then tune in!

Film Sundries

Hey! If you're reading this, you're a connoisseur of fine film just like we are. Let's take the next step in our relationship! Support us on Patreon for warm feelings, perks, and our great thanks! — http://patreon.com/thenextreel


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> "Prepare to feel the wrath of the League of Evil Exes!"

After making Shaun of the Dead, Edgar Wright signed on to direct the adaptation of Bryan Lee O’Malley’s graphic novel “Scott Pilgrim’s Precious Little Life” but due to project delays, it would be another six years before his film would hit the screen. In the interim, Wright would continue his Cornetto trilogy with Hot Fuzz and O’Malley would nearly finish writing the other five volumes of his “Scott Pilgrim” series. That time also allowed Wright, O’Malley and screenwriter Michael Bacall to get the screenplay just right. Unfortunately, when the film was released in theaters, it never found its audience. But like any good cult film does, it has since found its legions of fans and supporters, proving that Wright and co. know how to put together a top-notch film even if it loses money at the box office. Join us – Pete Wright and Andy Nelson – as we do our second Listener’s Choice episode of the year with listener Nick Langdon’s pick, Wright’s 2010 film Scott Pilgrim vs. the World.

We talk about Wright’s style and all the visual, aural, animated and graphic tricks all through the film that work incredibly well for us, and marvel at how well Wright really taps into the world of these characters. We discuss the actors – from Michael Cera and Mary Elizabeth Winstead to Brandon Routh, Chris Evans and Jason Schwartzman – and look at what they bring to the table. We touch on the production and how all the different departments really came together to deliver something wholly unique. And we chat with Langdon about why he picked this movie and why it’s something special to him.

We have a great time discussing this film and everything Wright and team create for us. It’s a marvelous film and one well worth discussing. So check it out then tune in!

Film Sundries

Hey! If you're reading this, you're a connoisseur of fine film just like we are. Let's take the next step in our relationship! Support us on Patreon for warm feelings, perks, and our great thanks! — http://patreon.com/thenextreel


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]]> Thu, 29 Jun 2017 06:00:00 -0700 The Next Reel The Next Reel 4718 Join us – Pete Wright and Andy Nelson – as we do our second Listener’s Choice episode of the year with listener Nick Langdon’s pick, Wright’s 2010 film Scott Pilgrim vs. the World. Join us – Pete Wright and Andy Nelson – as we do our second Listener’s Choice episode of the year with listener Nick Langdon’s pick, Wright’s 2010 film Scott Pilgrim vs. the World. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Kundun • The Next Reel 6 6 51 51 Kundun • The Next Reel full 84a07e1f-a731-4820-b1e3-a749db78097b https://share.transistor.fm/s/23acf57b "He dared to be born right on the border with China."

Regardless of whether you are a Buddhist or not, the story of Tenzin Gyatso is an interesting one that certainly provides drama that can draw you in. Born as the 14th reincarnation of the Dalai Lama, Gyatso grew up as the leader of Tibet. China, however, had other plans and eventually took Tibet, leaving the Dalai Lama no choice but to flee China in 1959. Still hoping to return one day, the Dalai Lama’s life story was one of interest to screenwriter Melissa Mathison who asked him if she could write about him. This eventually led to the biopic Kundun. Join us – Pete Wright and Andy Nelson – as we wrap up our Melissa Mathison series with Martin Scorsese’s 1997 film Kundun.

We talk about why it works for Andy but why it doesn’t work for Pete, and what could perhaps lead to that discrepancy. We chat about Mathison and how this fits in the films she wrote and what we’ve discussed in this series thus far, and how well it works in telling the story of a child in large, otherworldly situations. We talk about Scorsese and all the brilliant cinematic techniques he brings to the film, paired with his cinematographer Roger Deakins, production & costume designer Dante Ferretti, editor Thelma Schoonmaker and composer Philip Glass. We discuss the quality of performances from the Tibetan non-actors Scorsese cast in the film, yet how the story balancing across four youthful performances as the Dalai Lama hampers the film from becoming connectible for Pete. And we look at the incredibly difficult time this film has had with its release, primarily because China banned people involved from entering the country and nearly cut off all ties with Disney for distribution within its borders.

It’s a fascinating film that left us divided but which still is well worth watching and discussing, whether you’re a Buddhist, a Scorsese fan, a Mathison fan, a fan of biopics or a fan of interesting films in general. It’s tricky to find because of the issues Disney had with China, but it’s worth seeking out (likely at your local public library). So check it out then tune in! The Next Reel: when the movie ends, our conversation begins.

Film Sundries

  • Watch this film: Check your local library
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Pete's Trailer: Goodbye Christopher Robin — "Can you believe I almost picked Flatliners over this? What am I, nutz? Huge fan of the Pooh and a proper biopic is well deserved. Love that this comes from Simon Curtis and writer Frank Cottrell Boyce (Code 46, yes?) and should make a spot-on double with Saving Mr. Banks."
  • Andy's Trailer: Happy Death Day — "Pete takes the high road while I take the low. Instead of Brigsby Bear, I’m going with Happy Death Day. That’s right, a funny, twisted and hopefully scary blend of Groundhog Day and Edge of Tomorrow”. As much as it looks like so many horror movies I’ve seen before, I couldn’t help but smile as I watched this trailer. Dumb? Probably. Will I see it? Definitely.

Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> "He dared to be born right on the border with China."

Regardless of whether you are a Buddhist or not, the story of Tenzin Gyatso is an interesting one that certainly provides drama that can draw you in. Born as the 14th reincarnation of the Dalai Lama, Gyatso grew up as the leader of Tibet. China, however, had other plans and eventually took Tibet, leaving the Dalai Lama no choice but to flee China in 1959. Still hoping to return one day, the Dalai Lama’s life story was one of interest to screenwriter Melissa Mathison who asked him if she could write about him. This eventually led to the biopic Kundun. Join us – Pete Wright and Andy Nelson – as we wrap up our Melissa Mathison series with Martin Scorsese’s 1997 film Kundun.

We talk about why it works for Andy but why it doesn’t work for Pete, and what could perhaps lead to that discrepancy. We chat about Mathison and how this fits in the films she wrote and what we’ve discussed in this series thus far, and how well it works in telling the story of a child in large, otherworldly situations. We talk about Scorsese and all the brilliant cinematic techniques he brings to the film, paired with his cinematographer Roger Deakins, production & costume designer Dante Ferretti, editor Thelma Schoonmaker and composer Philip Glass. We discuss the quality of performances from the Tibetan non-actors Scorsese cast in the film, yet how the story balancing across four youthful performances as the Dalai Lama hampers the film from becoming connectible for Pete. And we look at the incredibly difficult time this film has had with its release, primarily because China banned people involved from entering the country and nearly cut off all ties with Disney for distribution within its borders.

It’s a fascinating film that left us divided but which still is well worth watching and discussing, whether you’re a Buddhist, a Scorsese fan, a Mathison fan, a fan of biopics or a fan of interesting films in general. It’s tricky to find because of the issues Disney had with China, but it’s worth seeking out (likely at your local public library). So check it out then tune in! The Next Reel: when the movie ends, our conversation begins.

Film Sundries

  • Watch this film: Check your local library
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Pete's Trailer: Goodbye Christopher Robin — "Can you believe I almost picked Flatliners over this? What am I, nutz? Huge fan of the Pooh and a proper biopic is well deserved. Love that this comes from Simon Curtis and writer Frank Cottrell Boyce (Code 46, yes?) and should make a spot-on double with Saving Mr. Banks."
  • Andy's Trailer: Happy Death Day — "Pete takes the high road while I take the low. Instead of Brigsby Bear, I’m going with Happy Death Day. That’s right, a funny, twisted and hopefully scary blend of Groundhog Day and Edge of Tomorrow”. As much as it looks like so many horror movies I’ve seen before, I couldn’t help but smile as I watched this trailer. Dumb? Probably. Will I see it? Definitely.

Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 22 Jun 2017 06:00:00 -0700 The Next Reel The Next Reel 4035 Join us – Pete Wright and Andy Nelson – as we wrap up our Melissa Mathison series with Martin Scorsese’s 1997 film Kundun. Join us – Pete Wright and Andy Nelson – as we wrap up our Melissa Mathison series with Martin Scorsese’s 1997 film Kundun. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright E.T.: The Extra-Terrestrial • The Next Reel 6 6 50 50 E.T.: The Extra-Terrestrial • The Next Reel full 4d52732f-68b4-4c43-8477-abf6dbbc8af3 https://share.transistor.fm/s/a773e95b "I’m keeping him."

Steven Spielberg didn’t have a sense that his little, personal alien film was going to blow up like it did when he was making it. Universal Studios saw it as another kids film that likely would only be seen by moms taking their kids to the theatre. But E.T.: The Extra-Terrestrial managed to touch pretty much the hearts of everyone who saw it, turning it into the #1 film in the world in short order. So how does this film hold up? Join us – Pete Wright and Andy Nelson – to find out as we continue our screenwriter Melissa Mathison series with Spielberg’s 1982 film E.T.: The Extra-Terrestrial.

We talk about emotional films versus intellectual films, if there really is a delineation, and how well Spielberg manages both spectrums but how brilliantly this film is able to connect with the world’s emotions. We chat about how Mathison’s first draft was near perfect when she delivered it to Spielberg, and perhaps why it worked out that way. We look at Spielberg and what he brings to the table as the director who seems to consistently bring brilliant films to the world, as is evidenced by the incredible number of them on the list of top-grossing films of all time. We discuss the actors – Dee Wallace, Henry Thomas, Drew Barrymore, Peter Coyote and more – and look at the honesty they’re all presenting on screen for us. We touch on the special effects and why perhaps it’s easy to grow attached to Carlo Rimbaldi’s ugly little alien. We debate whether John Williams’ score sounds a bit too much like his work in Raiders of the Lost Ark or if it’s wholly unique for this film. And we look at how well this movie did and marvel at how long it played in theaters.

It’s a beautiful film that still works incredibly well for us. We have a great time discussing it so check it out again and let us know what you think, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

  • Watch this film: iTunes • Amazon • Netflix
  • Script
  • Original theatrical trailer
  • Original poster artwork
  • Night Skies — Wikipedia
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Patti Cake$ — "I hadn’t heard much about this except that it got great buzz at Sundance. Watching the trailer, I could see why. The lead character’s sense of struggle and place in the world comes through brilliantly and I couldn’t help but smile. It could be that I really enjoy rap battle redemption stories – I loved 8 Mile too – but from the trailer I get a sense that it’s just because this is a strong film."
  • Pete's Trailer: Landline — "As much a story of sisters awkwardly navigating their relationship as it appears to be a detective story, set in 1995 and clearly having an amazing time with the period. The trailer is heartwarming, intriguing, well-timed… a pleasant surprise among a spate of shooters on deck."

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]]> "I’m keeping him."

Steven Spielberg didn’t have a sense that his little, personal alien film was going to blow up like it did when he was making it. Universal Studios saw it as another kids film that likely would only be seen by moms taking their kids to the theatre. But E.T.: The Extra-Terrestrial managed to touch pretty much the hearts of everyone who saw it, turning it into the #1 film in the world in short order. So how does this film hold up? Join us – Pete Wright and Andy Nelson – to find out as we continue our screenwriter Melissa Mathison series with Spielberg’s 1982 film E.T.: The Extra-Terrestrial.

We talk about emotional films versus intellectual films, if there really is a delineation, and how well Spielberg manages both spectrums but how brilliantly this film is able to connect with the world’s emotions. We chat about how Mathison’s first draft was near perfect when she delivered it to Spielberg, and perhaps why it worked out that way. We look at Spielberg and what he brings to the table as the director who seems to consistently bring brilliant films to the world, as is evidenced by the incredible number of them on the list of top-grossing films of all time. We discuss the actors – Dee Wallace, Henry Thomas, Drew Barrymore, Peter Coyote and more – and look at the honesty they’re all presenting on screen for us. We touch on the special effects and why perhaps it’s easy to grow attached to Carlo Rimbaldi’s ugly little alien. We debate whether John Williams’ score sounds a bit too much like his work in Raiders of the Lost Ark or if it’s wholly unique for this film. And we look at how well this movie did and marvel at how long it played in theaters.

It’s a beautiful film that still works incredibly well for us. We have a great time discussing it so check it out again and let us know what you think, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

  • Watch this film: iTunes • Amazon • Netflix
  • Script
  • Original theatrical trailer
  • Original poster artwork
  • Night Skies — Wikipedia
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Patti Cake$ — "I hadn’t heard much about this except that it got great buzz at Sundance. Watching the trailer, I could see why. The lead character’s sense of struggle and place in the world comes through brilliantly and I couldn’t help but smile. It could be that I really enjoy rap battle redemption stories – I loved 8 Mile too – but from the trailer I get a sense that it’s just because this is a strong film."
  • Pete's Trailer: Landline — "As much a story of sisters awkwardly navigating their relationship as it appears to be a detective story, set in 1995 and clearly having an amazing time with the period. The trailer is heartwarming, intriguing, well-timed… a pleasant surprise among a spate of shooters on deck."

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The Next Reel Family of Film Shows:

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]]> Thu, 15 Jun 2017 06:00:00 -0700 The Next Reel The Next Reel 4905 Join us – Pete Wright and Andy Nelson – to find out as we continue our screenwriter Melissa Mathison series with Spielberg’s 1982 film E.T.: The Extra-Terrestrial. Join us – Pete Wright and Andy Nelson – to find out as we continue our screenwriter Melissa Mathison series with Spielberg’s 1982 film E.T.: The Extra-Terrestrial. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Black Stallion • The Next Reel 6 6 49 49 The Black Stallion • The Next Reel full 90132bbc-ef0b-4045-94d5-f92ff7399297 https://share.transistor.fm/s/8f19f270 "We’re gonna show everybody that he’s the fastest horse in the world."

Francis Ford Coppola’s successes in the 70s put him in a place where he was able to help a good number of people get projects off the ground. One of those people was his friend from college, Carroll Ballard. Nearly broke, Coppola’s call came just in time and Ballard found himself on board to direct The Black Stallion. Another person was Melissa Mathison, a friend who started working as an assistant on The Godfather, Part II. Coppola suggested to her that she start writing and asked her to help with the script for The Black Stallion. Next thing you know, she and Ballard are working on it together. Join us – Pete Wright and Andy Nelson – as we kick off our Melissa Mathison series with 1979’s The Black Stallion.

We talk about why this film is called an art film for kids and why all of these elements work so well for us. We chat about Mathison, how she got her start here and how she really became a go-to writer for stories with child protagonists who connected to something unique or magical in the world. We discuss the cast, headlined by Kelly Reno as Alec the boy, and Cass-Olé the beautiful Arabian horse. We touch on the cinematography, the sound, the editing and the music, enjoying what everyone’s bringing to the table. And we touch on the locations around the world where the film was shot.

It’s a gorgeous film that isn’t just something made for kids – it’s really for everyone. We have a great conversation about it. Tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • The Black Stallion by Walter Farley
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: What Happened to Monday — "I love scifi films that paint a unique future. This film certainly does, with septuplets trying to find their lost sister in a world where people can have only one child. I’m a little skeptical from the director’s credits but at least from those, I’d like to think this will be fun. I’m just hoping it’ll have some serious meat to it as well, which I always love in scifi. We shall see..."
  • Pete's Trailer: American Made — "Another film in the catalog of Tom Cruise, who clearly made a deal with a power that allows him to Benjamin Button. I’m in for Doug Liman because of Bourne, Edge of Tomorrow, and in spite of Jumper. Lots of earned equity in my book and drug-running for the CIA seems par for the course in today’s news."

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]]> "We’re gonna show everybody that he’s the fastest horse in the world."

Francis Ford Coppola’s successes in the 70s put him in a place where he was able to help a good number of people get projects off the ground. One of those people was his friend from college, Carroll Ballard. Nearly broke, Coppola’s call came just in time and Ballard found himself on board to direct The Black Stallion. Another person was Melissa Mathison, a friend who started working as an assistant on The Godfather, Part II. Coppola suggested to her that she start writing and asked her to help with the script for The Black Stallion. Next thing you know, she and Ballard are working on it together. Join us – Pete Wright and Andy Nelson – as we kick off our Melissa Mathison series with 1979’s The Black Stallion.

We talk about why this film is called an art film for kids and why all of these elements work so well for us. We chat about Mathison, how she got her start here and how she really became a go-to writer for stories with child protagonists who connected to something unique or magical in the world. We discuss the cast, headlined by Kelly Reno as Alec the boy, and Cass-Olé the beautiful Arabian horse. We touch on the cinematography, the sound, the editing and the music, enjoying what everyone’s bringing to the table. And we touch on the locations around the world where the film was shot.

It’s a gorgeous film that isn’t just something made for kids – it’s really for everyone. We have a great conversation about it. Tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • The Black Stallion by Walter Farley
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: What Happened to Monday — "I love scifi films that paint a unique future. This film certainly does, with septuplets trying to find their lost sister in a world where people can have only one child. I’m a little skeptical from the director’s credits but at least from those, I’d like to think this will be fun. I’m just hoping it’ll have some serious meat to it as well, which I always love in scifi. We shall see..."
  • Pete's Trailer: American Made — "Another film in the catalog of Tom Cruise, who clearly made a deal with a power that allows him to Benjamin Button. I’m in for Doug Liman because of Bourne, Edge of Tomorrow, and in spite of Jumper. Lots of earned equity in my book and drug-running for the CIA seems par for the course in today’s news."

Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 08 Jun 2017 06:00:00 -0700 The Next Reel The Next Reel 4698 Join us – Pete Wright and Andy Nelson – as we kick off our Melissa Mathison series with 1979’s The Black Stallion. Join us – Pete Wright and Andy Nelson – as we kick off our Melissa Mathison series with 1979’s The Black Stallion. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Howl's Moving Castle • The Next Reel 6 6 48 48 Howl's Moving Castle • The Next Reel full 957ae8eb-3fab-4b76-b16d-1c2ac492ab42 https://share.transistor.fm/s/c84b40da "Nothing but witches and wizards ahead."

Hayao Miyazaki did not attend the Oscars to pick up his Academy Award for Best Animated Film for Spirited Away because he was protesting the Iraq War. When it came time to make his next film, he took his frustration with the war and added a strong anti-war element to Howl’s Moving Castle. Diane Wynne Jones’ original novel, upon which the movie was based, didn’t focus nearly as much on the war but Miyazaki wanted to get his point across. In the end, his film still proved vastly successful, even if it’s not his strongest film. Join us – Pete Wright and Andy Nelson – as we wrap up our latest Hayao Miyazaki series with his 2004 film Howl’s Moving Castle.

We talk about the themes Miyazaki is pushing with this film and why, perhaps, his insistence in adding so much war to the film kept him from focusing on other elements of the story that could’ve provided more cohesion. We chat about how we still enjoy this world created here for us, despite some of this lack of cohesion. We discuss the English and Japanese voice actors, pointing out the ones that worked well for us and the ones that didn’t. We touch on some of the French locations Miyazaki used as inspiration to create this world. We revel in the beautiful music that Joe Hisaishi composed for this film, and we marvel at how successful this film was in Japan, even if it wasn’t at the top of our Miyazaki chart.

It’s a beautiful film told in an incredibly creative world with a plot that’s a bit messy, but still worth watching. Check it out then tune in! When the movie ends, our conversation begins.

Film Sundries


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]]> "Nothing but witches and wizards ahead."

Hayao Miyazaki did not attend the Oscars to pick up his Academy Award for Best Animated Film for Spirited Away because he was protesting the Iraq War. When it came time to make his next film, he took his frustration with the war and added a strong anti-war element to Howl’s Moving Castle. Diane Wynne Jones’ original novel, upon which the movie was based, didn’t focus nearly as much on the war but Miyazaki wanted to get his point across. In the end, his film still proved vastly successful, even if it’s not his strongest film. Join us – Pete Wright and Andy Nelson – as we wrap up our latest Hayao Miyazaki series with his 2004 film Howl’s Moving Castle.

We talk about the themes Miyazaki is pushing with this film and why, perhaps, his insistence in adding so much war to the film kept him from focusing on other elements of the story that could’ve provided more cohesion. We chat about how we still enjoy this world created here for us, despite some of this lack of cohesion. We discuss the English and Japanese voice actors, pointing out the ones that worked well for us and the ones that didn’t. We touch on some of the French locations Miyazaki used as inspiration to create this world. We revel in the beautiful music that Joe Hisaishi composed for this film, and we marvel at how successful this film was in Japan, even if it wasn’t at the top of our Miyazaki chart.

It’s a beautiful film told in an incredibly creative world with a plot that’s a bit messy, but still worth watching. Check it out then tune in! When the movie ends, our conversation begins.

Film Sundries


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]]> Thu, 01 Jun 2017 06:00:00 -0700 The Next Reel The Next Reel 3626 Join us – Pete Wright and Andy Nelson – as we wrap up our latest Hayao Miyazaki series with his 2004 film Howl’s Moving Castle. Join us – Pete Wright and Andy Nelson – as we wrap up our latest Hayao Miyazaki series with his 2004 film Howl’s Moving Castle. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Spirited Away • The Next Reel 6 6 47 47 Spirited Away • The Next Reel full f9e3b912-f243-4d2b-9eca-5dfde3f32656 https://share.transistor.fm/s/baaaa679 "If I hear one little complaint out of you, you’ll be joining your parents in the pigpen!"

Hayao Miyazaki’s 2001 film Spirited Away shot to the top of the Japanese box office and still holds the spot as the highest grossing film in Japanese history, sinking box office juggernaut Titanic. Perhaps it says a lot that it’s a Japanese story that is so universally appealing and that it’s for all ages. Or that it’s timeless. Regardless of why it’s so popular, it’s great to see Miyazaki as the person whose creation holds that spot. Join us – Pete Wright and Andy Nelson – as we continue our Hayao Miyazaki series with this beautiful film Spirited Away.

We talk about why this film works so well for us and the various elements of the story that put it at the top of the heap of his films, or at least near to it. We chat about the voice talent and how well they all work in both the original Japanese version as well as the English dub. We discuss the characters and how well they work here, notably Chihiro and the journey she takes in this crazy spirit world to grow into a stronger 10-year-old girl. We touch on the integration Miyazaki and his team uses in this film and how it works fluidly throughout. We chat about how well the film was received, both via awards as well as box office. And we can’t let a score of Joe Hisaishi go by without chatting about how well it works for us.

It’s a beautiful film that stands as a timeless masterpiece. We love it and have a great time talking about it. Tune in! At The Next Reel, when the movie ends, the conversation begins.

Film Sundries

  • Watch this film: • Amazon
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
  • Tokyo Ghibli Land by artist Takumi
    Trailers of the Week
  • Andy's Trailer: Good Time — "A24 looks to be distributing another really interesting film, this time from the Safdie brothers and starring Robert Pattinson, an actor I gain more and more respect for as he gets away from the Twilight pigeonhole. I’m really intrigued by these characters and will definitely seek this one out."
  • Pete's Trailer: Okja — "When I first saw the promotional art I passed over Okja. That was a mistake. Had I known it was Bong Joon Ho’s latest, or that it involved pretty much the cast of Snowpiercer, or that it was all about genetically engineering an adorable pig creature and then solving the world’s food crisis with it, well, I would have paid more attention."

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Shop & Stream:

]]> "If I hear one little complaint out of you, you’ll be joining your parents in the pigpen!"

Hayao Miyazaki’s 2001 film Spirited Away shot to the top of the Japanese box office and still holds the spot as the highest grossing film in Japanese history, sinking box office juggernaut Titanic. Perhaps it says a lot that it’s a Japanese story that is so universally appealing and that it’s for all ages. Or that it’s timeless. Regardless of why it’s so popular, it’s great to see Miyazaki as the person whose creation holds that spot. Join us – Pete Wright and Andy Nelson – as we continue our Hayao Miyazaki series with this beautiful film Spirited Away.

We talk about why this film works so well for us and the various elements of the story that put it at the top of the heap of his films, or at least near to it. We chat about the voice talent and how well they all work in both the original Japanese version as well as the English dub. We discuss the characters and how well they work here, notably Chihiro and the journey she takes in this crazy spirit world to grow into a stronger 10-year-old girl. We touch on the integration Miyazaki and his team uses in this film and how it works fluidly throughout. We chat about how well the film was received, both via awards as well as box office. And we can’t let a score of Joe Hisaishi go by without chatting about how well it works for us.

It’s a beautiful film that stands as a timeless masterpiece. We love it and have a great time talking about it. Tune in! At The Next Reel, when the movie ends, the conversation begins.

Film Sundries

  • Watch this film: • Amazon
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
  • Tokyo Ghibli Land by artist Takumi
    Trailers of the Week
  • Andy's Trailer: Good Time — "A24 looks to be distributing another really interesting film, this time from the Safdie brothers and starring Robert Pattinson, an actor I gain more and more respect for as he gets away from the Twilight pigeonhole. I’m really intrigued by these characters and will definitely seek this one out."
  • Pete's Trailer: Okja — "When I first saw the promotional art I passed over Okja. That was a mistake. Had I known it was Bong Joon Ho’s latest, or that it involved pretty much the cast of Snowpiercer, or that it was all about genetically engineering an adorable pig creature and then solving the world’s food crisis with it, well, I would have paid more attention."

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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 25 May 2017 06:00:00 -0700 The Next Reel The Next Reel 4101 Join us – Pete Wright and Andy Nelson – as we continue our Hayao Miyazaki series with this beautiful film Spirited Away. Join us – Pete Wright and Andy Nelson – as we continue our Hayao Miyazaki series with this beautiful film Spirited Away. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Princess Mononoke • The Next Reel 6 6 46 46 Princess Mononoke • The Next Reel full 564d6ae6-8a51-485d-b98b-ec3ea830d864 https://share.transistor.fm/s/fafdafe2 "When you’re going to kill a god, let someone else do the dirty work."

Hayao Miyazaki has always had a strong relationship with nature that he’s portrayed in a number of his films, but nowhere has it grown as dark as it did in his 1997 film Princess Mononoke. While an animated film, the level of violence is very high and the themes are much more adult than his previous films, particularly fare like My Neighbor Totoro. And while he hasn’t returned to such dark films since, it’s clear that this was an important step in his storytelling and how his films look at the relationship between man and nature. Join us – Pete Wright and Andy Nelson – as we kick off our second Hayao Miyazaki series with his 1997 film Princess Mononoke.

We talk about the violence in this film, what our thoughts are with showing these films to children (in particular our own) and why we think there is a strength in kids seeing films like this. We discuss Miyazaki and the themes presented here, notably how mankind is left in a position that allows for growth in responsibility, and why it works for us, even if the storytelling doesn’t work for both of us. We chat about the cast, both Japanese and English, and which performances work better for us than others. We look at the sound editing by Michihiro Itô and gorgeous score by Joe Hisaishi and how well they both work to enhance the world Miyazaki creates. And we look at the yin yang nature of everything within the film and why it works in context of the Tokien-esque story.

It’s a strong film with a powerful message that worked better for Andy than it did for Pete, but it allows for a lot of interesting elements to discuss. So check out the movie then tune in! The Next Reel – when the movie ends, the conversation begins.

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> "When you’re going to kill a god, let someone else do the dirty work."

Hayao Miyazaki has always had a strong relationship with nature that he’s portrayed in a number of his films, but nowhere has it grown as dark as it did in his 1997 film Princess Mononoke. While an animated film, the level of violence is very high and the themes are much more adult than his previous films, particularly fare like My Neighbor Totoro. And while he hasn’t returned to such dark films since, it’s clear that this was an important step in his storytelling and how his films look at the relationship between man and nature. Join us – Pete Wright and Andy Nelson – as we kick off our second Hayao Miyazaki series with his 1997 film Princess Mononoke.

We talk about the violence in this film, what our thoughts are with showing these films to children (in particular our own) and why we think there is a strength in kids seeing films like this. We discuss Miyazaki and the themes presented here, notably how mankind is left in a position that allows for growth in responsibility, and why it works for us, even if the storytelling doesn’t work for both of us. We chat about the cast, both Japanese and English, and which performances work better for us than others. We look at the sound editing by Michihiro Itô and gorgeous score by Joe Hisaishi and how well they both work to enhance the world Miyazaki creates. And we look at the yin yang nature of everything within the film and why it works in context of the Tokien-esque story.

It’s a strong film with a powerful message that worked better for Andy than it did for Pete, but it allows for a lot of interesting elements to discuss. So check out the movie then tune in! The Next Reel – when the movie ends, the conversation begins.

Film Sundries


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 18 May 2017 06:00:00 -0700 The Next Reel The Next Reel 4697 Join us – Pete Wright and Andy Nelson – as we kick off our second Hayao Miyazaki series with his 1997 film Princess Mononoke. Join us – Pete Wright and Andy Nelson – as we kick off our second Hayao Miyazaki series with his 1997 film Princess Mononoke. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright No • The Next Reel 6 6 45 45 No • The Next Reel full 0df3db51-47f1-425e-85d8-d5f12c0c9837 https://share.transistor.fm/s/59c029e9 "Happiness is in your hands."

The role of advertising in politics is constantly evolving. From radio to TV to the internet and now to specifically pinpointed Facebook ads and beyond, it’s amazing how complex the system has grown. But watching how advertising affected the Chilean dictatorship of Pinochet and brought about his downfall in the late 80s in Pablo Larraín’s film No, it’s clear that those behind the ads just might understand our decision making process better than we do. And it’s downright frightening. Join us – Pete Wright and Andy Nelson – as we wrap up our discussion of the films in Pablo Larraín’s unintentional trilogy with a conversation about 2012’s No.

We talk about how well the film works for us and how frightening and sad it really is, looking at what it says about people and the advertising machine’s grasp of them. We chat about Larraín and his direction of this script adapted from an unpublished play, and why both the script and Larraín’s choice to film with U-matic tapes enhance the story as it allows archive footage, TV commercials and the film to be integrated seamlessly. We discuss Gael García Bernal and why he works so well in this film, along with Alfredo Castro, Antonia Zegers and everyone else. And we look at the Pinochet dictatorship and what it was all about, and why it’s something that Larraín has been delving into with these films.

It’s a film that works really well for us, even if we differ in opinion on the look of the film. We have a great conversation about it and feel it’s definitely worth checking out. So watch it then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: The Big Sick — "Any film in a genre that feels unique generally grabs me, and there’s something unique about the tone, feel and story of this film that grabbed me right away. It feels authentic. The romance feels genuine. The laughs feel earned. The story feels solid. I’m sold."
  • Pete's Trailer: Blade Runner 2049 — "OK. New Blade Runner is looking for old Blade Runner gone missing to help him solve some otherwise insolvable mystery. I have to tell you, I’m stymied. Why are people going gonzo over this trailer? I am, alas, unmoved ... and that is more than just a little bit heartbreaking."

Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> "Happiness is in your hands."

The role of advertising in politics is constantly evolving. From radio to TV to the internet and now to specifically pinpointed Facebook ads and beyond, it’s amazing how complex the system has grown. But watching how advertising affected the Chilean dictatorship of Pinochet and brought about his downfall in the late 80s in Pablo Larraín’s film No, it’s clear that those behind the ads just might understand our decision making process better than we do. And it’s downright frightening. Join us – Pete Wright and Andy Nelson – as we wrap up our discussion of the films in Pablo Larraín’s unintentional trilogy with a conversation about 2012’s No.

We talk about how well the film works for us and how frightening and sad it really is, looking at what it says about people and the advertising machine’s grasp of them. We chat about Larraín and his direction of this script adapted from an unpublished play, and why both the script and Larraín’s choice to film with U-matic tapes enhance the story as it allows archive footage, TV commercials and the film to be integrated seamlessly. We discuss Gael García Bernal and why he works so well in this film, along with Alfredo Castro, Antonia Zegers and everyone else. And we look at the Pinochet dictatorship and what it was all about, and why it’s something that Larraín has been delving into with these films.

It’s a film that works really well for us, even if we differ in opinion on the look of the film. We have a great conversation about it and feel it’s definitely worth checking out. So watch it then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: The Big Sick — "Any film in a genre that feels unique generally grabs me, and there’s something unique about the tone, feel and story of this film that grabbed me right away. It feels authentic. The romance feels genuine. The laughs feel earned. The story feels solid. I’m sold."
  • Pete's Trailer: Blade Runner 2049 — "OK. New Blade Runner is looking for old Blade Runner gone missing to help him solve some otherwise insolvable mystery. I have to tell you, I’m stymied. Why are people going gonzo over this trailer? I am, alas, unmoved ... and that is more than just a little bit heartbreaking."

Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 11 May 2017 06:00:00 -0700 The Next Reel The Next Reel 4581 Join us – Pete Wright and Andy Nelson – as we wrap up our discussion of the films in Pablo Larraín’s unintentional trilogy with a conversation about 2012’s No. Join us – Pete Wright and Andy Nelson – as we wrap up our discussion of the films in Pablo Larraín’s unintentional trilogy with a conversation about 2012’s No. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Silver Linings Playbook — Harry Gregson-Williams • Movies We Like 2 2 2 2 Silver Linings Playbook — Harry Gregson-Williams • Movies We Like full 5895cae4-e59e-4450-b6f4-253f8074333d https://share.transistor.fm/s/cd3a4d9e “I can’t apologize. I’m not going to apologize for this. You know what I will do? I will apologize on behalf of Ernest Hemingway because that’s who’s to blame here."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this episode, film composer Harry Gregson-Williams joins us to talk about one of his favorite films, David O. Russell’s 2012 film Silver Linings Playbook.

We talk about why the film works so well and how Russell really infuses some serious energy into the film, almost as if the film is expressing the mental state of the two lead characters. We touch on how Russell’s experience with his son – who’s dealing with similar issues to our lead character – drew him to this story to help make mental health more accessible, which he does brilliantly. We discuss the brilliant cast and how perfect they all are in their roles, notably the four leads: Bradley Cooper, Jennifer Lawrence, Robert De Niro and Jackie Weaver. We look at what Russell does musically, bringing in an eclectic mix of songs and Danny Elfman’s score to help drive the story along. And we chat about how the movie blew up at the box office, making more than 11 times its budget.

It’s an incredible film that seems to get better with age and Gregson-Williams brings a lot of insight to the conversation. Plus, we have a great chat with him about his career and how he got to where he is. So check out the movie then join us on the show!

Film Sundries


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]]> “I can’t apologize. I’m not going to apologize for this. You know what I will do? I will apologize on behalf of Ernest Hemingway because that’s who’s to blame here."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this episode, film composer Harry Gregson-Williams joins us to talk about one of his favorite films, David O. Russell’s 2012 film Silver Linings Playbook.

We talk about why the film works so well and how Russell really infuses some serious energy into the film, almost as if the film is expressing the mental state of the two lead characters. We touch on how Russell’s experience with his son – who’s dealing with similar issues to our lead character – drew him to this story to help make mental health more accessible, which he does brilliantly. We discuss the brilliant cast and how perfect they all are in their roles, notably the four leads: Bradley Cooper, Jennifer Lawrence, Robert De Niro and Jackie Weaver. We look at what Russell does musically, bringing in an eclectic mix of songs and Danny Elfman’s score to help drive the story along. And we chat about how the movie blew up at the box office, making more than 11 times its budget.

It’s an incredible film that seems to get better with age and Gregson-Williams brings a lot of insight to the conversation. Plus, we have a great chat with him about his career and how he got to where he is. So check out the movie then join us on the show!

Film Sundries


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]]> Tue, 09 May 2017 06:00:00 -0700 TruStory FM TruStory FM 3833 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this episode, film composer Harry Gregson-Williams joins us to talk about one of his favorite films, David O. Russell’s 2012 film Silver Linings Playbook. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this episode, film composer Harry Gregson-Williams joins us to talk about one of his favo Movies We Like, Harry Gregson-Williams No Andy Nelson Pete Wright Post Mortem • The Next Reel 6 6 44 44 Post Mortem • The Next Reel full 9b4904ef-23b1-495e-a99a-78981b919205 https://share.transistor.fm/s/9aaa5c41 "I’ll talk to them. I have a position now."

Pablo Larraín was born when Pinochet was already in power but the military coup that brought Pinochet to power always fascinated him, largely because it wasn’t something that was discussed until after the dictatorship ended in 1990. On top of that, Larraín became fascinated by the little people who got wrapped up in big moments in history. One that piqued his curiosity was a man named Mario who happened to be a coroner’s assistant helping in the room during the autopsy of President Salvador Allende, the former Chilean leader before Pinochet’s rise. Larraín became fascinated by this moment of history told through this character’s eyes. And thus, Post Mortem was born.

Join us – Pete Wright and Andy Nelson – as we continue our ‘Pablo Larraín’s Unintentional Trilogy’ series with his 2010 film Post Mortem. We talk about why this film, while not as unenjoyable to watch as Tony Manero, still is difficult to watch, and it’s largely about the dislikeable protagonist Mario played well by Alfredo Castro. We debate what Larraín is doing here and if perhaps he’s aiming for too much symbolism in these stories with such despicable characters. We chat about the political environment in Chile at the time and how fascinated we were by those elements. We talk about the crazy Russian lenses they used to film this movie and how much we ended up liking the hypnotic look, even if it took us a while to get there. We chat about Antonia Zegers and Amparo Noguera and some of the powerful moments the two of them provide in the film. And we look at the last shot of the film and the potential power in it.

It’s a really interesting film that unfortunately still struggles with an unlikeable protagonist but gets away with it because the political nature of the film and the natural intrigue it brings. Check out the movie then tune in!

Film Sundries

  • Watch this film: Amazon
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: It Comes at Night — "A24 is a distributor I’m watching now and every time I see their logo before a trailer, I instantly put it on my watch list. This would’ve been an easy one anyway with the horror element that naturally draws me in. Creepy story. Great look. Interesting scares. The logo sold me but the trailer had me begging for more."
  • Pete's Trailer: Score: A Film Music Documentary — “Clearly a passion project from filmmaker Matt Schrader, Score takes us behind the scenes of the greatest film composers of our time. It’s been floating around festivals for some time, but looks like we’ll finally get our ears on it in June. Bonus: At no point do these composers spit up black goo on one another, as in Andy’s trailer this week.“

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]]> "I’ll talk to them. I have a position now."

Pablo Larraín was born when Pinochet was already in power but the military coup that brought Pinochet to power always fascinated him, largely because it wasn’t something that was discussed until after the dictatorship ended in 1990. On top of that, Larraín became fascinated by the little people who got wrapped up in big moments in history. One that piqued his curiosity was a man named Mario who happened to be a coroner’s assistant helping in the room during the autopsy of President Salvador Allende, the former Chilean leader before Pinochet’s rise. Larraín became fascinated by this moment of history told through this character’s eyes. And thus, Post Mortem was born.

Join us – Pete Wright and Andy Nelson – as we continue our ‘Pablo Larraín’s Unintentional Trilogy’ series with his 2010 film Post Mortem. We talk about why this film, while not as unenjoyable to watch as Tony Manero, still is difficult to watch, and it’s largely about the dislikeable protagonist Mario played well by Alfredo Castro. We debate what Larraín is doing here and if perhaps he’s aiming for too much symbolism in these stories with such despicable characters. We chat about the political environment in Chile at the time and how fascinated we were by those elements. We talk about the crazy Russian lenses they used to film this movie and how much we ended up liking the hypnotic look, even if it took us a while to get there. We chat about Antonia Zegers and Amparo Noguera and some of the powerful moments the two of them provide in the film. And we look at the last shot of the film and the potential power in it.

It’s a really interesting film that unfortunately still struggles with an unlikeable protagonist but gets away with it because the political nature of the film and the natural intrigue it brings. Check out the movie then tune in!

Film Sundries

  • Watch this film: Amazon
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: It Comes at Night — "A24 is a distributor I’m watching now and every time I see their logo before a trailer, I instantly put it on my watch list. This would’ve been an easy one anyway with the horror element that naturally draws me in. Creepy story. Great look. Interesting scares. The logo sold me but the trailer had me begging for more."
  • Pete's Trailer: Score: A Film Music Documentary — “Clearly a passion project from filmmaker Matt Schrader, Score takes us behind the scenes of the greatest film composers of our time. It’s been floating around festivals for some time, but looks like we’ll finally get our ears on it in June. Bonus: At no point do these composers spit up black goo on one another, as in Andy’s trailer this week.“

Support The Next Reel Family of Film Shows:

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]]> Thu, 04 May 2017 06:00:00 -0700 The Next Reel The Next Reel 3557 Join us – Pete Wright and Andy Nelson – as we continue our ‘Pablo Larraín’s Unintentional Trilogy’ series with his 2010 film Post Mortem. Join us – Pete Wright and Andy Nelson – as we continue our ‘Pablo Larraín’s Unintentional Trilogy’ series with his 2010 film Post Mortem. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Tony Manero • The Next Reel 6 6 43 43 Tony Manero • The Next Reel full 9e6f8cc5-bf13-4060-8108-8b7eea9ccf73 https://share.transistor.fm/s/1a418010 "Once the film is out of fashion, you think they’ll still follow you? No way."

Pablo Larraín didn’t intend to direct three films that took place during the Pinochet dictatorship – it just happening that way. Looking at Tony Manero, the first film in what is dubbed as his ‘unintentional trilogy,’ it’s clear that Larraín is not one to shy away from challenging his audience. But in doing so, is he pushing us away too? Join us – Pete Wright and Andy Nelson – as we kick off our series on Pablo Larraín’s Unintentional Trilogy with his 2008 film, Tony Manero.

We talk about why we don’t like this film, but look at what perhaps Larraín was working toward by creating such an unlikeable protagonist for the film. We discuss how well his parallels worked between Raúl’s world – an obsession with John Travolta’s character from Saturday Night Fever, general awful behavior and murder – and the world of Chile under the Pinochet dictatorship – general awful behavior and murder. We chat about actor Alfredo Castro and what he brings to the table as this despicable character. We look at the cinematography and editing in the film and, as refreshing as it is here, question how well it’s connected thematically to the story. And we look at some connections, both obvious and less so, this film has with Saturday Night Fever.

It’s an interesting film that makes for a very challenging watch. We both had a difficult time with this one but still felt that Larraín was working toward some interesting things, even if we’re not sure he ever quite got there. But there’s a lot to talk about so check it out then tune in!

Film Sundries

  • Watch this film: Amazon
  • Original theatrical trailer
  • Original poster artwork
  • Saturday Night Fever. Seriously.
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: American Assassin — "I’m not convinced I want to watch this movie, but Michael Keaton nearly does it for me. He’s hit a new point in his career where I’m excited by about everything he does. He’s not carrying the film, but I have a feeling his presence will be the draw for me if I decide to see this one."
  • Pete's Trailer: Beatriz at Diner — "Yeah, this may be a little on the nose for today’s political climate in the US… France… UK… but holy smokes is it fun to watch Hayak go head to head with Lithgow. Pitched as a comedy, but I’m not convinced any of this is altogether funny."

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]]> "Once the film is out of fashion, you think they’ll still follow you? No way."

Pablo Larraín didn’t intend to direct three films that took place during the Pinochet dictatorship – it just happening that way. Looking at Tony Manero, the first film in what is dubbed as his ‘unintentional trilogy,’ it’s clear that Larraín is not one to shy away from challenging his audience. But in doing so, is he pushing us away too? Join us – Pete Wright and Andy Nelson – as we kick off our series on Pablo Larraín’s Unintentional Trilogy with his 2008 film, Tony Manero.

We talk about why we don’t like this film, but look at what perhaps Larraín was working toward by creating such an unlikeable protagonist for the film. We discuss how well his parallels worked between Raúl’s world – an obsession with John Travolta’s character from Saturday Night Fever, general awful behavior and murder – and the world of Chile under the Pinochet dictatorship – general awful behavior and murder. We chat about actor Alfredo Castro and what he brings to the table as this despicable character. We look at the cinematography and editing in the film and, as refreshing as it is here, question how well it’s connected thematically to the story. And we look at some connections, both obvious and less so, this film has with Saturday Night Fever.

It’s an interesting film that makes for a very challenging watch. We both had a difficult time with this one but still felt that Larraín was working toward some interesting things, even if we’re not sure he ever quite got there. But there’s a lot to talk about so check it out then tune in!

Film Sundries

  • Watch this film: Amazon
  • Original theatrical trailer
  • Original poster artwork
  • Saturday Night Fever. Seriously.
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: American Assassin — "I’m not convinced I want to watch this movie, but Michael Keaton nearly does it for me. He’s hit a new point in his career where I’m excited by about everything he does. He’s not carrying the film, but I have a feeling his presence will be the draw for me if I decide to see this one."
  • Pete's Trailer: Beatriz at Diner — "Yeah, this may be a little on the nose for today’s political climate in the US… France… UK… but holy smokes is it fun to watch Hayak go head to head with Lithgow. Pitched as a comedy, but I’m not convinced any of this is altogether funny."

Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 27 Apr 2017 06:00:00 -0700 The Next Reel The Next Reel 4108 Join us – Pete Wright and Andy Nelson – as we kick off our series on Pablo Larraín’s Unintentional Trilogy with his 2008 film, Tony Manero. Join us – Pete Wright and Andy Nelson – as we kick off our series on Pablo Larraín’s Unintentional Trilogy with his 2008 film, Tony Manero. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Certain Women • The Next Reel 6 6 42 42 Certain Women • The Next Reel full 49009da2-3674-467d-8512-f0598ced6bc2 https://share.transistor.fm/s/8f8b48c1 "I just knew if I didn’t start driving, I wasn’t gonna see you again."

Kelly Reichardt’s most recent film, last year’s Certain Women, is a bit of a departure for her in that it’s a film consisting of three separate stories that are only loosely connected (other than thematically). But in this structure, it’s interesting to see Reichardt at her best as perhaps the stories each end up getting as much time as they really need to be told, at least in our perspective. Unfortunately, it didn’t find its audience and lost money at the box office. Luckily, Reichardt’s proven herself as a filmmaker who knows how to tell intimate character stories and will continue making movies. Join us – Pete Wright and Andy Nelson – as we conclude our Kelly Reichardt series with her 2016 film Certain Women.

We talk about the certain women in these stories and how the stories work for us now that they’re all about 30 minutes each (although we both still struggle with one of them). We chat about the nature of these ensemble, multi-story films and how well it works under the guidance of Reichardt, especially now that she’s writing the screenplay herself. We look at each of the actors, including Laura Dern, Kristen Stewart, Michelle Williams and our personal favorite Lily Gladstone, and talk about what they bring to the table. We look at Reichardt’s minimalist nature and contemplate why it doesn’t always work well for us (notably the dark cinematography). And we touch on the box office and what it perhaps says about her investors that they keep investing large amounts of money in her films.

It’s an interesting film that, while not one of our favorites, certainly was the favorite of the series. There are a lot of really interesting moments throughout the film and it’s worth watching and talking about, so check it out then tune in!

Film Sundries

  • Watch this film: iTunes
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Half in Love, Both Ways Is the Only Way I Want It by Maile Malloy
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Detroit — "Kathryn Bigelow’s a favorite on this show and her latest film looks to be as intense as her last several. Add in a dose of political intensity with a release that feels very timely, this could be one of the films everyone’s talking about this summer. Plus, John Boyega!"
  • Pete's Trailer: City of Tiny Lights — "Pretty straight forward private dick tribute: prostitute goes to a detective on a missing persons hunt. Twist? Stars Riz Ahmed who I really like in spite of that horrific Bourne tripe. The look of the London in the trailer is wonderful. I can only hope the look lives up to the film’s hard boiled promise."

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]]> "I just knew if I didn’t start driving, I wasn’t gonna see you again."

Kelly Reichardt’s most recent film, last year’s Certain Women, is a bit of a departure for her in that it’s a film consisting of three separate stories that are only loosely connected (other than thematically). But in this structure, it’s interesting to see Reichardt at her best as perhaps the stories each end up getting as much time as they really need to be told, at least in our perspective. Unfortunately, it didn’t find its audience and lost money at the box office. Luckily, Reichardt’s proven herself as a filmmaker who knows how to tell intimate character stories and will continue making movies. Join us – Pete Wright and Andy Nelson – as we conclude our Kelly Reichardt series with her 2016 film Certain Women.

We talk about the certain women in these stories and how the stories work for us now that they’re all about 30 minutes each (although we both still struggle with one of them). We chat about the nature of these ensemble, multi-story films and how well it works under the guidance of Reichardt, especially now that she’s writing the screenplay herself. We look at each of the actors, including Laura Dern, Kristen Stewart, Michelle Williams and our personal favorite Lily Gladstone, and talk about what they bring to the table. We look at Reichardt’s minimalist nature and contemplate why it doesn’t always work well for us (notably the dark cinematography). And we touch on the box office and what it perhaps says about her investors that they keep investing large amounts of money in her films.

It’s an interesting film that, while not one of our favorites, certainly was the favorite of the series. There are a lot of really interesting moments throughout the film and it’s worth watching and talking about, so check it out then tune in!

Film Sundries

  • Watch this film: iTunes
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Half in Love, Both Ways Is the Only Way I Want It by Maile Malloy
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Detroit — "Kathryn Bigelow’s a favorite on this show and her latest film looks to be as intense as her last several. Add in a dose of political intensity with a release that feels very timely, this could be one of the films everyone’s talking about this summer. Plus, John Boyega!"
  • Pete's Trailer: City of Tiny Lights — "Pretty straight forward private dick tribute: prostitute goes to a detective on a missing persons hunt. Twist? Stars Riz Ahmed who I really like in spite of that horrific Bourne tripe. The look of the London in the trailer is wonderful. I can only hope the look lives up to the film’s hard boiled promise."

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The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 20 Apr 2017 06:00:00 -0700 The Next Reel The Next Reel 4482 Join us – Pete Wright and Andy Nelson – as we conclude our Kelly Reichardt series with her 2016 film Certain Women. Join us – Pete Wright and Andy Nelson – as we conclude our Kelly Reichardt series with her 2016 film Certain Women. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Meek's Cutoff • The Next Reel 6 6 41 41 Meek's Cutoff • The Next Reel full ce343866-b377-4208-8802-5da7e9657a49 https://share.transistor.fm/s/0e913989 "Is he ignorant or is he just plain evil?"

The story of the real Meek’s Cutoff is an interesting and tragic tale in the early days of the Oregon Trail. Many pioneers lost their lives as they followed their guide, Stephen Meek, and proceeded to get lost. For her follow-up to Wendy and Lucy, Kelly Reichardt chose to make a film about this historical journey and the people who suffered while on it. But is her minimal filmmaking style effective for a historical drama? Join us – Pete Wright and Andy Nelson – as we continue our Kelly Reichardt series with her 2010 film Meek’s Cutoff.

We talk about the nature of stories told in media res and discuss if it works for a historical film like this one. We discuss Michelle Williams, Bruce Greenwood, Will Patton and the other actors performing here and look at what they bring to the table (and if any can top Bruce’s crazy character). And we chat about the look of the film and what Kelly, paired with her new cinematographer Christopher Blauvelt, were saying with their static shots, long takes, yellow tint, dark night scenes and 1.33:1 aspect ratio.

It’s an interesting film. Not one we liked but an interesting one to look at and discuss, to be sure. Tune in!

Film Sundries

  • Watch this film: iTunes • Amazon • Netflix
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Stephen Meek — Wikipedia
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Thor: Ragnarok — "I’ve been excited about this Marvel movie ever since they announced Taika Waititi as its director. They’ve managed to keep Thor’s sense of humor in here, a healthy dose of Guardians of the Galaxy vibe running all through it, plus an arena battle with gladiator Hulk! Goth Cate Blanchett! Disco Jeff Goldblum! It’s insane in all the right ways – count me in!"
  • Pete's Trailer: The Journey — "A road movie telling the story of Ian Paisley and Martin McGuinness compressing what I believe was a 20 year drive toward peace in Northern Ireland. Much controversy about this film as a reenactment, but just maybe in spite of inaccuracies, it’s the kind of movie we need just now? Timothy Spall looks damned amazing as Paisley."

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]]> "Is he ignorant or is he just plain evil?"

The story of the real Meek’s Cutoff is an interesting and tragic tale in the early days of the Oregon Trail. Many pioneers lost their lives as they followed their guide, Stephen Meek, and proceeded to get lost. For her follow-up to Wendy and Lucy, Kelly Reichardt chose to make a film about this historical journey and the people who suffered while on it. But is her minimal filmmaking style effective for a historical drama? Join us – Pete Wright and Andy Nelson – as we continue our Kelly Reichardt series with her 2010 film Meek’s Cutoff.

We talk about the nature of stories told in media res and discuss if it works for a historical film like this one. We discuss Michelle Williams, Bruce Greenwood, Will Patton and the other actors performing here and look at what they bring to the table (and if any can top Bruce’s crazy character). And we chat about the look of the film and what Kelly, paired with her new cinematographer Christopher Blauvelt, were saying with their static shots, long takes, yellow tint, dark night scenes and 1.33:1 aspect ratio.

It’s an interesting film. Not one we liked but an interesting one to look at and discuss, to be sure. Tune in!

Film Sundries

  • Watch this film: iTunes • Amazon • Netflix
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Stephen Meek — Wikipedia
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Thor: Ragnarok — "I’ve been excited about this Marvel movie ever since they announced Taika Waititi as its director. They’ve managed to keep Thor’s sense of humor in here, a healthy dose of Guardians of the Galaxy vibe running all through it, plus an arena battle with gladiator Hulk! Goth Cate Blanchett! Disco Jeff Goldblum! It’s insane in all the right ways – count me in!"
  • Pete's Trailer: The Journey — "A road movie telling the story of Ian Paisley and Martin McGuinness compressing what I believe was a 20 year drive toward peace in Northern Ireland. Much controversy about this film as a reenactment, but just maybe in spite of inaccuracies, it’s the kind of movie we need just now? Timothy Spall looks damned amazing as Paisley."

Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 13 Apr 2017 06:00:00 -0700 The Next Reel The Next Reel 4066 Join us – Pete Wright and Andy Nelson – as we continue our Kelly Reichardt series with her 2010 film Meek’s Cutoff. Join us – Pete Wright and Andy Nelson – as we continue our Kelly Reichardt series with her 2010 film Meek’s Cutoff. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Wendy and Lucy • The Next Reel 6 6 40 40 Wendy and Lucy • The Next Reel full b98afbfd-96a6-4aaa-94a8-51e7e4571473 https://share.transistor.fm/s/487ff5a1 "Don’t be a nuisance. We don’t need that."

Kelly Reichardt has been called a minimalist film director, and if you’re comparing her to someone like Michael Bay or Steven Spielberg or the Hughes brothers, that certainly seems to be the case, at least based on her 2008 film Wendy and Lucy. This film doesn’t have a lot of pizazz or a large cinematic sense. What it does have, though, is a character study in which we dig deeply into our protagonist during a difficult few days in her life. In that aspect, it isn’t minimal at all. Perhaps calling it incredibly focused would be a better way to describe it. Join us – Pete Wright and Andy Nelson – as we kick off a new series on director Kelly Reichardt with her 2008 lost dog film Wendy and Lucy.

We talk about this ‘minimalist’ type of filmmaking and how it fits into the larger context of filmed stories that we know and love. We talk about how the story came about and was developed by Reichardt and writer Jon Raymond. We discuss Michelle Williams and her incredible (and incredibly internal) performance as Wendy, and how inadvertently she’s in all three of Reichardt’s films that we’re discussing in this series. We also chat about other actors in the film like Will Patton, Will Oldham, Wally Dalton and John Robinson and what they bring to the table. We look at the cinematography by Sam Levy and chat about what it brings to this story, notably the ‘naturalistic’ grainy and dark scenes. And we touch on the sound design and how Reichardt chose to use train sounds instead of score throughout the film.

It’s a touching film yet one we oddly aren’t sure we’d return to anytime soon, but certainly is one well worth talking about. Check out this movie then tune in to the show!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Ingrid Goes West — "Aubrey Plaza seems to carry the balance between comedy and insanity quite well as demonstrated here. This looks darkly hilarious, if one can laugh at mental instability. Add in Elizabeth Olsen and O’Shea Jackson Jr., you’ve got what looks to be an awesome movie."
  • Pete's Trailer: Black Butterfly — "A remake of Papillon Noir starring Jonathan Rhys Meyers and Antonio Banderas. It’s a Misery trailer that ducks subtlety and goes completely haywire too soon for my tastes, but I’m a sucker for ‘I’m a writer…’ stories so I’ll give this one a shot."

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]]> "Don’t be a nuisance. We don’t need that."

Kelly Reichardt has been called a minimalist film director, and if you’re comparing her to someone like Michael Bay or Steven Spielberg or the Hughes brothers, that certainly seems to be the case, at least based on her 2008 film Wendy and Lucy. This film doesn’t have a lot of pizazz or a large cinematic sense. What it does have, though, is a character study in which we dig deeply into our protagonist during a difficult few days in her life. In that aspect, it isn’t minimal at all. Perhaps calling it incredibly focused would be a better way to describe it. Join us – Pete Wright and Andy Nelson – as we kick off a new series on director Kelly Reichardt with her 2008 lost dog film Wendy and Lucy.

We talk about this ‘minimalist’ type of filmmaking and how it fits into the larger context of filmed stories that we know and love. We talk about how the story came about and was developed by Reichardt and writer Jon Raymond. We discuss Michelle Williams and her incredible (and incredibly internal) performance as Wendy, and how inadvertently she’s in all three of Reichardt’s films that we’re discussing in this series. We also chat about other actors in the film like Will Patton, Will Oldham, Wally Dalton and John Robinson and what they bring to the table. We look at the cinematography by Sam Levy and chat about what it brings to this story, notably the ‘naturalistic’ grainy and dark scenes. And we touch on the sound design and how Reichardt chose to use train sounds instead of score throughout the film.

It’s a touching film yet one we oddly aren’t sure we’d return to anytime soon, but certainly is one well worth talking about. Check out this movie then tune in to the show!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Ingrid Goes West — "Aubrey Plaza seems to carry the balance between comedy and insanity quite well as demonstrated here. This looks darkly hilarious, if one can laugh at mental instability. Add in Elizabeth Olsen and O’Shea Jackson Jr., you’ve got what looks to be an awesome movie."
  • Pete's Trailer: Black Butterfly — "A remake of Papillon Noir starring Jonathan Rhys Meyers and Antonio Banderas. It’s a Misery trailer that ducks subtlety and goes completely haywire too soon for my tastes, but I’m a sucker for ‘I’m a writer…’ stories so I’ll give this one a shot."

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]]> Thu, 06 Apr 2017 06:00:00 -0700 The Next Reel The Next Reel 4079 Join us – Pete Wright and Andy Nelson – as we kick off a new series on director Kelly Reichardt with her 2008 lost dog film Wendy and Lucy. Join us – Pete Wright and Andy Nelson – as we kick off a new series on director Kelly Reichardt with her 2008 lost dog film Wendy and Lucy. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Book of Eli • The Next Reel 6 6 39 39 The Book of Eli • The Next Reel full 339ae7f4-fe3f-4292-af33-b7f03c71e278 https://share.transistor.fm/s/e3ffe2b8 "Stay on the path."

Right from the start, it was clear that Albert and Allen Hughes knew how to put films together. Whether paying homage to filmmakers they admire or playing with their own showy techniques, they know how to play with the visual tools they have available. In their post-apocalyptic film The Book of Eli, they make a very compelling film that’s exciting and entertaining while still maintaining the visceral edge they love to employ. But sadly, it’s the last film they worked on together, having since parted ways as filmmakers. Will they reunite down the road? Who knows. Will they increase their output now that they’re working solo? Not so far. Time will tell, but for now, this stands as the final Hughes Brothers film. Join us – Pete Wright and Andy Nelson – as we close the chapter on our Hughes Brothers series with their 2010 film The Book of Eli.

We talk about the incredible world the brothers create with this film and how fascinating it is, and how unfortunately it’s weighed down by a huge issue that neither of us can buy into. We talk about Gary Whitta’s script, how it was found and what some of our other problems are with it – though still celebrating the great elements in it too. We discuss Denzel in his fabulous performance here, even if one element of it still is our biggest problem. We also talk about the rest of the cast and how well they work in the film here. We celebrate the look of the film and all of the team who helped bring it to fruition. And we tip our hat to the fantastic camerawork, stunt work and sound work that came together to bring some incredible fight sequences to life.

We have some issues with this film to be sure, but it’s still a completely engrossing film to watch that we have a great time with. It’s probably not for everyone but for anyone who is a fan of dystopian stories, it’s worth the watch. We have a great time chatting about it as we wrap up this series. Check it out then tune in!

Film Sundries


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]]> "Stay on the path."

Right from the start, it was clear that Albert and Allen Hughes knew how to put films together. Whether paying homage to filmmakers they admire or playing with their own showy techniques, they know how to play with the visual tools they have available. In their post-apocalyptic film The Book of Eli, they make a very compelling film that’s exciting and entertaining while still maintaining the visceral edge they love to employ. But sadly, it’s the last film they worked on together, having since parted ways as filmmakers. Will they reunite down the road? Who knows. Will they increase their output now that they’re working solo? Not so far. Time will tell, but for now, this stands as the final Hughes Brothers film. Join us – Pete Wright and Andy Nelson – as we close the chapter on our Hughes Brothers series with their 2010 film The Book of Eli.

We talk about the incredible world the brothers create with this film and how fascinating it is, and how unfortunately it’s weighed down by a huge issue that neither of us can buy into. We talk about Gary Whitta’s script, how it was found and what some of our other problems are with it – though still celebrating the great elements in it too. We discuss Denzel in his fabulous performance here, even if one element of it still is our biggest problem. We also talk about the rest of the cast and how well they work in the film here. We celebrate the look of the film and all of the team who helped bring it to fruition. And we tip our hat to the fantastic camerawork, stunt work and sound work that came together to bring some incredible fight sequences to life.

We have some issues with this film to be sure, but it’s still a completely engrossing film to watch that we have a great time with. It’s probably not for everyone but for anyone who is a fan of dystopian stories, it’s worth the watch. We have a great time chatting about it as we wrap up this series. Check it out then tune in!

Film Sundries


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]]> Thu, 30 Mar 2017 14:02:00 -0700 The Next Reel The Next Reel 4041 Join us – Pete Wright and Andy Nelson – as we close the chapter on our Hughes Brothers series with their 2010 film The Book of Eli. Join us – Pete Wright and Andy Nelson – as we close the chapter on our Hughes Brothers series with their 2010 film The Book of Eli. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright From Hell • The Next Reel 6 6 38 38 From Hell • The Next Reel full 264a3ade-fadc-4cf3-833b-4fd48b4cce07 https://share.transistor.fm/s/47c949fa "No man amongst you is fit to judge the mighty art that I have wrought."

The Hughes brothers hadn’t really had a big hit by the time they were offered to direct the adaptation of Alan Moore’s and Eddie Campbell’s graphic novel “From Hell,” detailing the characters involved in the ‘Jack the Ripper’ slayings in 1888 London. It offered an opportunity to tell a gritty story that still dealt with the people struggling at the bottom of society, something they’d already proved successful at. But the graphic novel’s incredibly dense and despite the many rewrites the script went through, it still ended up a film that is hard to call a great success for the brothers. Join us – Pete Wright and Andy Nelson – as we continue our series on the Hughes brothers with their 2001 film From Hell. 

We look at the film and our thoughts on both the good and bad elements of it, and discuss the graphic novel and how by its very nature was not an easy thing to adapt. We discuss Albert and Allen and some of the decisions they made going into this film. We talk about the cast and why some of them work better than others (Heather Graham is definitely the one who stands out as a sore thumb unfortunately). We chat about the cinematography and the film technique they used to achieve the fascinating dream sequences. And we discuss Trevor Jones score and how well it works, as well as how it felt like there were sequences that needed score that didn’t get any.

It’s a fascinating film, if not as successful as we’d have liked it to be. Perhaps a longer tale told would work better? Who knows. Until that happens, though, check this one out then tune in!

Film Sundries


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]]> "No man amongst you is fit to judge the mighty art that I have wrought."

The Hughes brothers hadn’t really had a big hit by the time they were offered to direct the adaptation of Alan Moore’s and Eddie Campbell’s graphic novel “From Hell,” detailing the characters involved in the ‘Jack the Ripper’ slayings in 1888 London. It offered an opportunity to tell a gritty story that still dealt with the people struggling at the bottom of society, something they’d already proved successful at. But the graphic novel’s incredibly dense and despite the many rewrites the script went through, it still ended up a film that is hard to call a great success for the brothers. Join us – Pete Wright and Andy Nelson – as we continue our series on the Hughes brothers with their 2001 film From Hell. 

We look at the film and our thoughts on both the good and bad elements of it, and discuss the graphic novel and how by its very nature was not an easy thing to adapt. We discuss Albert and Allen and some of the decisions they made going into this film. We talk about the cast and why some of them work better than others (Heather Graham is definitely the one who stands out as a sore thumb unfortunately). We chat about the cinematography and the film technique they used to achieve the fascinating dream sequences. And we discuss Trevor Jones score and how well it works, as well as how it felt like there were sequences that needed score that didn’t get any.

It’s a fascinating film, if not as successful as we’d have liked it to be. Perhaps a longer tale told would work better? Who knows. Until that happens, though, check this one out then tune in!

Film Sundries


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]]> Thu, 23 Mar 2017 06:00:00 -0700 The Next Reel The Next Reel 4232 Join us – Pete Wright and Andy Nelson – as we continue our series on the Hughes brothers with their 2001 film From Hell. Join us – Pete Wright and Andy Nelson – as we continue our series on the Hughes brothers with their 2001 film From Hell. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Menace II Society • The Next Reel 6 6 37 37 Menace II Society • The Next Reel full 63ee9af0-4f35-4c61-b800-f8248b793530 https://share.transistor.fm/s/a1b58d9a "Being a black man in America isn’t easy. The hunt is on and you’re the prey."

When 20-year-old twin brothers Albert and Allen Hughes directed their first feature film in 1993, Menace II Society, they immediately showed audiences everywhere that they were storytellers who weren’t afraid to tell risky stories and filmmakers who understood the language of the medium. The film seemed dangerous. It was vicious. Gritty. Brutal. And it was authentic, which perhaps is the greatest testament to what these young filmmakers set out to do. Join us – Pete Wright and Andy Nelson – as we kick off our Hughes Brothers series with their 1993 debut, Menace II Society.

We talk about the energy they bring to the film (with a lot of homages to Scorsese) and how that energy drives home the message of the film. We look at how the Hughes brothers got their start and got to this place where they were making this film. We discuss the actors – from Tyrin Turner to Larenz Tate, from Jada Pinkett (and her baggy clothes) to MC Eiht, and from Samuel L. Jackson and Bill Duke to Charles S. Dutton – and look at what they bring to the table. We touch on the cinematography that Lisa Rinzler lenses for the film here, working with the Hughes brothers to bring their vibrant world to life. And we talk about how well this film did for itself in ’93. 

It’s a fantastic film that definitely has held up some 24 years after its release. It has the same vitality and energy that it did back then and warrants a watch. Check it out then tune in! 

Film Sundries


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]]> "Being a black man in America isn’t easy. The hunt is on and you’re the prey."

When 20-year-old twin brothers Albert and Allen Hughes directed their first feature film in 1993, Menace II Society, they immediately showed audiences everywhere that they were storytellers who weren’t afraid to tell risky stories and filmmakers who understood the language of the medium. The film seemed dangerous. It was vicious. Gritty. Brutal. And it was authentic, which perhaps is the greatest testament to what these young filmmakers set out to do. Join us – Pete Wright and Andy Nelson – as we kick off our Hughes Brothers series with their 1993 debut, Menace II Society.

We talk about the energy they bring to the film (with a lot of homages to Scorsese) and how that energy drives home the message of the film. We look at how the Hughes brothers got their start and got to this place where they were making this film. We discuss the actors – from Tyrin Turner to Larenz Tate, from Jada Pinkett (and her baggy clothes) to MC Eiht, and from Samuel L. Jackson and Bill Duke to Charles S. Dutton – and look at what they bring to the table. We touch on the cinematography that Lisa Rinzler lenses for the film here, working with the Hughes brothers to bring their vibrant world to life. And we talk about how well this film did for itself in ’93. 

It’s a fantastic film that definitely has held up some 24 years after its release. It has the same vitality and energy that it did back then and warrants a watch. Check it out then tune in! 

Film Sundries


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]]> Thu, 16 Mar 2017 06:00:00 -0700 The Next Reel The Next Reel 4138 Join us – Pete Wright and Andy Nelson – as we kick off our Hughes Brothers series with their 1993 debut, Menace II Society. Join us – Pete Wright and Andy Nelson – as we kick off our Hughes Brothers series with their 1993 debut, Menace II Society. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Emigrants • The Next Reel 6 6 36 36 The Emigrants • The Next Reel full a2b2a476-f2d4-49f2-91a6-a9b1e65efd0c https://share.transistor.fm/s/6b2e433e "The situation in Sweden must be real bad as even lice have begun to emigrate to America."

It’s time for our first 2017 Listener’s Choice episode! Pony Prize winner Finn Frode, who’s from Norway but living in Sweden, won and selected a Swedish film with one of his favorite Norwegian actresses – Liv Ullmann. The film he selected is the first half of Jan Troell’s epic tale of immigration – 1971’s The Emigrants. Join us – Pete Wright and Andy Nelson – as we dig into our latest listener’s choice film.

We talk about the importance of the film in Sweden and how the books upon which it’s based are perceived there. We discuss the nature of this film and how it’s quite powerful, but at the same time a difficult film to watch due to its filming style, the story it’s telling and its duration. We chat about the actors – notably Max Von Sydow and Ullmann – and what they’re bringing to the table. And we hit on the strange and discordant music and how it works in a film like this. 

It’s a great film and certainly put us both in a place where we were ready to watch the follow-up. So check out this movie then tune in!

Film Sundries


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]]> "The situation in Sweden must be real bad as even lice have begun to emigrate to America."

It’s time for our first 2017 Listener’s Choice episode! Pony Prize winner Finn Frode, who’s from Norway but living in Sweden, won and selected a Swedish film with one of his favorite Norwegian actresses – Liv Ullmann. The film he selected is the first half of Jan Troell’s epic tale of immigration – 1971’s The Emigrants. Join us – Pete Wright and Andy Nelson – as we dig into our latest listener’s choice film.

We talk about the importance of the film in Sweden and how the books upon which it’s based are perceived there. We discuss the nature of this film and how it’s quite powerful, but at the same time a difficult film to watch due to its filming style, the story it’s telling and its duration. We chat about the actors – notably Max Von Sydow and Ullmann – and what they’re bringing to the table. And we hit on the strange and discordant music and how it works in a film like this. 

It’s a great film and certainly put us both in a place where we were ready to watch the follow-up. So check out this movie then tune in!

Film Sundries


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]]> Thu, 09 Mar 2017 06:00:00 -0800 Andy Nelson, Pete Wright Andy Nelson, Pete Wright 4188 It’s time for our first 2017 Listener’s Choice episode! Pony Prize winner Finn Frode, who’s from Norway but living in Sweden, won and selected a Swedish film with one of his favorite Norwegian actresses – Liv Ullmann. The film he selected is the first half of Jan Troell’s epic tale of immigration – 1971’s The Emigrants. Join us – Pete Wright and Andy Nelson – as we dig into our latest listener’s choice film. It’s time for our first 2017 Listener’s Choice episode! Pony Prize winner Finn Frode, who’s from Norway but living in Sweden, won and selected a Swedish film with one of his favorite Norwegian actresses – Liv Ullmann. The film he selected is the first hal film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Great Wall • The Next Reel 6 6 35 35 The Great Wall • The Next Reel full cc688c08-ea4c-42d0-9d74-d7e3bdc23113 https://share.transistor.fm/s/689ec2db "There are many things you have not seen."

Zhang Yimou has done serious dramas. He’s done big wuxia action films, but he hasn’t had a success in a while and perhaps it should come as no surprise that his newest film is designed to be a big fantasy action blockbuster – a legend about the Great Wall of China and the dragons they people were trying to thwart. While it’s been a success in China and the rest of the world, though, it opened third at the US box office, likely due to its terrible trailers that sold it poorly. But is the film any good? Join us – Pete Wright and Andy Nelson – as we wrap up our Zhang Yimou series with his 2016 film The Great Wall.

We talk about why this film surprised us quite a bit and how, even with some big problems, we both ended up having fun times with the film. We look at what Zhang brings to the table and what political messages he may be trying to get across with this film. We chat about the cast – notably Matt Damon, Jing Tian, Pedro Pascal, William Defoe and Andy Lau – and how the claims of whitewashing seem absurd; if anything, the film ends up having a nice multicultural feel to it. We look at the cinematography and production design, noting that everything is right up Zhang’s alley. We touch on Ramin Djawadi’s score and how it works perfectly for the story here. And we debate the numbers, wondering if it’s fair to out-and-out consider this a financial success since it’s made its money back, or if we need to consider it a failure in the bigger picture for not doing what they set out to do with it which was create captive audiences in China as well as the US.

Did Zhang make the right choice in making this film? Is it going to be considered a success or will it flop in the US? We’re curious to see how history holds this film up. So check out the movie – you’ll probably have more fun with it than you were expecting – then tune in to this week’s show. 

Film Sundries

  • Watch this film: iTunes • Amazon • [Netflix][netflix] • [Hulu][hulu]
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: The Discovery — "I love the sci-fi concept of this and love the cast. I’ve heard some mixed things from its premiere at Sundance, but I want to see it anyway. Proof of the afterlife? Sounds like it could make for an interesting story. We shall see..."
  • Pete's Trailer: The House — "I don’t know how else to characterize my feeling about the potential of this movie: in my mind, it’s going to be another Old School. Now, no one speaks until release."

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]]> "There are many things you have not seen."

Zhang Yimou has done serious dramas. He’s done big wuxia action films, but he hasn’t had a success in a while and perhaps it should come as no surprise that his newest film is designed to be a big fantasy action blockbuster – a legend about the Great Wall of China and the dragons they people were trying to thwart. While it’s been a success in China and the rest of the world, though, it opened third at the US box office, likely due to its terrible trailers that sold it poorly. But is the film any good? Join us – Pete Wright and Andy Nelson – as we wrap up our Zhang Yimou series with his 2016 film The Great Wall.

We talk about why this film surprised us quite a bit and how, even with some big problems, we both ended up having fun times with the film. We look at what Zhang brings to the table and what political messages he may be trying to get across with this film. We chat about the cast – notably Matt Damon, Jing Tian, Pedro Pascal, William Defoe and Andy Lau – and how the claims of whitewashing seem absurd; if anything, the film ends up having a nice multicultural feel to it. We look at the cinematography and production design, noting that everything is right up Zhang’s alley. We touch on Ramin Djawadi’s score and how it works perfectly for the story here. And we debate the numbers, wondering if it’s fair to out-and-out consider this a financial success since it’s made its money back, or if we need to consider it a failure in the bigger picture for not doing what they set out to do with it which was create captive audiences in China as well as the US.

Did Zhang make the right choice in making this film? Is it going to be considered a success or will it flop in the US? We’re curious to see how history holds this film up. So check out the movie – you’ll probably have more fun with it than you were expecting – then tune in to this week’s show. 

Film Sundries

  • Watch this film: iTunes • Amazon • [Netflix][netflix] • [Hulu][hulu]
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: The Discovery — "I love the sci-fi concept of this and love the cast. I’ve heard some mixed things from its premiere at Sundance, but I want to see it anyway. Proof of the afterlife? Sounds like it could make for an interesting story. We shall see..."
  • Pete's Trailer: The House — "I don’t know how else to characterize my feeling about the potential of this movie: in my mind, it’s going to be another Old School. Now, no one speaks until release."

Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 02 Mar 2017 00:30:00 -0800 The Next Reel The Next Reel 4571 Join us – Pete Wright and Andy Nelson – as we wrap up our Zhang Yimou series with his 2016 film The Great Wall. Join us – Pete Wright and Andy Nelson – as we wrap up our Zhang Yimou series with his 2016 film The Great Wall. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Hero • The Next Reel 6 6 34 34 Hero • The Next Reel full 3f769ea8-f03a-411d-a89a-b2ceef3b7580 https://share.transistor.fm/s/b185798a "How swift your sword must be."

Zhang Yimou had always wanted to direct an action film, and after years of working on the script, he finally had his chance with his ambitious visual feast, 2002’s Hero. Shot all over China starring some of the hottest Chinese stars telling a story about the assassination attempt on the King of Qin several thousand years ago, the film was the most expensive project in China’s history. Luckily, it also became the highest-grossing up to that point. Considering the last two films we talked about on the show were banned for years, it’s great to see Zhang and China finding a common ground with this film. Join us – Pete Wright and Andy Nelson – as we continue our Zhang Yimou series with 2002’s Hero.

We talk about what this film does as far as depicting a true story, but done in a way that allows Zhang to try his hand at action (with help from action director Tony Ching). We look at all of Zhang’s filmmaking techniques that he throws at this film – the colors, the shot compositions, the shot lengths, the operatic quality – and how well they work. We discuss Jet Li, Tony Leung, Maggie Cheung, Zhang Ziyi and Donnie Yen and what they all bring to the table here. And we discuss how Miramax not only delayed the film’s release numerous times but also made the egregious decision to replace Jet Li’s character’s sword in the poster with something else incorrect for the period, only to try to connect it to Quentin Tarantino and his Kill Bill films.

It’s a gorgeous film that tells a beautiful and tragic story, but one that would still be incredibly easy to return to. So check out the movie then tune in!

Film Sundries


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]]> "How swift your sword must be."

Zhang Yimou had always wanted to direct an action film, and after years of working on the script, he finally had his chance with his ambitious visual feast, 2002’s Hero. Shot all over China starring some of the hottest Chinese stars telling a story about the assassination attempt on the King of Qin several thousand years ago, the film was the most expensive project in China’s history. Luckily, it also became the highest-grossing up to that point. Considering the last two films we talked about on the show were banned for years, it’s great to see Zhang and China finding a common ground with this film. Join us – Pete Wright and Andy Nelson – as we continue our Zhang Yimou series with 2002’s Hero.

We talk about what this film does as far as depicting a true story, but done in a way that allows Zhang to try his hand at action (with help from action director Tony Ching). We look at all of Zhang’s filmmaking techniques that he throws at this film – the colors, the shot compositions, the shot lengths, the operatic quality – and how well they work. We discuss Jet Li, Tony Leung, Maggie Cheung, Zhang Ziyi and Donnie Yen and what they all bring to the table here. And we discuss how Miramax not only delayed the film’s release numerous times but also made the egregious decision to replace Jet Li’s character’s sword in the poster with something else incorrect for the period, only to try to connect it to Quentin Tarantino and his Kill Bill films.

It’s a gorgeous film that tells a beautiful and tragic story, but one that would still be incredibly easy to return to. So check out the movie then tune in!

Film Sundries


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]]> Thu, 23 Feb 2017 06:00:00 -0800 The Next Reel The Next Reel 4156 Join us – Pete Wright and Andy Nelson – as we continue our Zhang Yimou series with 2002’s Hero. Join us – Pete Wright and Andy Nelson – as we continue our Zhang Yimou series with 2002’s Hero. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Raise the Red Lantern • The Next Reel 6 6 33 33 Raise the Red Lantern • The Next Reel full 1c0be188-104c-428e-a154-5d758d4478ca https://share.transistor.fm/s/eb18dd46 "Light the lanterns at the fourth house!"

Despite the bans on some of his earlier films like Ju Dou and Raise the Red Lantern in his home country of China, Zhang Yimou had exploded onto the world stage with these visually sumptuous films and had become a filmmaker worth talking about. Perhaps it was exactly this international presence that kept the Chinese government from suppressing his storytelling further – it gave him the popularity Zhang needed to keep making films. Whether that’s true or not, these early films of his certainly do feel like he has a few things to say about modern China, and it’s perhaps understandable that they’d take offense. Join us – Pete Wright and Andy Nelson – as we continue our Zhang Yimou series with his fourth film, 1991’s Raise the Red Lantern.

We talk about the story and how it could be read as a criticism of modern China, and why we don’t completely buy Zhang when he denies this. We discuss the look of the film – the compositions of the shots, the colors, the camera movement, the set design, the costumes – and how all of it reflects what Zhang is saying with the film. We chat about Gong Li and the rest of the cast, but particularly about Gong and the incredible performance she delivers here. We touch on the customs and traditions depicted in the film and ruminate on the worldbuilding going on here. And we debate the strength of the music – Andy loves it and Pete hates it. 

It’s a great film that Andy connects with while Pete felt it dragged on too much, but still allows for a great conversation. Regardless, we agree that it’s a film that must be seen, so check it out then tune in to this week’s show!

Film Sundries


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]]> "Light the lanterns at the fourth house!"

Despite the bans on some of his earlier films like Ju Dou and Raise the Red Lantern in his home country of China, Zhang Yimou had exploded onto the world stage with these visually sumptuous films and had become a filmmaker worth talking about. Perhaps it was exactly this international presence that kept the Chinese government from suppressing his storytelling further – it gave him the popularity Zhang needed to keep making films. Whether that’s true or not, these early films of his certainly do feel like he has a few things to say about modern China, and it’s perhaps understandable that they’d take offense. Join us – Pete Wright and Andy Nelson – as we continue our Zhang Yimou series with his fourth film, 1991’s Raise the Red Lantern.

We talk about the story and how it could be read as a criticism of modern China, and why we don’t completely buy Zhang when he denies this. We discuss the look of the film – the compositions of the shots, the colors, the camera movement, the set design, the costumes – and how all of it reflects what Zhang is saying with the film. We chat about Gong Li and the rest of the cast, but particularly about Gong and the incredible performance she delivers here. We touch on the customs and traditions depicted in the film and ruminate on the worldbuilding going on here. And we debate the strength of the music – Andy loves it and Pete hates it. 

It’s a great film that Andy connects with while Pete felt it dragged on too much, but still allows for a great conversation. Regardless, we agree that it’s a film that must be seen, so check it out then tune in to this week’s show!

Film Sundries


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]]> Thu, 16 Feb 2017 06:00:00 -0800 The Next Reel The Next Reel 3855 Join us – Pete Wright and Andy Nelson – as we continue our Zhang Yimou series with his fourth film, 1991’s Raise the Red Lantern. Join us – Pete Wright and Andy Nelson – as we continue our Zhang Yimou series with his fourth film, 1991’s Raise the Red Lantern. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Ju Dou • The Next Reel 6 6 32 32 Ju Dou • The Next Reel full cec80455-c036-4d55-9e2a-c007f90e2354 https://share.transistor.fm/s/ad0e9e4d "If they knew, they’d kill us."

The eighties were a period of turmoil and transition for the Chinese film industry. Other forms of entertainment were more popular and the authorities were concerned that films that had been popular, like martial arts films, were on the out. But a group of Chinese filmmakers, collectively known loosely as the Fifth Generation – with a push from the new Ministry of Radio, Cinema and Television – were about to change all that, helping Chinese cinema break onto the world stage. And Zhang Yimou was one of the ones leading the charge. But did the Chinese government expect the types of films they would be getting? Join us – Pete Wright and Andy Nelson – as we dig into Chinese cinema and kick off our Zhang Yimou series with his third film, Ju Dou. 

We talk about the nature of the film and its story, and how it can be seen as not just a look at Chinese politics in the 20s but also as an allegory of the oppressive political system in China at the time. We look at what Zhang brought to the table with the film and where it fits in his life and career. We chat about Gong Li, Zhang’s muse, and what she and her fellow actors bring to the table. We discuss the incredible look of the film, both from cinematography and production design, and what all the various colors could possibly symbolize. And we gripe about the quality of the image and how much better it would look if Criterion would just take our advice and give this the full treatment – the film is gorgeous but you’d never know by looking at this terrible transfer.

It’s a touching, powerful film from a visual artist who uses both the script and his images to tell a provocative story, not to mention that it helped open the door for Chinese cinema to the world. We have a great time looking at it and discussing Ju Dou on this week’s show. Check it out!

Film Sundries

  • Watch this film: YouTube
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Fu xi fu xi by Heng Liu (Mandarin)
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: My Life as a Zucchini — "There’s something magical about the animation quality of this film that really makes me connect to my youth. And while the world of life in a foster home isn’t something I ever knew, I certainly connect to the coming of age story of a young boy finding a kindred spirit in a new girl at the home. It has all the touching qualities that I loved so much in Wes Anderson’s Moonlight Kingdom and plenty of quirk to spare. I’m excited about this one."
  • Pete's Trailer: Punching Henry — "Man. I know creators go through swings. Jerks on the internet spew hate. Self-confidence wavers. I certainly try not to look at that stuff. But director Gregori Viens and writer Henry Phillips have given me a trailer that I feel pretty deeply connected to with Punching Henry. I can only hope the thing lives up to the heart of the trailer when it finally hits theaters and digital on February 21."

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]]> "If they knew, they’d kill us."

The eighties were a period of turmoil and transition for the Chinese film industry. Other forms of entertainment were more popular and the authorities were concerned that films that had been popular, like martial arts films, were on the out. But a group of Chinese filmmakers, collectively known loosely as the Fifth Generation – with a push from the new Ministry of Radio, Cinema and Television – were about to change all that, helping Chinese cinema break onto the world stage. And Zhang Yimou was one of the ones leading the charge. But did the Chinese government expect the types of films they would be getting? Join us – Pete Wright and Andy Nelson – as we dig into Chinese cinema and kick off our Zhang Yimou series with his third film, Ju Dou. 

We talk about the nature of the film and its story, and how it can be seen as not just a look at Chinese politics in the 20s but also as an allegory of the oppressive political system in China at the time. We look at what Zhang brought to the table with the film and where it fits in his life and career. We chat about Gong Li, Zhang’s muse, and what she and her fellow actors bring to the table. We discuss the incredible look of the film, both from cinematography and production design, and what all the various colors could possibly symbolize. And we gripe about the quality of the image and how much better it would look if Criterion would just take our advice and give this the full treatment – the film is gorgeous but you’d never know by looking at this terrible transfer.

It’s a touching, powerful film from a visual artist who uses both the script and his images to tell a provocative story, not to mention that it helped open the door for Chinese cinema to the world. We have a great time looking at it and discussing Ju Dou on this week’s show. Check it out!

Film Sundries

  • Watch this film: YouTube
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Fu xi fu xi by Heng Liu (Mandarin)
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: My Life as a Zucchini — "There’s something magical about the animation quality of this film that really makes me connect to my youth. And while the world of life in a foster home isn’t something I ever knew, I certainly connect to the coming of age story of a young boy finding a kindred spirit in a new girl at the home. It has all the touching qualities that I loved so much in Wes Anderson’s Moonlight Kingdom and plenty of quirk to spare. I’m excited about this one."
  • Pete's Trailer: Punching Henry — "Man. I know creators go through swings. Jerks on the internet spew hate. Self-confidence wavers. I certainly try not to look at that stuff. But director Gregori Viens and writer Henry Phillips have given me a trailer that I feel pretty deeply connected to with Punching Henry. I can only hope the thing lives up to the heart of the trailer when it finally hits theaters and digital on February 21."

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]]> Thu, 09 Feb 2017 06:00:00 -0800 The Next Reel The Next Reel 4289 Join us – Pete Wright and Andy Nelson – as we dig into Chinese cinema and kick off our Zhang Yimou series with his third film, Ju Dou. Join us – Pete Wright and Andy Nelson – as we dig into Chinese cinema and kick off our Zhang Yimou series with his third film, Ju Dou. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Danish Girl • The Next Reel 6 6 31 31 The Danish Girl • The Next Reel full c0db4eb2-79df-466a-80ff-94d73501de2e https://share.transistor.fm/s/81d619b1 "You helped bring Lili to life, but she was always there."

The Danish Girl certainly took a long time getting to the big screen. The script went through dozens of iterations after David Ebershoff’s book was first was optioned. The cast changed numerous times. Directors passed it back and forth. Finally, after fifteen years of floating around, Tom Hooper’s film was released. And while the lead performances were brilliant, the film itself felt a bit flat. And weirdly, this seems to be something we say far too often about films that take a long time to get to the silver screen. Join us – Pete Wright and Andy Nelson – as we wrap up our Transgender series with Hooper’s 2015 film The Danish Girl.

We talk about what works in the film, but we really try to dig and figure out what might be causing it to have its issues. We look at the journey the book took to get to the screen, and look at the age-old question of what responsibility do filmmakers/storytellers have to the original story and the original people when making biopics. We discuss Eddie Redmayne and Alicia Vikander and what they bring to the table here, along with their fellow thespians. We chat about the incredible look this film has and how it fits in with the story. And we touch on how this series has opened our eyes to other great films that we would love to share down the line.

This was a fun series, even if it ended on a bit of a downer note. It did give us perspective for the world of transgenders and what they go through to feel ‘right’ in their own bodies. We have a great time talking about this movie, so check it out then tune in!

Film Sundries


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]]> "You helped bring Lili to life, but she was always there."

The Danish Girl certainly took a long time getting to the big screen. The script went through dozens of iterations after David Ebershoff’s book was first was optioned. The cast changed numerous times. Directors passed it back and forth. Finally, after fifteen years of floating around, Tom Hooper’s film was released. And while the lead performances were brilliant, the film itself felt a bit flat. And weirdly, this seems to be something we say far too often about films that take a long time to get to the silver screen. Join us – Pete Wright and Andy Nelson – as we wrap up our Transgender series with Hooper’s 2015 film The Danish Girl.

We talk about what works in the film, but we really try to dig and figure out what might be causing it to have its issues. We look at the journey the book took to get to the screen, and look at the age-old question of what responsibility do filmmakers/storytellers have to the original story and the original people when making biopics. We discuss Eddie Redmayne and Alicia Vikander and what they bring to the table here, along with their fellow thespians. We chat about the incredible look this film has and how it fits in with the story. And we touch on how this series has opened our eyes to other great films that we would love to share down the line.

This was a fun series, even if it ended on a bit of a downer note. It did give us perspective for the world of transgenders and what they go through to feel ‘right’ in their own bodies. We have a great time talking about this movie, so check it out then tune in!

Film Sundries


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]]> Thu, 02 Feb 2017 06:00:00 -0800 The Next Reel The Next Reel 3829 Join us – Pete Wright and Andy Nelson – as we wrap up our Transgender series with Tom Hooper’s 2015 film The Danish Girl. Join us – Pete Wright and Andy Nelson – as we wrap up our Transgender series with Tom Hooper’s 2015 film The Danish Girl. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright TransAmerica • The Next Reel 6 6 30 30 TransAmerica • The Next Reel full 91df1af4-5b0a-4e47-bff9-828d4f88433d https://share.transistor.fm/s/7edf8ce7 "I never even heard of a tranny church lady."

Felicity Huffman received many accolades for her incredible performance in TransAmerica, but an Oscar was not one of them. Looking back at the various nominees, it’s clear that Huffman should have won. But that’s how these things go, right? Reese Witherspoon was great in Walk the Line and was the popular favorite, and that’s probably because Johnny Cash had made quite a resurgence and the movie really struck a chord with people. But it doesn’t make it hurt any less. Huffman still should’ve won. Join us – Pete Wright and Andy Nelson – as we continue our Transgender series with Duncan Tucker’s 2005 film TransAmerica. 

We talk about Huffman and the brilliance of her performance, as well as what she had to do to ‘find her voice.’ We also talk about Kevin Zegers, Fionnula Flanagan, Graham Greene and more, looking at what they bring to the table. We discuss Tucker and how sadly he seems to be a one-hit wonder, even though he clearly demonstrated talent with his script and direction here. We look at the script and how some parts work better for us than others. And we touch on the soundtrack and how the country vibe throughout the film really grounded it for us. 

It’s a film that has a lot to say about the life of being a transgender, about family, about loneliness and about finding your voice. We have a great time talking about it and consider this a must watch if for no other reason than to see Huffman’s incredible transformation. So check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: American Fable — "This looks like a sibling story to Pan’s Labyrinth which I didn’t love but found endlessly fascinating. This may end up falling into the same camp. That’s not a bad thing."
  • Pete's Trailer: Colossal — "Yeah, mixed reviews when it screened at Sundance just a few days ago. But you know what? This is a clever story of Kaiju monsters we’ve never heard and it explains everything: they’re all attached to Anne Hathaway."

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]]> "I never even heard of a tranny church lady."

Felicity Huffman received many accolades for her incredible performance in TransAmerica, but an Oscar was not one of them. Looking back at the various nominees, it’s clear that Huffman should have won. But that’s how these things go, right? Reese Witherspoon was great in Walk the Line and was the popular favorite, and that’s probably because Johnny Cash had made quite a resurgence and the movie really struck a chord with people. But it doesn’t make it hurt any less. Huffman still should’ve won. Join us – Pete Wright and Andy Nelson – as we continue our Transgender series with Duncan Tucker’s 2005 film TransAmerica. 

We talk about Huffman and the brilliance of her performance, as well as what she had to do to ‘find her voice.’ We also talk about Kevin Zegers, Fionnula Flanagan, Graham Greene and more, looking at what they bring to the table. We discuss Tucker and how sadly he seems to be a one-hit wonder, even though he clearly demonstrated talent with his script and direction here. We look at the script and how some parts work better for us than others. And we touch on the soundtrack and how the country vibe throughout the film really grounded it for us. 

It’s a film that has a lot to say about the life of being a transgender, about family, about loneliness and about finding your voice. We have a great time talking about it and consider this a must watch if for no other reason than to see Huffman’s incredible transformation. So check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: American Fable — "This looks like a sibling story to Pan’s Labyrinth which I didn’t love but found endlessly fascinating. This may end up falling into the same camp. That’s not a bad thing."
  • Pete's Trailer: Colossal — "Yeah, mixed reviews when it screened at Sundance just a few days ago. But you know what? This is a clever story of Kaiju monsters we’ve never heard and it explains everything: they’re all attached to Anne Hathaway."

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]]> Thu, 26 Jan 2017 06:00:00 -0800 The Next Reel The Next Reel 4406 Join us – Pete Wright and Andy Nelson – as we continue our Transgender series with Duncan Tucker’s 2005 film TransAmerica. Join us – Pete Wright and Andy Nelson – as we continue our Transgender series with Duncan Tucker’s 2005 film TransAmerica. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Adventures of Priscilla, Queen of the Desert • The Next Reel 6 6 29 29 The Adventures of Priscilla, Queen of the Desert • The Next Reel full 18f6a1d0-e065-4441-ab89-233c05c8978c https://share.transistor.fm/s/773535f3 "I can spot the fluttering of a beaded lash from three hundred paces."

Terence Stamp had played some pretty tough characters in his career – Billy Budd, General Zod – so it was a big surprise to many to see him play a transgender character in The Adventures of Priscilla, Queen of the Desert. Stamp had his own misgivings about playing the role as it was so different from anything he’d done before. Luckily, he signed on to take it anyway and the result is a beautifully portrayed character. And that’s not even mentioning Hugo Weaving or Guy Pearce. Join us – Pete Wright and Andy Nelson – as we kick off our Transgender series with Stephan Elliott’s 1994 cult comedy classic The Adventures of Priscilla, Queen of the Desert. 

We talk about how well the film holds up and why – strong script, strong characters, lots of laughs. We look at what Stamp, Weaving and Pearce all bring to their roles and why they all work so well in the parts. We chat about Elliott and what he brings to the table as the writer and director of the film. We look at one element of the script – Bob’s Filipino wife – any why this is the most contentious element of the film. We discuss the music and how well it all works, regardless of whether you’re planning on pulling the CD out later to listen in. And we chat about the nature of Stamp as a transgender character and how that pairs with the gay drag queens. 

It’s a fun film to watch and is very easy to enjoy. That being said, it also has some pretty big messages that it handles quite well. We have a great time talking about it on this week’s show so check it out then tune in! Thanks!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Raw — "I heard great things about this from my buddy who saw it at Fantastic Fest. It sounds crazy but in all the right (and horrifying) ways. It’s rated R for ‘aberrant behavior, bloody and grisly images, strong sexuality, nudity, language and drug use/partying’ so it seems to be ticking off most of the things that every good cannibalism horror needs. I can’t wait."
  • Pete's Trailer: The Lure — "So, this Polish mermaid horror musical comedy film certainly tops the list of crazy things I’ve seen today. It’s been floating around (heh) since it’s Warsaw release in 2015, but we get to see what happens when two stripper mermaids begin to devour their patrons (finally, natch) this very February."

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]]> "I can spot the fluttering of a beaded lash from three hundred paces."

Terence Stamp had played some pretty tough characters in his career – Billy Budd, General Zod – so it was a big surprise to many to see him play a transgender character in The Adventures of Priscilla, Queen of the Desert. Stamp had his own misgivings about playing the role as it was so different from anything he’d done before. Luckily, he signed on to take it anyway and the result is a beautifully portrayed character. And that’s not even mentioning Hugo Weaving or Guy Pearce. Join us – Pete Wright and Andy Nelson – as we kick off our Transgender series with Stephan Elliott’s 1994 cult comedy classic The Adventures of Priscilla, Queen of the Desert. 

We talk about how well the film holds up and why – strong script, strong characters, lots of laughs. We look at what Stamp, Weaving and Pearce all bring to their roles and why they all work so well in the parts. We chat about Elliott and what he brings to the table as the writer and director of the film. We look at one element of the script – Bob’s Filipino wife – any why this is the most contentious element of the film. We discuss the music and how well it all works, regardless of whether you’re planning on pulling the CD out later to listen in. And we chat about the nature of Stamp as a transgender character and how that pairs with the gay drag queens. 

It’s a fun film to watch and is very easy to enjoy. That being said, it also has some pretty big messages that it handles quite well. We have a great time talking about it on this week’s show so check it out then tune in! Thanks!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Raw — "I heard great things about this from my buddy who saw it at Fantastic Fest. It sounds crazy but in all the right (and horrifying) ways. It’s rated R for ‘aberrant behavior, bloody and grisly images, strong sexuality, nudity, language and drug use/partying’ so it seems to be ticking off most of the things that every good cannibalism horror needs. I can’t wait."
  • Pete's Trailer: The Lure — "So, this Polish mermaid horror musical comedy film certainly tops the list of crazy things I’ve seen today. It’s been floating around (heh) since it’s Warsaw release in 2015, but we get to see what happens when two stripper mermaids begin to devour their patrons (finally, natch) this very February."

Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 19 Jan 2017 06:00:00 -0800 The Next Reel The Next Reel 5046 Join us – Pete Wright and Andy Nelson – as we kick off our Transgender series with Stephan Elliott’s 1994 cult comedy classic The Adventures of Priscilla, Queen of the Desert. Join us – Pete Wright and Andy Nelson – as we kick off our Transgender series with Stephan Elliott’s 1994 cult comedy classic The Adventures of Priscilla, Queen of the Desert. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Coming to America • The Next Reel 6 6 28 28 Coming to America • The Next Reel full ed6a6c52-1966-4f09-8062-bc257b93931a https://share.transistor.fm/s/90df1cab "When you think of garbage, think of Akeem!"

Eddie Murphy was riding high through the 80s. John Landis, on the other hand, had had a string of flops, not to mention a very difficult Twilight Zone trial. Considering their success together with Trading Places, Murphy thought Landis could use a boost and brought him on to direct his fairy tale film Coming to America. It was the hit Landis needed, and yet another film cementing that Murphy was king of the box office. Join us – Pete Wright and Andy Nelson – as we wrap up our Eddie Murphy series with Landis’ 1988 film, Coming to America.

We talk about why the film doesn’t hold up that well for us now nearly 30 years after its release, even if it did seem to hold up more at the time. We chat about the script problems and director/actor relationship problems this film had, and how things ended up. We look at the talent and what they’re bringing to the table – Murphy, Arsenio Hall, John Amos, James Earl Jones, Madge Sinclair, Shari Headley, Eriq La Salle and more. And speaking of talent, we discuss Rick Baker and his amazing effects work to transform Murphy and Hall into several other characters and how these not only hold up for us but also how they triggered an entirely new direction for Murphy’s career to head. And we talk about the music and how 80s it feels.

It’s a fun conversation about a film that neither of us connected with nearly 30 years after we first saw the film. But it’s still fun to watch and discuss, so check it out!

Film Sundries

Trailers of the Week


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]]> "When you think of garbage, think of Akeem!"

Eddie Murphy was riding high through the 80s. John Landis, on the other hand, had had a string of flops, not to mention a very difficult Twilight Zone trial. Considering their success together with Trading Places, Murphy thought Landis could use a boost and brought him on to direct his fairy tale film Coming to America. It was the hit Landis needed, and yet another film cementing that Murphy was king of the box office. Join us – Pete Wright and Andy Nelson – as we wrap up our Eddie Murphy series with Landis’ 1988 film, Coming to America.

We talk about why the film doesn’t hold up that well for us now nearly 30 years after its release, even if it did seem to hold up more at the time. We chat about the script problems and director/actor relationship problems this film had, and how things ended up. We look at the talent and what they’re bringing to the table – Murphy, Arsenio Hall, John Amos, James Earl Jones, Madge Sinclair, Shari Headley, Eriq La Salle and more. And speaking of talent, we discuss Rick Baker and his amazing effects work to transform Murphy and Hall into several other characters and how these not only hold up for us but also how they triggered an entirely new direction for Murphy’s career to head. And we talk about the music and how 80s it feels.

It’s a fun conversation about a film that neither of us connected with nearly 30 years after we first saw the film. But it’s still fun to watch and discuss, so check it out!

Film Sundries

Trailers of the Week


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]]> Thu, 12 Jan 2017 06:00:00 -0800 The Next Reel The Next Reel 4567 Join us – Pete Wright and Andy Nelson – as we wrap up our Eddie Murphy series with Landis’ 1988 film, Coming to America. Join us – Pete Wright and Andy Nelson – as we wrap up our Eddie Murphy series with Landis’ 1988 film, Coming to America. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Groundhog Day — Jim Jermanok • Movies We Like 2 2 1 1 Groundhog Day — Jim Jermanok • Movies We Like full 140bc28d-74dc-44aa-a765-6d32ac965df6 https://share.transistor.fm/s/f6e22f78 "You couldn’t plan a day like this."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, writer, producer, director and former agent Jim Jermanok joins us to talk about one of his favorite movies, Harold Ramis’ 1993 film Groundhog Day. 

We talk about how this film was received at the time of its release, why this film holds up so well and perhaps why it took people some time to really find the meaning in the movie. We look at what Bill Murray is doing here and discuss why his character, Phil Connor, is easy to connect to despite the fact that he starts out as horribly unlikeable. We chat about Andie MacDowell, Chris Elliott and Stephen Tobolowsky, as well as the rest of the cast, and what they bring to the table. We look at the evolution of Danny Rubin’s original script and how he and Ramis reworked it to create a timeless classic. And we ponder the strangeness of the actual Groundhog Day holiday and how it may have been just the perfect holiday to celebrate for a film like this.

It’s a great film and Jim brings plenty of perspective to the conversation, having worked both the creative and business sides of the industry. So check out the movie then tune in to this month’s Speakeasy again… and again… and again….

Film Sundries


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]]> "You couldn’t plan a day like this."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, writer, producer, director and former agent Jim Jermanok joins us to talk about one of his favorite movies, Harold Ramis’ 1993 film Groundhog Day. 

We talk about how this film was received at the time of its release, why this film holds up so well and perhaps why it took people some time to really find the meaning in the movie. We look at what Bill Murray is doing here and discuss why his character, Phil Connor, is easy to connect to despite the fact that he starts out as horribly unlikeable. We chat about Andie MacDowell, Chris Elliott and Stephen Tobolowsky, as well as the rest of the cast, and what they bring to the table. We look at the evolution of Danny Rubin’s original script and how he and Ramis reworked it to create a timeless classic. And we ponder the strangeness of the actual Groundhog Day holiday and how it may have been just the perfect holiday to celebrate for a film like this.

It’s a great film and Jim brings plenty of perspective to the conversation, having worked both the creative and business sides of the industry. So check out the movie then tune in to this month’s Speakeasy again… and again… and again….

Film Sundries


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]]> Tue, 10 Jan 2017 06:00:00 -0800 TruStory FM TruStory FM 4002 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, writer, producer, director and former agent Jim Jermanok joins us to talk about one of his favorite movies, Harold Ramis’ 1993 film Groundhog Day. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, writer, producer, director and former agent Jim Jermanok joins us t Movies We Like, Jim Jermanok No Andy Nelson Pete Wright Beverly Hills Cop • The Next Reel 6 6 27 27 Beverly Hills Cop • The Next Reel full d6b2f55c-572b-4e23-94ad-297a9fcc3409 https://share.transistor.fm/s/d432e4ea "You’re not gonna fall for the banana in the tail pipe?"

Eddie Murphy proved his big screen comedy prowess with Dan Aykroyd in Trading Places but the studio was still concerned about him helming a movie by himself. Luckily, Don Simpson and Jerry Bruckheimer believed in him and ended up convincing Paramount that he could do it, bringing him on board Beverly Hills Cop after Sylvester Stallone stepped out. And the rest is cinematic history – the movie broke records left and right and firmly established Murphy as a full-fledged movie star. Join us – Pete Wright and Andy Nelson – as we continue our Eddie Murphy series with Martin Brest’s 1984 film Beverly Hills Cop.

We talk about what holds up in this 80s cop comedy and what doesn’t hold up as well – and where we disagree on these. We look at how the film came together, from the early ideas and the various writers to the period when Stallone was the lead to bringing Murphy on and how the script was finally shaped. We discuss Murphy and how he fits in the film here, and how the rest of the cast works to fill the rest of the world. We chat about Brest and his directing style, and discuss his career and his disappearance from the industry. We talk about the iconic theme by Harold Faltermeier and how it fits into the film, paired with the iconic soundtrack that represents everything Bruckheimer was doing with his movies at the time. And we look at how this film did at the box office, becoming the top film in 1984 and setting the stage for cop comedies thereafter. 

It’s a fun film, even if it has some issues, but definitely represents what Murphy was doing in the 80s. We have a great conversation about it so check out the movie and tune in!

Film Sundries

  • Watch this film: iTunes • Amazon • Netflix
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
  • Clips from Martin Brest’s Short Hot Dogs for Gauguin
  • What Happened to Martin Brest?
    Trailers of the Week
  • Andy's Trailer: Spider-Man: Homecoming — "I’ve always been a big Spider-Man fan and have enjoyed the movies for the most part. What gets me excited about this one isn’t the new Peter Parker, even though he looks great. It’s not that Sony and Disney/Marvel are playing nice and sharing characters to make these movies, which is a great thing. It’s that Michael Keaton is playing the villain. And that kicks ass. Okay, so I’m a little worried that they’re going the robo-look with The Vulture like they did with Green Goblin, but I’m willing to let that slide right now because this looks so fun!"
  • Pete's Trailer: A United Kingdom — "International listeners have had this movie on deck since September, but Amma Asante’s latest hits US screens in February. Looks like another opportunity to see Rosamund Pike and David Oyelowo knock it out of the park telling the story of a mixed race couple struggling to lead an African nation at a time of political turmoil. Amma Asante is such a charmer and precise director — can’t wait to see what she does with this story."

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]]> "You’re not gonna fall for the banana in the tail pipe?"

Eddie Murphy proved his big screen comedy prowess with Dan Aykroyd in Trading Places but the studio was still concerned about him helming a movie by himself. Luckily, Don Simpson and Jerry Bruckheimer believed in him and ended up convincing Paramount that he could do it, bringing him on board Beverly Hills Cop after Sylvester Stallone stepped out. And the rest is cinematic history – the movie broke records left and right and firmly established Murphy as a full-fledged movie star. Join us – Pete Wright and Andy Nelson – as we continue our Eddie Murphy series with Martin Brest’s 1984 film Beverly Hills Cop.

We talk about what holds up in this 80s cop comedy and what doesn’t hold up as well – and where we disagree on these. We look at how the film came together, from the early ideas and the various writers to the period when Stallone was the lead to bringing Murphy on and how the script was finally shaped. We discuss Murphy and how he fits in the film here, and how the rest of the cast works to fill the rest of the world. We chat about Brest and his directing style, and discuss his career and his disappearance from the industry. We talk about the iconic theme by Harold Faltermeier and how it fits into the film, paired with the iconic soundtrack that represents everything Bruckheimer was doing with his movies at the time. And we look at how this film did at the box office, becoming the top film in 1984 and setting the stage for cop comedies thereafter. 

It’s a fun film, even if it has some issues, but definitely represents what Murphy was doing in the 80s. We have a great conversation about it so check out the movie and tune in!

Film Sundries

  • Watch this film: iTunes • Amazon • Netflix
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
  • Clips from Martin Brest’s Short Hot Dogs for Gauguin
  • What Happened to Martin Brest?
    Trailers of the Week
  • Andy's Trailer: Spider-Man: Homecoming — "I’ve always been a big Spider-Man fan and have enjoyed the movies for the most part. What gets me excited about this one isn’t the new Peter Parker, even though he looks great. It’s not that Sony and Disney/Marvel are playing nice and sharing characters to make these movies, which is a great thing. It’s that Michael Keaton is playing the villain. And that kicks ass. Okay, so I’m a little worried that they’re going the robo-look with The Vulture like they did with Green Goblin, but I’m willing to let that slide right now because this looks so fun!"
  • Pete's Trailer: A United Kingdom — "International listeners have had this movie on deck since September, but Amma Asante’s latest hits US screens in February. Looks like another opportunity to see Rosamund Pike and David Oyelowo knock it out of the park telling the story of a mixed race couple struggling to lead an African nation at a time of political turmoil. Amma Asante is such a charmer and precise director — can’t wait to see what she does with this story."

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]]> Thu, 05 Jan 2017 06:00:00 -0800 The Next Reel The Next Reel 4886 Join us – Pete Wright and Andy Nelson – as we continue our Eddie Murphy series with Martin Brest’s 1984 film Beverly Hills Cop. Join us – Pete Wright and Andy Nelson – as we continue our Eddie Murphy series with Martin Brest’s 1984 film Beverly Hills Cop. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Trading Places • The Next Reel 6 6 26 26 Trading Places • The Next Reel full 1f663505-e39c-4e7d-99d4-b375d1119d9c https://share.transistor.fm/s/c4b3eaca "When I was growing up, if we wanted a jacuzzi, we had to fart in the tub."

Eddie Murphy may have been a name on “Saturday Night Live” but he wasn’t a film star. Luckily, when John Landis wanted to cast him as Billy Ray Valentine in Trading Places, Murphy had just appeared in 48 Hrs., proving he had the charisma for the big screen. Without that success, Paramount Pictures was unconvinced. But it worked out and young Murphy became box office gold. Join us – Pete Wright and Andy Nelson – as we kick off 2017 with a series celebrating several of Murphy’s 80s classic starting with Landis’ 1983 film Trading Places. 

We talk about how we find the film hilarious but quite astute with its portrayal of the commodities market and how the story is equally relevant today as it was upon its release. We discuss some of the elements with which we struggle. We look at the comedy stylings Landis brought to the film, pulling from Laurel & Hardy, Preston Sturges, Mark Twain, even the Three Stooges. We look at the actors – including Dan Aykroyd, Murphy, Ralph Bellamy, Don Ameche, Jamie Lee Curtis, Denholm Elliott and Paul Gleason – and what they bring to the table. And we revel in the wonderful score Elmer Bernstein adds to the film, bringing doses of Mozart’s “The Marriage of Figaro” into the folds. 

It’s a really fun film and a great way to celebrate both Christmas and New Year’s. We have a great time discussing it so check the movie out then tune in to the show!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • The Prince and the Pauper by Mark Twain
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Alien: Covenant — "We’ve discussed this whole franchise on the show and likely will discuss this one at some point. There are definitely problems with some of the films, and I definitely had issues with Prometheus, but it’s still an interesting entry as a prequel. Ridley Scott’s newest entry looks like he’s really amping things up some more and while I’m excited, I’m also hesitant to get too excited. Let’s just say my curiosity is definitely piqued."
  • Pete's Trailer: War for the Planet of the Apes — "Andy Serkis is back to not win an acting oscar because he’s doing mo-cap I guess. The last Apes film ended up at 12 on our list, a solid showing for the Film Board’s general bucket of crap. This one looks like more stops have been officially pulled, even if they’ve avoided pulling them all. And yes, they put the words of the film’s title in Woody’s mouth in this trailer: 15 demerits."

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]]> "When I was growing up, if we wanted a jacuzzi, we had to fart in the tub."

Eddie Murphy may have been a name on “Saturday Night Live” but he wasn’t a film star. Luckily, when John Landis wanted to cast him as Billy Ray Valentine in Trading Places, Murphy had just appeared in 48 Hrs., proving he had the charisma for the big screen. Without that success, Paramount Pictures was unconvinced. But it worked out and young Murphy became box office gold. Join us – Pete Wright and Andy Nelson – as we kick off 2017 with a series celebrating several of Murphy’s 80s classic starting with Landis’ 1983 film Trading Places. 

We talk about how we find the film hilarious but quite astute with its portrayal of the commodities market and how the story is equally relevant today as it was upon its release. We discuss some of the elements with which we struggle. We look at the comedy stylings Landis brought to the film, pulling from Laurel & Hardy, Preston Sturges, Mark Twain, even the Three Stooges. We look at the actors – including Dan Aykroyd, Murphy, Ralph Bellamy, Don Ameche, Jamie Lee Curtis, Denholm Elliott and Paul Gleason – and what they bring to the table. And we revel in the wonderful score Elmer Bernstein adds to the film, bringing doses of Mozart’s “The Marriage of Figaro” into the folds. 

It’s a really fun film and a great way to celebrate both Christmas and New Year’s. We have a great time discussing it so check the movie out then tune in to the show!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • The Prince and the Pauper by Mark Twain
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Alien: Covenant — "We’ve discussed this whole franchise on the show and likely will discuss this one at some point. There are definitely problems with some of the films, and I definitely had issues with Prometheus, but it’s still an interesting entry as a prequel. Ridley Scott’s newest entry looks like he’s really amping things up some more and while I’m excited, I’m also hesitant to get too excited. Let’s just say my curiosity is definitely piqued."
  • Pete's Trailer: War for the Planet of the Apes — "Andy Serkis is back to not win an acting oscar because he’s doing mo-cap I guess. The last Apes film ended up at 12 on our list, a solid showing for the Film Board’s general bucket of crap. This one looks like more stops have been officially pulled, even if they’ve avoided pulling them all. And yes, they put the words of the film’s title in Woody’s mouth in this trailer: 15 demerits."

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]]> Thu, 29 Dec 2016 06:00:00 -0800 The Next Reel The Next Reel 4141 Join us – Pete Wright and Andy Nelson – as we kick off 2017 with a series celebrating several of Murphy’s 80s classic starting with his 1983 film Trading Places. Join us – Pete Wright and Andy Nelson – as we kick off 2017 with a series celebrating several of Murphy’s 80s classic starting with his 1983 film Trading Places. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Black Christmas • The Next Reel 6 6 25 25 Black Christmas • The Next Reel full 9ceb8e1d-df39-444a-9bd2-2dbfe830a6d1 https://share.transistor.fm/s/efe3e718 "Agnes, it’s me – Billy!"

Bob Clark may be best known for directing his Christmas classic, 1983’s A Christmas Story, but many people don’t know that he got his start in horror like so many other filmmakers, and that one of his first horror films was another Christmas story – Black Christmas. What’s so refreshing about watching this 1974 film is that it’s a slasher film that doesn’t feel as base as so many others that followed suit, but more importantly that it adopted the first person POV shot for the killer. Join us – Pete Wright and Andy Nelson – as we discuss this year’s holiday film, Clark’s ‘74 film Black Christmas.

We talk about why this film worked for us and how it really came to be. We discuss Clark and how he directed this, but also how he took to the script to fill it with wonderful details for all of the characters and helped move the story’s setting to a college sorority house. We look at the cast – from Olivia Hussey and Keir Dullea to Margot Kidder and John Saxon – and why they all work so well here. And we talk about how well this film did at the box office and what that means for it when looking at the profits. 

And we announce our Instagram #GuesstheMovie #2016 #PonyPrize challenge winner and runner up! 

It’s a fun little horror romp and we have a great time celebrating Christmas with you all with this one. Check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: _Going in Style — "I’m not bitter at all that Zach Braff stole my idea of a group of senior citizens who decide to rob a bank. I’m not bitter at all. Bastard…. Oh, wait… you’re telling me this is a remake of a Martin Brest movie from ‘79 and that I’m the one stealing the idea? Damnitalltohell. Well, I’ll watch it, but I won’t like it. Now get off my lawn!"
  • Pete's Trailer: Blade Runner 2049 — "Yes, it’s just a teaser. But it’s a teaser for Gosling in Blade Runner trying to run down Deckard. So, yes, I’m as excited for this movie as I was for The Force Awakens. Yes, Denis Villeneuve has given me much reason to be excited on the heels of Arrival. Yes, I’ll be pre-purchasing tix the hot second they’re available."

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]]> "Agnes, it’s me – Billy!"

Bob Clark may be best known for directing his Christmas classic, 1983’s A Christmas Story, but many people don’t know that he got his start in horror like so many other filmmakers, and that one of his first horror films was another Christmas story – Black Christmas. What’s so refreshing about watching this 1974 film is that it’s a slasher film that doesn’t feel as base as so many others that followed suit, but more importantly that it adopted the first person POV shot for the killer. Join us – Pete Wright and Andy Nelson – as we discuss this year’s holiday film, Clark’s ‘74 film Black Christmas.

We talk about why this film worked for us and how it really came to be. We discuss Clark and how he directed this, but also how he took to the script to fill it with wonderful details for all of the characters and helped move the story’s setting to a college sorority house. We look at the cast – from Olivia Hussey and Keir Dullea to Margot Kidder and John Saxon – and why they all work so well here. And we talk about how well this film did at the box office and what that means for it when looking at the profits. 

And we announce our Instagram #GuesstheMovie #2016 #PonyPrize challenge winner and runner up! 

It’s a fun little horror romp and we have a great time celebrating Christmas with you all with this one. Check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: _Going in Style — "I’m not bitter at all that Zach Braff stole my idea of a group of senior citizens who decide to rob a bank. I’m not bitter at all. Bastard…. Oh, wait… you’re telling me this is a remake of a Martin Brest movie from ‘79 and that I’m the one stealing the idea? Damnitalltohell. Well, I’ll watch it, but I won’t like it. Now get off my lawn!"
  • Pete's Trailer: Blade Runner 2049 — "Yes, it’s just a teaser. But it’s a teaser for Gosling in Blade Runner trying to run down Deckard. So, yes, I’m as excited for this movie as I was for The Force Awakens. Yes, Denis Villeneuve has given me much reason to be excited on the heels of Arrival. Yes, I’ll be pre-purchasing tix the hot second they’re available."

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]]> Thu, 22 Dec 2016 06:00:00 -0800 The Next Reel The Next Reel 4215 Join us – Pete Wright and Andy Nelson – as we discuss this year’s holiday film, Bob Clark’s ‘74 film Black Christmas. Join us – Pete Wright and Andy Nelson – as we discuss this year’s holiday film, Bob Clark’s ‘74 film Black Christmas. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Godfather Part III • The Next Reel 6 6 24 24 The Godfather Part III • The Next Reel full 921aec98-79b8-4dbe-aed2-b7384fc71a6d https://share.transistor.fm/s/620007c6 "Now that you’re so respectable, I think you’re more dangerous than you ever were."

It was billed the most anticipated film of the decade, yet Francis Ford Coppola had spent that entire decade turning down requests to make it. It was only his failing finances that finally drove Coppola to accept the job of writing and directing The Godfather, Part III, and for a lot of people, they probably wish he never bothered. But whatever issues they may have had getting it made, it was the casting of a key role with his own daughter Sofia that created ridiculous vitriol and hatred aimed for the writer/director. This element also ended up being a huge part of the reviews when the film finally came out. But did the film deserve this? Join us – Andy Nelson and Pete Wright – as we wrap up our Godfather trilogy series with Coppola’s epilogue to the Michael Corleone story, 1990’s The Godfather, Part III. 

We talk about our reactions to the film and where we feel the problems with it lay. We look at Sofia’s performance and weigh in on the issue of nepotism here and debate whether some of the criticism was warranted, regardless of whether it was right or not. We look at the rest of the cast and crew and what they all bring to the table, ending in a little quiz about which people ended up involved in all three films. We talk about the position Paramount Studios was in and why they pushed this film through so quickly and why that rush may have been the crux as to why Coppola could never get the story as good as it should have been. And we look at how this film did compared to its predecessors. 

It’s a flawed film but still an entertaining one. We have a great time talking about it on this week’s show as we wrap up the series. Haven’t seen it? Give it a shot. Then check the show out! 

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: The Circle — "It’s Tom Hanks and it’s creepy ‘big brother is watching you’ sci-fi. I’m all in. Even if it is just a teaser."
  • Pete's Trailer: The Fate of the Furious — "I didn’t get the Furious movies for a long time. I did that binge a few years back and it landed on me: Stop thinking and jam your foot to the floor. I’m hit and miss with F. Gary Gray, but Chris Morgan handles the franchise well and making Dom the Judas in the story is a clever, Walter-White-esque twist. Of course, I’m in."

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]]> "Now that you’re so respectable, I think you’re more dangerous than you ever were."

It was billed the most anticipated film of the decade, yet Francis Ford Coppola had spent that entire decade turning down requests to make it. It was only his failing finances that finally drove Coppola to accept the job of writing and directing The Godfather, Part III, and for a lot of people, they probably wish he never bothered. But whatever issues they may have had getting it made, it was the casting of a key role with his own daughter Sofia that created ridiculous vitriol and hatred aimed for the writer/director. This element also ended up being a huge part of the reviews when the film finally came out. But did the film deserve this? Join us – Andy Nelson and Pete Wright – as we wrap up our Godfather trilogy series with Coppola’s epilogue to the Michael Corleone story, 1990’s The Godfather, Part III. 

We talk about our reactions to the film and where we feel the problems with it lay. We look at Sofia’s performance and weigh in on the issue of nepotism here and debate whether some of the criticism was warranted, regardless of whether it was right or not. We look at the rest of the cast and crew and what they all bring to the table, ending in a little quiz about which people ended up involved in all three films. We talk about the position Paramount Studios was in and why they pushed this film through so quickly and why that rush may have been the crux as to why Coppola could never get the story as good as it should have been. And we look at how this film did compared to its predecessors. 

It’s a flawed film but still an entertaining one. We have a great time talking about it on this week’s show as we wrap up the series. Haven’t seen it? Give it a shot. Then check the show out! 

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: The Circle — "It’s Tom Hanks and it’s creepy ‘big brother is watching you’ sci-fi. I’m all in. Even if it is just a teaser."
  • Pete's Trailer: The Fate of the Furious — "I didn’t get the Furious movies for a long time. I did that binge a few years back and it landed on me: Stop thinking and jam your foot to the floor. I’m hit and miss with F. Gary Gray, but Chris Morgan handles the franchise well and making Dom the Judas in the story is a clever, Walter-White-esque twist. Of course, I’m in."

Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 15 Dec 2016 06:00:00 -0800 The Next Reel The Next Reel 5671 Join us – Andy Nelson and Pete Wright – as we wrap up our Godfather trilogy series with Francis Ford Coppola’s epilogue to the Michael Corleone story, 1990’s The Godfather, Part III. Join us – Andy Nelson and Pete Wright – as we wrap up our Godfather trilogy series with Francis Ford Coppola’s epilogue to the Michael Corleone story, 1990’s The Godfather, Part III. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright 101 Dalmatians — Tom and Tony Bancroft • Movies We Like 1 1 12 12 101 Dalmatians — Tom and Tony Bancroft • Movies We Like full b56b2c7b-60ea-41ab-840c-ba2cd77e5e1e https://share.transistor.fm/s/38318dff "Such perfectly beautiful coats!"

The Next Reel’s Speakeasy is our ongoing series in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, we’re honored to have two guests join us to discuss one of their favorite films – it’s the Bancroft Brothers! That’s right, twin brothers Tom and Tony Bancroft, both of whom are animators, are here to chat about Disney’s 1961 classic One Hundred and One Dalmatians. 

We talk about why they picked this film and why this film is a key shift in the world of animation at Walt Disney Studios (hint: it involves xeroxing!). We look at the animators involved – Milt Kahl, Frank Thomas, Marc Davis, etc. – and how they all fit into the looks of characters like Cruella De Vil, Pongo, Perdita, Jasper, Horace and more, really bringing them to life. We discuss the importance of what art director/production designer Ken Anderson and color stylist Walt Peregoy did with the impressionistic backgrounds. We chat about what the film’s three directors – Clyde Geronimi, Hamilton Luske and Wolfgang Reitherman – did to bring the film together and how they likely split up tasks. We dig into the really amazing 3D modeling Ub Iwerks helped come up with to make Cruella De Vil’s car look more realistic. And, of course, we can’t talk about this movie without discussing Cruella’s cheekbones, which we do.

It’s a fantastic conversation with two gentlemen who really know what they’re talking about helping us – Pete Wright and Andy Nelson – sound like we know what we’re doing. The conversation will really make you look at this movie and animation with so much more respect. So rewatch this Disney gem then tune in to this month’s Speakeasy!

Film Sundries


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]]> "Such perfectly beautiful coats!"

The Next Reel’s Speakeasy is our ongoing series in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, we’re honored to have two guests join us to discuss one of their favorite films – it’s the Bancroft Brothers! That’s right, twin brothers Tom and Tony Bancroft, both of whom are animators, are here to chat about Disney’s 1961 classic One Hundred and One Dalmatians. 

We talk about why they picked this film and why this film is a key shift in the world of animation at Walt Disney Studios (hint: it involves xeroxing!). We look at the animators involved – Milt Kahl, Frank Thomas, Marc Davis, etc. – and how they all fit into the looks of characters like Cruella De Vil, Pongo, Perdita, Jasper, Horace and more, really bringing them to life. We discuss the importance of what art director/production designer Ken Anderson and color stylist Walt Peregoy did with the impressionistic backgrounds. We chat about what the film’s three directors – Clyde Geronimi, Hamilton Luske and Wolfgang Reitherman – did to bring the film together and how they likely split up tasks. We dig into the really amazing 3D modeling Ub Iwerks helped come up with to make Cruella De Vil’s car look more realistic. And, of course, we can’t talk about this movie without discussing Cruella’s cheekbones, which we do.

It’s a fantastic conversation with two gentlemen who really know what they’re talking about helping us – Pete Wright and Andy Nelson – sound like we know what we’re doing. The conversation will really make you look at this movie and animation with so much more respect. So rewatch this Disney gem then tune in to this month’s Speakeasy!

Film Sundries


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]]> Tue, 13 Dec 2016 06:00:00 -0800 TruStory FM TruStory FM 4983 The Next Reel’s Speakeasy is our ongoing series in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, we’re honored to have two guests join us to discuss one of their favorite films – it’s the Bancroft Brothers! That’s right, twin brothers Tom and Tony Bancroft, both of whom are animators, are here to chat about Disney’s 1961 classic One Hundred and One Dalmatians. The Next Reel’s Speakeasy is our ongoing series in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, we’re honored to have two guests join us to discuss one of their favorite Movies We Like, Tony Bancroft, Tom Bancroft No Andy Nelson Pete Wright The Godfather Part II • The Next Reel 6 6 23 23 The Godfather Part II • The Next Reel full fcf600c6-7298-431c-bc2b-416c84c9246a https://share.transistor.fm/s/84a9eba8 "Keep your friends close but your enemies closer."

While The Godfather, Part II didn’t perform nearly as well as its predecessor at the box office, Francis Ford Coppola’s sequel certainly made its money back and, more importantly, has gone on to become a film that’s often cited as one of the greatest films ever made. It even has its contingency of fans who feel it’s the stronger film of the pair. But Coppola went into it not really that excited by the prospect of making a sequel and really only jumped on board because of an idea he had that would blend the storylines of a father and of a son. Join us – Andy Nelson and Pete Wright – as we continue our Godfather trilogy series with Coppola’s 1974 film The Godfather, Part II. 

We talk about our feelings with this film and whether or not we find it the stronger of the pair. We chat about Coppola and how he was really given free reign with this film, making it an incredibly easy shoot. We look at what Coppola brings to the table, including the numbered title, and why he’s such a masterful filmmaker. We talk about the various actors who return to the story and those who are new additions. And we look at how this film looks and all the people behind putting it together.

It’s a film that splits audiences, critics and even us movie lovers like us, but it gives us all that much more to talk about this week. So pull up your cannoli and tune in to find out if this film ranks as high as Part I on our Flickchart.

Film Sundries


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]]> "Keep your friends close but your enemies closer."

While The Godfather, Part II didn’t perform nearly as well as its predecessor at the box office, Francis Ford Coppola’s sequel certainly made its money back and, more importantly, has gone on to become a film that’s often cited as one of the greatest films ever made. It even has its contingency of fans who feel it’s the stronger film of the pair. But Coppola went into it not really that excited by the prospect of making a sequel and really only jumped on board because of an idea he had that would blend the storylines of a father and of a son. Join us – Andy Nelson and Pete Wright – as we continue our Godfather trilogy series with Coppola’s 1974 film The Godfather, Part II. 

We talk about our feelings with this film and whether or not we find it the stronger of the pair. We chat about Coppola and how he was really given free reign with this film, making it an incredibly easy shoot. We look at what Coppola brings to the table, including the numbered title, and why he’s such a masterful filmmaker. We talk about the various actors who return to the story and those who are new additions. And we look at how this film looks and all the people behind putting it together.

It’s a film that splits audiences, critics and even us movie lovers like us, but it gives us all that much more to talk about this week. So pull up your cannoli and tune in to find out if this film ranks as high as Part I on our Flickchart.

Film Sundries


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]]> Thu, 08 Dec 2016 06:00:00 -0800 The Next Reel The Next Reel 4725 Join us – Andy Nelson and Pete Wright – as we continue our Godfather trilogy series with Francis Ford Coppola’s 1974 film The Godfather, Part II. Join us – Andy Nelson and Pete Wright – as we continue our Godfather trilogy series with Francis Ford Coppola’s 1974 film The Godfather, Part II. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Godfather • The Next Reel 6 6 22 22 The Godfather • The Next Reel full 395d2fd7-b9d3-4a15-9925-2cfbd1e87dd6 https://share.transistor.fm/s/59b4adf5 "Blood’s a big expense."

It was never a movie that was meant to be as big as it became. Robert Evans, Paramount head at the time, thought it would be a fun mobster movie designed to make a quick buck, capitalizing on the recent novel “The Godfather” by Mario Puzo. But Francis Ford Coppola saw something in Puzo’s novel; he saw a family chronicle that was a metaphor for capitalism in America. He saw a crime epic. And he set out to make that version of the book. In the end, despite the fights with the studio that he had while making it, he stuck to his guns and The Godfather still stands as arguably one of the greatest films of all time. Join us – Pete Wright and Andy Nelson – as we kick off our Godfather trilogy with the movie that started it all, Coppola’s 1972 film The Godfather. 

We talk about why the film works so well and how Coppola and Puzo crafted the story, giving the audience an interesting entry into the Mafia world. We look at Coppola as a director and writer and what he brings to the table here. We chat about the incredible cast – from Marlon Brando and Al Pacino to James Caan and Diane Keaton, even the nepotism of casting Talia Shire (and his own daughter Sophia!). We look at Gordon Willis’ mind-bogglingly dark cinematography and why it, paired with the film’s sepia tones, create this world as much as anything Coppola does. We chat about Nino Rota’s haunting score, and the big controversy surrounding it. And we look at the struggles Coppola had in getting the film made contrasted with how well it did at the box office. 

It’s a film that’s spurred countless famous quotes, not the least of which is “I’m going to make him an offer he can’t refuse.” The movie is everywhere and has become as much a part of our culture as Coppola’s Italian heritage had become a part of the film when he made it. It’s a fantastic film that certainly deserves to be looked at multiple times and discussed often. We have a great (and lengthy) conversation about it on the show this week. So check out the movie then tune in! 

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • The Godfather by Mario Puzo
  • Flickchart
  • Letterboxd
  • Alex Rocco Audi A8 Super Bowl Spot
  • Fortunella — You have to hear it… — 1958
    Trailers of the Week
  • Andy's Trailer: Ghost in the Shell — "I remember watching the anime version of this years ago and finding it interesting but not something I connected with. At this point, I find this live action remake to be something I want to see more out of curiosity than anything else. I hope it’s good. I hope the whitewashing of the lead character doesn’t bug me (with ScarJo playing her, I think I’ll be okay). I hope it’s more than just boobs and amazing visuals, which the trailer shows off brilliantly.”
  • Pete's Trailer: Silence — "The first trailer for Scorsese’s passion film hits, 26 years in the making. Garfield and Driver look greatly weird… or weirdly great, especially after thinking that Benicio del Toro and Daniel Day-Lewis were supposed to star as recently as 2009. How things change. It’s visually bold — indelicate might be a better word — especially for a film that centers on the cloth. I’m fascinated and can’t wait to see it."

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]]> "Blood’s a big expense."

It was never a movie that was meant to be as big as it became. Robert Evans, Paramount head at the time, thought it would be a fun mobster movie designed to make a quick buck, capitalizing on the recent novel “The Godfather” by Mario Puzo. But Francis Ford Coppola saw something in Puzo’s novel; he saw a family chronicle that was a metaphor for capitalism in America. He saw a crime epic. And he set out to make that version of the book. In the end, despite the fights with the studio that he had while making it, he stuck to his guns and The Godfather still stands as arguably one of the greatest films of all time. Join us – Pete Wright and Andy Nelson – as we kick off our Godfather trilogy with the movie that started it all, Coppola’s 1972 film The Godfather. 

We talk about why the film works so well and how Coppola and Puzo crafted the story, giving the audience an interesting entry into the Mafia world. We look at Coppola as a director and writer and what he brings to the table here. We chat about the incredible cast – from Marlon Brando and Al Pacino to James Caan and Diane Keaton, even the nepotism of casting Talia Shire (and his own daughter Sophia!). We look at Gordon Willis’ mind-bogglingly dark cinematography and why it, paired with the film’s sepia tones, create this world as much as anything Coppola does. We chat about Nino Rota’s haunting score, and the big controversy surrounding it. And we look at the struggles Coppola had in getting the film made contrasted with how well it did at the box office. 

It’s a film that’s spurred countless famous quotes, not the least of which is “I’m going to make him an offer he can’t refuse.” The movie is everywhere and has become as much a part of our culture as Coppola’s Italian heritage had become a part of the film when he made it. It’s a fantastic film that certainly deserves to be looked at multiple times and discussed often. We have a great (and lengthy) conversation about it on the show this week. So check out the movie then tune in! 

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • The Godfather by Mario Puzo
  • Flickchart
  • Letterboxd
  • Alex Rocco Audi A8 Super Bowl Spot
  • Fortunella — You have to hear it… — 1958
    Trailers of the Week
  • Andy's Trailer: Ghost in the Shell — "I remember watching the anime version of this years ago and finding it interesting but not something I connected with. At this point, I find this live action remake to be something I want to see more out of curiosity than anything else. I hope it’s good. I hope the whitewashing of the lead character doesn’t bug me (with ScarJo playing her, I think I’ll be okay). I hope it’s more than just boobs and amazing visuals, which the trailer shows off brilliantly.”
  • Pete's Trailer: Silence — "The first trailer for Scorsese’s passion film hits, 26 years in the making. Garfield and Driver look greatly weird… or weirdly great, especially after thinking that Benicio del Toro and Daniel Day-Lewis were supposed to star as recently as 2009. How things change. It’s visually bold — indelicate might be a better word — especially for a film that centers on the cloth. I’m fascinated and can’t wait to see it."

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]]> Thu, 01 Dec 2016 06:00:00 -0800 The Next Reel The Next Reel 5921 Join us – Pete Wright and Andy Nelson – as we kick off our Godfather trilogy with the movie that started it all, Francis Ford Coppola’s 1972 film The Godfather. Join us – Pete Wright and Andy Nelson – as we kick off our Godfather trilogy with the movie that started it all, Francis Ford Coppola’s 1972 film The Godfather. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright What Ever Happened to Baby Jane? • The Next Reel 6 6 21 21 What Ever Happened to Baby Jane? • The Next Reel full c4f95e4b-0e7c-4eb6-ab6d-b8aea1d4086c https://share.transistor.fm/s/58303b1a "I didn’t forget your breakfast. I didn’t bring you breakfast because you didn’t eat your din-din!"

The animosity between Bette Davis and Joan Crawford almost seems the stuff of legend. Looking back from today, it’s hard to say how much there really was or if it was all conjured up by the studios and the press. But after hearing stories of the two and how things went after they collaborated on What Ever Happened to Baby Jane?, it’s clear that there really was a... competitive nature, let’s just say, between the two women. Join us – Pete Wright and Andy Nelson – as we wrap up our Bette Davis series with Robert Aldrich’s 1962 film What Ever Happened to Baby Jane?.

We talk about the two actresses and what they bring to the film, notably their iconic personas from the decades of acting previously as well as this catty relationship (not to mention their powerhouse performances). We look at the film and the darkly horrific way it’s made, fitting the bill nicely as a psychological thriller made by auteur Aldrich. We look at Ernest Haller’s gorgeously moody black-and-white cinematography and how well it pairs with Michael Luciano’s taut editing. And we tie up our Davis series by looking at what she brought to all the films we’ve discussed and the iconic status she has. 

It’s a dark film that’s incredibly fun too, in a way, and is certainly worth both watching and discussing. So check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • What Ever Happened to Baby Jane? by Henry Farrell
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Jackie — "There are a lot of exciting trailers playing right now, but as we finish up our series about a strong actress, I wanted to pick a trailer featuring another strong actress leading what looks to be a very interesting film. We all know the story of JFK but I know next to nothing about his first lady, particularly her time immediately after his death. Natalie Portman looks great and the film looks incredibly compelling. Count me in."
  • Pete's Trailer: Kong: Skull Island — "Yup, this has to go down as one of the most comically terrible trailers I’ve ever seen. I know it’s going to be a big movie, but this thing gives away everything exciting about a monster movie: the damned monsters. All of them. The size and scale, the variety, the colors and sounds, it’s all given up in two minutes. If you know me, you know I’m not one to shy away from getting myself all spoiled. But seriously, Kong: Skull Island … if there’s a worse offender on screen right now, I’d love to see it."

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]]> "I didn’t forget your breakfast. I didn’t bring you breakfast because you didn’t eat your din-din!"

The animosity between Bette Davis and Joan Crawford almost seems the stuff of legend. Looking back from today, it’s hard to say how much there really was or if it was all conjured up by the studios and the press. But after hearing stories of the two and how things went after they collaborated on What Ever Happened to Baby Jane?, it’s clear that there really was a... competitive nature, let’s just say, between the two women. Join us – Pete Wright and Andy Nelson – as we wrap up our Bette Davis series with Robert Aldrich’s 1962 film What Ever Happened to Baby Jane?.

We talk about the two actresses and what they bring to the film, notably their iconic personas from the decades of acting previously as well as this catty relationship (not to mention their powerhouse performances). We look at the film and the darkly horrific way it’s made, fitting the bill nicely as a psychological thriller made by auteur Aldrich. We look at Ernest Haller’s gorgeously moody black-and-white cinematography and how well it pairs with Michael Luciano’s taut editing. And we tie up our Davis series by looking at what she brought to all the films we’ve discussed and the iconic status she has. 

It’s a dark film that’s incredibly fun too, in a way, and is certainly worth both watching and discussing. So check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • What Ever Happened to Baby Jane? by Henry Farrell
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Jackie — "There are a lot of exciting trailers playing right now, but as we finish up our series about a strong actress, I wanted to pick a trailer featuring another strong actress leading what looks to be a very interesting film. We all know the story of JFK but I know next to nothing about his first lady, particularly her time immediately after his death. Natalie Portman looks great and the film looks incredibly compelling. Count me in."
  • Pete's Trailer: Kong: Skull Island — "Yup, this has to go down as one of the most comically terrible trailers I’ve ever seen. I know it’s going to be a big movie, but this thing gives away everything exciting about a monster movie: the damned monsters. All of them. The size and scale, the variety, the colors and sounds, it’s all given up in two minutes. If you know me, you know I’m not one to shy away from getting myself all spoiled. But seriously, Kong: Skull Island … if there’s a worse offender on screen right now, I’d love to see it."

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]]> Thu, 24 Nov 2016 06:00:00 -0800 The Next Reel The Next Reel 4401 Join us – Pete Wright and Andy Nelson – as we wrap up our Bette Davis series with Robert Aldrich’s 1962 film What Ever Happened to Baby Jane?. Join us – Pete Wright and Andy Nelson – as we wrap up our Bette Davis series with Robert Aldrich’s 1962 film What Ever Happened to Baby Jane?. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright All About Eve • The Next Reel 6 6 20 20 All About Eve • The Next Reel full 6a28f3a4-d0c0-452b-8860-aebe6218f6e4 https://share.transistor.fm/s/87d81fb9 "Fasten your seatbelts. It’s going to be a bumpy night."

Bette Davis was on a streak of flops and just lost her contract with Warner Bros. when Joseph L. Mankiewicz offered her the role of Margo Channing in his new film All About Eve. She immediately saw it for what it was: an incredible role for a woman of her age in an incredible script. She leapt at the chance. It’s safe to say that by doing so, she created one of her most iconic performances in a film that’s gone on to be praised as one of the greatest of all time. Join us – Pete Wright and Andy Nelson – as we continue our Bette Davis series with Mankiewicz’s 1950 film All About Eve. 

We talk about why this film works so well for us and how it still feels so relevant today. We discuss Mankiewicz and his direction, as well as his adaptation of Mary Orr’s short story and touch on how she came to the idea. We chat about Davis and how great of a performance she gives, but pair that next to Ann Baxter who just might outdo Davis. We also talk about the brilliant George Sanders, the lovely Celeste Holm, the sarcastic Thelma Ritter and the always beautiful Marilyn Monroe, among others. We chat about how this film’s fictional Sarah Siddons Award ended up becoming a real thing. And we look at what happens when two actresses want to be nominated for Best Actress (hint: it doesn’t work out). 

It’s an amazing film that hardly feels dated at all and is well worth not only discussing but also in giving a glimpse in what Bette Davis can do. We have a great time talking about it so tune in!

Film Sundries


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]]> "Fasten your seatbelts. It’s going to be a bumpy night."

Bette Davis was on a streak of flops and just lost her contract with Warner Bros. when Joseph L. Mankiewicz offered her the role of Margo Channing in his new film All About Eve. She immediately saw it for what it was: an incredible role for a woman of her age in an incredible script. She leapt at the chance. It’s safe to say that by doing so, she created one of her most iconic performances in a film that’s gone on to be praised as one of the greatest of all time. Join us – Pete Wright and Andy Nelson – as we continue our Bette Davis series with Mankiewicz’s 1950 film All About Eve. 

We talk about why this film works so well for us and how it still feels so relevant today. We discuss Mankiewicz and his direction, as well as his adaptation of Mary Orr’s short story and touch on how she came to the idea. We chat about Davis and how great of a performance she gives, but pair that next to Ann Baxter who just might outdo Davis. We also talk about the brilliant George Sanders, the lovely Celeste Holm, the sarcastic Thelma Ritter and the always beautiful Marilyn Monroe, among others. We chat about how this film’s fictional Sarah Siddons Award ended up becoming a real thing. And we look at what happens when two actresses want to be nominated for Best Actress (hint: it doesn’t work out). 

It’s an amazing film that hardly feels dated at all and is well worth not only discussing but also in giving a glimpse in what Bette Davis can do. We have a great time talking about it so tune in!

Film Sundries


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]]> Thu, 17 Nov 2016 06:00:00 -0800 The Next Reel The Next Reel 3690 Join us – Pete Wright and Andy Nelson – as we continue our Bette Davis series with Joseph L. Mankiewicz’s 1950 film All About Eve. Join us – Pete Wright and Andy Nelson – as we continue our Bette Davis series with Joseph L. Mankiewicz’s 1950 film All About Eve. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Now, Voyager • The Next Reel 6 6 19 19 Now, Voyager • The Next Reel full 9359c789-5c52-4357-b70a-7e0834ce7118 https://share.transistor.fm/s/896f94c0 "Don’t let’s ask for the moon, we have the stars!"

Irving Rapper’s 1942 film Now, Voyager may have met with mixed reviews but it certainly found its audience, showing that people were thrilled with the on-screen pairing of Bette Davis and Paul Henreid in a story about a woman learning to come out of her shell. It helped that Davis connected so much with this role. She fought for the part and got it, creating one of her iconic and romantic screen personas. Join us – Pete Wright and Andy Nelson – as we continue our Bette Davis series with Rapper’s film Now, Voyager. 

We talk about Davis and our thoughts of her in general, paired with our thoughts of this film and what works – or doesn’t work – for us. We chat about Casey Robinson’s script and Olive HIggins Prouty’s source material, contemplating issues we have like the flashback structure, and wondering if the story could have been told without them. (We also contemplate the original story, wondering if perhaps its foundation was flashbacks, giving the filmmakers a sense that they needed to include them.) We look at the cast – notably Davis, Henreid, Claude Rains, Gladys Cooper and Mary Wickes – and discuss what they bring to the table. And we revel in the sweepingly romantic themes that composer Max Steiner for which won an Oscar.

It’s a film that Andy loves and Pete finds problematic in lots of little ways, but certainly one well worth talking about. How does it stack up for you? Check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Now, Voyager by Olive Higgins Prouty
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Wilson (Red Band) — "The sequel to Cast Away that follows Wilson the volleyball and his world exploits this is not. It’s Woody Harrelson and Laura Dern reconnecting with the daughter they gave away for adoption 17 years ago. But funny. Funny in the best of red band ways. Plus it’s based on a Daniel Clowes graphic novel, so it’s got that going for it."
  • Pete's Trailer: Gifted — "Once again, you go Chris Evans for making interesting, feel-good, even formulaic non-Cap films that bring a man tear right to my big stupid face. And a fine welcome back to Marc Webb who may just be bringing me everything I loved about 500 Days of Summer in the kinda foul mouth of McKenna Grace."

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]]> "Don’t let’s ask for the moon, we have the stars!"

Irving Rapper’s 1942 film Now, Voyager may have met with mixed reviews but it certainly found its audience, showing that people were thrilled with the on-screen pairing of Bette Davis and Paul Henreid in a story about a woman learning to come out of her shell. It helped that Davis connected so much with this role. She fought for the part and got it, creating one of her iconic and romantic screen personas. Join us – Pete Wright and Andy Nelson – as we continue our Bette Davis series with Rapper’s film Now, Voyager. 

We talk about Davis and our thoughts of her in general, paired with our thoughts of this film and what works – or doesn’t work – for us. We chat about Casey Robinson’s script and Olive HIggins Prouty’s source material, contemplating issues we have like the flashback structure, and wondering if the story could have been told without them. (We also contemplate the original story, wondering if perhaps its foundation was flashbacks, giving the filmmakers a sense that they needed to include them.) We look at the cast – notably Davis, Henreid, Claude Rains, Gladys Cooper and Mary Wickes – and discuss what they bring to the table. And we revel in the sweepingly romantic themes that composer Max Steiner for which won an Oscar.

It’s a film that Andy loves and Pete finds problematic in lots of little ways, but certainly one well worth talking about. How does it stack up for you? Check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Now, Voyager by Olive Higgins Prouty
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Wilson (Red Band) — "The sequel to Cast Away that follows Wilson the volleyball and his world exploits this is not. It’s Woody Harrelson and Laura Dern reconnecting with the daughter they gave away for adoption 17 years ago. But funny. Funny in the best of red band ways. Plus it’s based on a Daniel Clowes graphic novel, so it’s got that going for it."
  • Pete's Trailer: Gifted — "Once again, you go Chris Evans for making interesting, feel-good, even formulaic non-Cap films that bring a man tear right to my big stupid face. And a fine welcome back to Marc Webb who may just be bringing me everything I loved about 500 Days of Summer in the kinda foul mouth of McKenna Grace."

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]]> Thu, 10 Nov 2016 06:00:00 -0800 The Next Reel The Next Reel 4472 Join us – Pete Wright and Andy Nelson – as we continue our Bette Davis series with Irving Rapper’s film Now, Voyager. Join us – Pete Wright and Andy Nelson – as we continue our Bette Davis series with Irving Rapper’s film Now, Voyager. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Little Foxes • The Next Reel 6 6 18 18 The Little Foxes • The Next Reel full f39ab55f-f82d-4172-809d-d64363662086 https://share.transistor.fm/s/37ec62f1 "You must hate me very much."

Bette Davis was never one to shy away from roles, except perhaps from those that weren’t meaty enough. And she found a lot to work with in Lillian Hellman’s play “The Little Foxes” when William Wyler brought it to the big screen. And even though it meant endless fights on set with her director, Davis received her fifth Oscar nomination for her performance. It’s a dark film, but certainly one worth watching. Join us – Pete Wright and Andy Nelson – as we kick off our Bette Davis series with Wyler’s 1941 film The Little Foxes. 

We talk about Davis and deliberate on why she’s someone worth discussing, or even someone worth writing songs about. We look at Wyler and his career, and how despite the fact that he doesn’t really stand out as an auteur that he’s still someone who created a large quantity of incredible films. We discuss Hellman and how her Communist beliefs might have influenced her script. We hit on Gregg Toland and his deep focus he’s still practicing after just having finished Citizen Kane, bringing a lot to the table with this film. And we look at the rest of the cast, including Teresa Wright, Herbert Marshall, David Carlson, Patricia Colinge and Dan Duryea, and what they add to the film.

Like There Will Be Blood, this is a film about wicked people trying to climb to the top. It’s a tough film to watch but everyone in it is so compelling, it’s hard to turn off. We have a great conversation about it this week so check it out then tune in!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • About The Little Foxes — A Play by Lillian Hellman
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Toni Erdmann — "I had picked a completely different trailer but saw this and thought it was off the wall enough that I wanted to go with it instead. This looks like an exciting father-daughter story as a dad tries to help break his daughter out of the successful yet unhappy life she’s made for herself. As a father who wants to see his daughter happy AND successful, this really struck a chord with me."
  • Pete's Trailer: Life — "Have I ever mentioned that for a time in my life, I was actually mistaken for Ryan Reynolds? That would be reason enough to pick this movie, but drop in Rebecca Ferguson and Jake Gyllenhaal, the ISS, and a creepy spore mangler and I’m all in. Of course, this movie does come with risks: Daniel Espinosa helmed Child 44, currently 43 of 51 on The Film Board’s Flickchart listing and the central reason you have to fear trains undressing your children."

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]]> "You must hate me very much."

Bette Davis was never one to shy away from roles, except perhaps from those that weren’t meaty enough. And she found a lot to work with in Lillian Hellman’s play “The Little Foxes” when William Wyler brought it to the big screen. And even though it meant endless fights on set with her director, Davis received her fifth Oscar nomination for her performance. It’s a dark film, but certainly one worth watching. Join us – Pete Wright and Andy Nelson – as we kick off our Bette Davis series with Wyler’s 1941 film The Little Foxes. 

We talk about Davis and deliberate on why she’s someone worth discussing, or even someone worth writing songs about. We look at Wyler and his career, and how despite the fact that he doesn’t really stand out as an auteur that he’s still someone who created a large quantity of incredible films. We discuss Hellman and how her Communist beliefs might have influenced her script. We hit on Gregg Toland and his deep focus he’s still practicing after just having finished Citizen Kane, bringing a lot to the table with this film. And we look at the rest of the cast, including Teresa Wright, Herbert Marshall, David Carlson, Patricia Colinge and Dan Duryea, and what they add to the film.

Like There Will Be Blood, this is a film about wicked people trying to climb to the top. It’s a tough film to watch but everyone in it is so compelling, it’s hard to turn off. We have a great conversation about it this week so check it out then tune in!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • About The Little Foxes — A Play by Lillian Hellman
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Toni Erdmann — "I had picked a completely different trailer but saw this and thought it was off the wall enough that I wanted to go with it instead. This looks like an exciting father-daughter story as a dad tries to help break his daughter out of the successful yet unhappy life she’s made for herself. As a father who wants to see his daughter happy AND successful, this really struck a chord with me."
  • Pete's Trailer: Life — "Have I ever mentioned that for a time in my life, I was actually mistaken for Ryan Reynolds? That would be reason enough to pick this movie, but drop in Rebecca Ferguson and Jake Gyllenhaal, the ISS, and a creepy spore mangler and I’m all in. Of course, this movie does come with risks: Daniel Espinosa helmed Child 44, currently 43 of 51 on The Film Board’s Flickchart listing and the central reason you have to fear trains undressing your children."

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]]> Thu, 03 Nov 2016 06:00:00 -0700 The Next Reel The Next Reel 4267 Join us – Pete Wright and Andy Nelson – as we kick off our Bette Davis series with William Wyler’s 1941 film The Little Foxes. Join us – Pete Wright and Andy Nelson – as we kick off our Bette Davis series with William Wyler’s 1941 film The Little Foxes. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Philadelphia Story — Steve Miner • Movies We Like 1 1 11 11 The Philadelphia Story — Steve Miner • Movies We Like full ddedd1ac-771a-40a9-9b7b-1b2eeb368609 https://share.transistor.fm/s/b5f93e59 "The prettiest sight in this fine, pretty world is the privileged class enjoying its privileges."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, director Steve Miner joins us to talk about one of his favorites, George Cukor’s 1940 film The Philadelphia Story.

We talk about the nature of this story and how it’s so much more than a screwball comedy, which is how it’s often billed. We look at how Katharine Hepburn was intrinsic in getting both the original play and this film made, what it meant for her career at the time and how well it holds up today (despite one potentially nasty depiction of abuse). We discuss Hepburn, Cary Grant and Jimmy Stewart and how well they work together in this story. We look at what director George Cukor brings to the table, finding the right ways to bring the script to life. We talk about the nature of the media and paparazzi and how things really haven’t changed all that much. And we look at how the film did not just in the box office and during Awards season, but more importantly how it’s really proven that it can stand the test of time.

It’s a marvelous film, one that’s well worth watching. We had a great time talking about it with Steve and hearing his perspective on why it’s one of his favorites. So check out the movie then tune in!

Film Sundries


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]]> "The prettiest sight in this fine, pretty world is the privileged class enjoying its privileges."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, director Steve Miner joins us to talk about one of his favorites, George Cukor’s 1940 film The Philadelphia Story.

We talk about the nature of this story and how it’s so much more than a screwball comedy, which is how it’s often billed. We look at how Katharine Hepburn was intrinsic in getting both the original play and this film made, what it meant for her career at the time and how well it holds up today (despite one potentially nasty depiction of abuse). We discuss Hepburn, Cary Grant and Jimmy Stewart and how well they work together in this story. We look at what director George Cukor brings to the table, finding the right ways to bring the script to life. We talk about the nature of the media and paparazzi and how things really haven’t changed all that much. And we look at how the film did not just in the box office and during Awards season, but more importantly how it’s really proven that it can stand the test of time.

It’s a marvelous film, one that’s well worth watching. We had a great time talking about it with Steve and hearing his perspective on why it’s one of his favorites. So check out the movie then tune in!

Film Sundries


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]]> Tue, 01 Nov 2016 06:00:00 -0700 TruStory FM TruStory FM 5024 This month in the Speakeasy, director Steve Miner (Friday the 13th Part 2, Halloween H20: 20 Years Later) joins us to talk about one of his favorites, George Cukor’s 1940 film The Philadelphia Story. This month in the Speakeasy, director Steve Miner (Friday the 13th Part 2, Halloween H20: 20 Years Later) joins us to talk about one of his favorites, George Cukor’s 1940 film The Philadelphia Story. Movies We Like, Steve Miner No Andy Nelson Pete Wright The Fly • The Next Reel 6 6 17 17 The Fly • The Next Reel full 21986cba-f199-49e1-b8be-db5de4eabcc9 https://share.transistor.fm/s/6a280a2b "Be Afraid. Be very afraid."

There are certain people that are drawn to a movie because of reports about early screenings where audience members had to leave the theatre because the gore made them physically sick. Whether it’s an attraction to the gruesome horror films, a chance for some good jumps and frights or simply a curiosity to see what the filmmakers could have done to actually make people ill, gore can certainly boost a horror film at the box office. And that certainly was the case with David Cronenberg’s 1986 horror masterpiece The Fly, a remake of the ‘58 version which itself was based on George Langelaan’s short story. Cronenberg, however, is a filmmaker who certainly puts a lot of thought into his films, never one to simply make a gorefest, and this film certainly has more going for it. Join us – Pete Wright and Andy Nelson – as we delve into the last Listener’s Choice episode of the year, this time with Matthew Medrano to discuss Cronenberg’s film. 

We talk to Matt about why he picked this film and what he loves about it so much. We talk about our enjoyment with the film and what Cronenberg is doing here, bringing multiple genres together to craft his story. We chat about how the film came to be and what Cronenberg and his co-writer Charles Edward Pogue opted to do in updating the original film (and short story). We look at the perfect blend of Jeff Goldblum and Geena Davis, a real-life couple at the time who brought amazing amounts of charisma, connection, struggle and heartbreak to the roles. We chat about the production team and the complexities they had in making all of the effects work and bringing them to life. And we look at how well this film did at the box office, surprised that only five years earlier, The Thing couldn’t draw a crowd.

It’s a great film and certainly one worth talking with. Thanks, Matt, for recommending we add it to the show! Now it’s everybody’s turn to check out the movie then tune in to the show!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Art of the Title
  • The Fly (1958) — Netflix
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: A Cure for Wellness — "Gore Verbinski doesn’t always make films I love, but he certainly has a strong directorial touch. His remake of _The Ring_proved he could handle horror, and this certainly looks to be on the same wavelength. Strong cast, incredible visuals and creepy concept all make for something I definitely want to see."
  • Pete's Trailer: Frank & Lola — "It’s probably a bit too easy to compare this to Last Tango in Paris, which is engaging, but overrated. I’m more interested in Michael Shannon than Brando in a role of this ilk, and the last shot of him in this trailer, in the smock splattered in blood, is just the sort of tease that nails a trailer."

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]]> "Be Afraid. Be very afraid."

There are certain people that are drawn to a movie because of reports about early screenings where audience members had to leave the theatre because the gore made them physically sick. Whether it’s an attraction to the gruesome horror films, a chance for some good jumps and frights or simply a curiosity to see what the filmmakers could have done to actually make people ill, gore can certainly boost a horror film at the box office. And that certainly was the case with David Cronenberg’s 1986 horror masterpiece The Fly, a remake of the ‘58 version which itself was based on George Langelaan’s short story. Cronenberg, however, is a filmmaker who certainly puts a lot of thought into his films, never one to simply make a gorefest, and this film certainly has more going for it. Join us – Pete Wright and Andy Nelson – as we delve into the last Listener’s Choice episode of the year, this time with Matthew Medrano to discuss Cronenberg’s film. 

We talk to Matt about why he picked this film and what he loves about it so much. We talk about our enjoyment with the film and what Cronenberg is doing here, bringing multiple genres together to craft his story. We chat about how the film came to be and what Cronenberg and his co-writer Charles Edward Pogue opted to do in updating the original film (and short story). We look at the perfect blend of Jeff Goldblum and Geena Davis, a real-life couple at the time who brought amazing amounts of charisma, connection, struggle and heartbreak to the roles. We chat about the production team and the complexities they had in making all of the effects work and bringing them to life. And we look at how well this film did at the box office, surprised that only five years earlier, The Thing couldn’t draw a crowd.

It’s a great film and certainly one worth talking with. Thanks, Matt, for recommending we add it to the show! Now it’s everybody’s turn to check out the movie then tune in to the show!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Art of the Title
  • The Fly (1958) — Netflix
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: A Cure for Wellness — "Gore Verbinski doesn’t always make films I love, but he certainly has a strong directorial touch. His remake of _The Ring_proved he could handle horror, and this certainly looks to be on the same wavelength. Strong cast, incredible visuals and creepy concept all make for something I definitely want to see."
  • Pete's Trailer: Frank & Lola — "It’s probably a bit too easy to compare this to Last Tango in Paris, which is engaging, but overrated. I’m more interested in Michael Shannon than Brando in a role of this ilk, and the last shot of him in this trailer, in the smock splattered in blood, is just the sort of tease that nails a trailer."

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]]> Thu, 27 Oct 2016 06:00:00 -0700 The Next Reel The Next Reel 4933 Join us – Pete Wright and Andy Nelson – as we delve into the last Listener’s Choice episode of the year, this time with Matthew Medrano to discuss Cronenberg’s film "The Fly." Join us – Pete Wright and Andy Nelson – as we delve into the last Listener’s Choice episode of the year, this time with Matthew Medrano to discuss Cronenberg’s film "The Fly." film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Seabiscuit • The Next Reel 6 6 16 16 Seabiscuit • The Next Reel full 3f5ddb34-e75d-4e4f-b1f8-85c4cc46d44f https://share.transistor.fm/s/6cf6491d "You don’t throw a whole life away just ‘cause he’s banged up a little."

When Seabiscuit raced in the 30s, he drew more news than Roosevelt or Hitler. His match race against War Admiral was heard by 40 million people, statistically about as many Americans who tune in to watch the Superbowl every year. But he wasn’t just winning races – he was a hero for the little guy who lost everything in the Great Depression and was fighting for a second chance. Join us – Pete Wright and Andy Nelson – as we wrap up our “This Is Real Life, Jack!” series with Gary Ross’ 2003 film Seabiscuit. 

We talk about how the movie works overall, and the interesting addition Ross added of documentary-style narration provided by one of America’s great voices, David McCullough. We debate about how well Ross does with the opening act of his film – is it a sloppy mess that takes too long to get us to the horse or is it a brilliantly cut-together example of how well Ross does to move us through time and connect us to these characters? We look at the performances of Jeff Bridges, Chris Cooper, Tobey Maguire, Elizabeth Banks and William H. Macy, among others, and relish in the great work they all do here, even if Banks really is given nothing more than the ‘thankless wife’ role. We discuss some of the key team members – John Schwartzman’s cinematography, William Goldenberg’s editing, Randy Newman’s music – and what they all bring to the table. And we ponder the cost of the Equicizer and how effective it is in allowing the filmmakers to cut in closeups of actors talking while in the midst of their incredibly choreographed and photographed races. 

It’s a beautiful, powerful film that may wear its heart on its sleeve, but one that does so proudly, not ashamed of what it is. We have a great conversation about it, even if we don’t see eye to eye on everything in it. So check out the movie then tune in!

Film Sundries


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]]> "You don’t throw a whole life away just ‘cause he’s banged up a little."

When Seabiscuit raced in the 30s, he drew more news than Roosevelt or Hitler. His match race against War Admiral was heard by 40 million people, statistically about as many Americans who tune in to watch the Superbowl every year. But he wasn’t just winning races – he was a hero for the little guy who lost everything in the Great Depression and was fighting for a second chance. Join us – Pete Wright and Andy Nelson – as we wrap up our “This Is Real Life, Jack!” series with Gary Ross’ 2003 film Seabiscuit. 

We talk about how the movie works overall, and the interesting addition Ross added of documentary-style narration provided by one of America’s great voices, David McCullough. We debate about how well Ross does with the opening act of his film – is it a sloppy mess that takes too long to get us to the horse or is it a brilliantly cut-together example of how well Ross does to move us through time and connect us to these characters? We look at the performances of Jeff Bridges, Chris Cooper, Tobey Maguire, Elizabeth Banks and William H. Macy, among others, and relish in the great work they all do here, even if Banks really is given nothing more than the ‘thankless wife’ role. We discuss some of the key team members – John Schwartzman’s cinematography, William Goldenberg’s editing, Randy Newman’s music – and what they all bring to the table. And we ponder the cost of the Equicizer and how effective it is in allowing the filmmakers to cut in closeups of actors talking while in the midst of their incredibly choreographed and photographed races. 

It’s a beautiful, powerful film that may wear its heart on its sleeve, but one that does so proudly, not ashamed of what it is. We have a great conversation about it, even if we don’t see eye to eye on everything in it. So check out the movie then tune in!

Film Sundries


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]]> Thu, 20 Oct 2016 06:00:00 -0700 The Next Reel The Next Reel 4636 Join us – Pete Wright and Andy Nelson – as we wrap up our “This Is Real Life, Jack!” series with Gary Ross’ 2003 film Seabiscuit. Join us – Pete Wright and Andy Nelson – as we wrap up our “This Is Real Life, Jack!” series with Gary Ross’ 2003 film Seabiscuit. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Black Hawk Down • The Next Reel 6 6 15 15 Black Hawk Down • The Next Reel full 5f180e9b-e5a5-4e99-903b-5446c998826f https://share.transistor.fm/s/2d05facf "They won’t understand why we do it. They won’t understand it’s about the men next to you. That’s all it is."

There is a political side to military operations, and there is a military side. Regardless of the politics of the 1993 situation in Somalia, the battle of Mogadishu was a terrible one, leaving 19 US soldiers, a Pakistani soldier and a Malaysian soldier dead, not to mention the countless Somalis. Ridley Scott’s 2001 film Black Hawk Down, based on Mark Bowden’s book, tells the story of this battle and it’s a powerful one. Certainly, it’s a film everyone should see at least once to fully grasp this situation. Join us as we continue our “This Is Real Life, Jack” series with Scott’s powerful film.

We talk about the real situation and how the filmmakers condensed it to tell this story in just over two hours, looking at some of what was changed and how the real soldiers who had been there reacted to the film. We look at Scott and producer Jerry Bruckheimer and what they each bring to a film like this, finding ourselves immensely impressed that this didn’t take the path of Pearl Harbor, fictionalizing the story for the wrong reasons. We give kudos to the immense cast and the casting director who brought them all together. We touch on the effects work, both on set and in the digital world, marveling at the powerful war zone they’ve created here. And we chat with Bowden a bit to get his take on how well they adapted his book. 

It’s a difficult film to watch but a strong one too. It’s a film that puts us in the soldiers’ shoes in a very messy incursion, helping us understand the mentality of what it takes to go into a situation like this. Read the book, check out the movie and tune in to this week’s show! 

Film Sundries


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]]> "They won’t understand why we do it. They won’t understand it’s about the men next to you. That’s all it is."

There is a political side to military operations, and there is a military side. Regardless of the politics of the 1993 situation in Somalia, the battle of Mogadishu was a terrible one, leaving 19 US soldiers, a Pakistani soldier and a Malaysian soldier dead, not to mention the countless Somalis. Ridley Scott’s 2001 film Black Hawk Down, based on Mark Bowden’s book, tells the story of this battle and it’s a powerful one. Certainly, it’s a film everyone should see at least once to fully grasp this situation. Join us as we continue our “This Is Real Life, Jack” series with Scott’s powerful film.

We talk about the real situation and how the filmmakers condensed it to tell this story in just over two hours, looking at some of what was changed and how the real soldiers who had been there reacted to the film. We look at Scott and producer Jerry Bruckheimer and what they each bring to a film like this, finding ourselves immensely impressed that this didn’t take the path of Pearl Harbor, fictionalizing the story for the wrong reasons. We give kudos to the immense cast and the casting director who brought them all together. We touch on the effects work, both on set and in the digital world, marveling at the powerful war zone they’ve created here. And we chat with Bowden a bit to get his take on how well they adapted his book. 

It’s a difficult film to watch but a strong one too. It’s a film that puts us in the soldiers’ shoes in a very messy incursion, helping us understand the mentality of what it takes to go into a situation like this. Read the book, check out the movie and tune in to this week’s show! 

Film Sundries


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]]> Thu, 13 Oct 2016 06:00:00 -0700 The Next Reel, Mark Bowden The Next Reel, Mark Bowden 5441 Join us as we continue our “This Is Real Life, Jack” series with Ridley Scott’s powerful film "Black Hawk Down. Plus, we chat with Mark Bowden about this adaptation of his book. Join us as we continue our “This Is Real Life, Jack” series with Ridley Scott’s powerful film "Black Hawk Down. Plus, we chat with Mark Bowden about this adaptation of his book. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Dish • The Next Reel 6 6 14 14 The Dish • The Next Reel full e7a9337f-658f-4c99-8d28-54d876eafd46 https://share.transistor.fm/s/c557d9bf "The whole town is over the moon."

Every story has many facets, but often the big story hides some of the smaller facets. The Australian film The Dish is a perfect example of this. The big story? Apollo 11’s successful mission to the moon. The small story? The Australians working at Parkes Observatory – a radio telescope in the middle of a sheep paddock – that was critical to the success of the mission and was our link to the footage we’ve all seen of Neil Armstrong’s first steps on the surface of the moon. 

Join us – Pete Wright and Andy Nelson – as we kick off our “It’s Real Life, Jack” series with Rob Sitch’s 2000 film The Dish. We talk about what a delightful film this is and how great it is learning about this small bit of history that neither of us knew. We talk about Working Dog, the creative production team behind the film, and have a brief interview with producer Tom Gleisner about how they came to tell this particular story, the nature of ‘telling the truth’ in a film based on a fact and more. We chat about the actors – notably Sam Neill, Patrick Warburton, Kevin Harrington, Tom Long and Roy Billing, among others – and how they all create unique and quirky characters that work perfectly in this world. And we touch on not only Edmund Choi’s beautiful, award-winning score but also the fantastic soundtrack full of great songs. 

It’s a wonderful film that helps one expand upon and appreciate the Apollo 11 moon landing even more. So what are you waiting for? Check it out then tune in!

Film Sundries


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]]> "The whole town is over the moon."

Every story has many facets, but often the big story hides some of the smaller facets. The Australian film The Dish is a perfect example of this. The big story? Apollo 11’s successful mission to the moon. The small story? The Australians working at Parkes Observatory – a radio telescope in the middle of a sheep paddock – that was critical to the success of the mission and was our link to the footage we’ve all seen of Neil Armstrong’s first steps on the surface of the moon. 

Join us – Pete Wright and Andy Nelson – as we kick off our “It’s Real Life, Jack” series with Rob Sitch’s 2000 film The Dish. We talk about what a delightful film this is and how great it is learning about this small bit of history that neither of us knew. We talk about Working Dog, the creative production team behind the film, and have a brief interview with producer Tom Gleisner about how they came to tell this particular story, the nature of ‘telling the truth’ in a film based on a fact and more. We chat about the actors – notably Sam Neill, Patrick Warburton, Kevin Harrington, Tom Long and Roy Billing, among others – and how they all create unique and quirky characters that work perfectly in this world. And we touch on not only Edmund Choi’s beautiful, award-winning score but also the fantastic soundtrack full of great songs. 

It’s a wonderful film that helps one expand upon and appreciate the Apollo 11 moon landing even more. So what are you waiting for? Check it out then tune in!

Film Sundries


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]]> Thu, 06 Oct 2016 06:00:00 -0700 The Next Reel The Next Reel 4289 Join us – Pete Wright and Andy Nelson – as we kick off our “It’s Real Life, Jack” series with Rob Sitch’s 2000 film The Dish. Join us – Pete Wright and Andy Nelson – as we kick off our “It’s Real Life, Jack” series with Rob Sitch’s 2000 film The Dish. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Apocalypse Now — Paul Cameron • Movies We Like 1 1 10 10 Apocalypse Now — Paul Cameron • Movies We Like full 1247224b-c7bf-4973-9cf1-a032c890f8b7 https://share.transistor.fm/s/39f3540f "You’re an errand boy sent by grocery clerks to collect a bill."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Paul Cameron joins us to talk about one of his favorite films, Apocalypse Now.

We talk about why this film is such a key film for us and why Paul picked it, specifically the darkly poetic journey we go on with the characters, both internally and externally. We look at what Francis Ford Coppola went through to get this film made and how he, his crew and his cast all took their own dark journeys to make it happen. We discuss the script and what John Milius, Coppola and Michael Herr built into it as they adapted Joseph Conrad’s novella “Heart of Darkness” into a Vietnam setting. We chat about what the actors – notably Martin Sheen, Marlon Brando, Robert Duvall, Frederic Forrest, Larry Fishburne, Sam Bottoms, Albert Hall and Dennis Hopper – bring to the table. We discuss the importance of the look of the film, beautifully shot by Vittorio Storaro; and of the sound, designed by Walter Murch, Mark Berger, Richard Beggs and Nathan Boxer, and how it’s the grandfather of Dolby 5.1 Surround Sound. We touch on the original cut and Apocalypse Now Redux, not to mention Coppola’s wife’s documentary Hearts of Darkness: A Filmmaker’s Apocalypse and how all of the behind the scenes stories may affect one’s views of the film (if at all). And we look at how well the film did, assuaging any concerns Coppola had during the making (especially since it was self-financed and required him to mortgage his vineyards). 

It’s a brilliant film, truly one of the great American classics and well worth talking about. We have a great chat with Paul about it, so check out the movie then tune in!

Film Sundries


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]]> "You’re an errand boy sent by grocery clerks to collect a bill."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Paul Cameron joins us to talk about one of his favorite films, Apocalypse Now.

We talk about why this film is such a key film for us and why Paul picked it, specifically the darkly poetic journey we go on with the characters, both internally and externally. We look at what Francis Ford Coppola went through to get this film made and how he, his crew and his cast all took their own dark journeys to make it happen. We discuss the script and what John Milius, Coppola and Michael Herr built into it as they adapted Joseph Conrad’s novella “Heart of Darkness” into a Vietnam setting. We chat about what the actors – notably Martin Sheen, Marlon Brando, Robert Duvall, Frederic Forrest, Larry Fishburne, Sam Bottoms, Albert Hall and Dennis Hopper – bring to the table. We discuss the importance of the look of the film, beautifully shot by Vittorio Storaro; and of the sound, designed by Walter Murch, Mark Berger, Richard Beggs and Nathan Boxer, and how it’s the grandfather of Dolby 5.1 Surround Sound. We touch on the original cut and Apocalypse Now Redux, not to mention Coppola’s wife’s documentary Hearts of Darkness: A Filmmaker’s Apocalypse and how all of the behind the scenes stories may affect one’s views of the film (if at all). And we look at how well the film did, assuaging any concerns Coppola had during the making (especially since it was self-financed and required him to mortgage his vineyards). 

It’s a brilliant film, truly one of the great American classics and well worth talking about. We have a great chat with Paul about it, so check out the movie then tune in!

Film Sundries


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]]> Tue, 04 Oct 2016 06:00:00 -0700 TruStory FM TruStory FM 3715 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Paul Cameron joins us to talk about one of his favorite films, Apocalypse Now. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Paul Cameron joins us to talk about one of his favo Movies We Like, Paul Cameron No Andy Nelson Pete Wright The Magnificent Seven (2016) • The Next Reel 6 6 13 13 The Magnificent Seven (2016) • The Next Reel full 52d07a7a-c111-4484-a42d-01615695f5e0 https://share.transistor.fm/s/d9e5b747 "I’ll say a prayer for you. A little prayer."

Antoine Fuqua has talked about how much a fan he is of both westerns and of Akira Kurosawa’s 1954 film Seven Samurai. Knowing that, it’s frustrating to see that his retelling of Kurosawa’s film transplanted to the old west doesn’t stand as strong as Kurosawa’s film or even as strong as John Sturges’ own 1960 version, the original The Magnificent Seven. Still, it has a great cast playing some colorful characters and while largely forgettable is still enjoyable enough. Join us – Pete Wright and Andy Nelson – as we conclude our Seven Samurai Family series with Fuqua’s 2016 remake The Magnificent Seven. 

We talk about the thread of DNA starting with Seven Samurai and where it leaves this current iteration, knowing that the writers were largely pulling from Sturges’ remake while Fuqua and actor Denzel Washington were finding more inspiration from Kurosawa’s original film. We chat about Fuqua and the writers, wondering what they were each bringing to the table and why it didn’t feel as strong as it should have. We discuss the cast, how nice it is to see more diversity and how frustrating it is that those diverse elements don’t get as much to do. And we look at the locations, contemplating the movie magic they must’ve employed to create the old west in Louisiana where it was filmed primarily. 

It’s a faulted re-telling of this story, though we both acknowledge that people coming to this film without knowing its DNA roots may find it completely enjoyable. As frustrating as it may be for us, we still find it enjoyable to discuss. So check out the movie then tune in!


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]]> "I’ll say a prayer for you. A little prayer."

Antoine Fuqua has talked about how much a fan he is of both westerns and of Akira Kurosawa’s 1954 film Seven Samurai. Knowing that, it’s frustrating to see that his retelling of Kurosawa’s film transplanted to the old west doesn’t stand as strong as Kurosawa’s film or even as strong as John Sturges’ own 1960 version, the original The Magnificent Seven. Still, it has a great cast playing some colorful characters and while largely forgettable is still enjoyable enough. Join us – Pete Wright and Andy Nelson – as we conclude our Seven Samurai Family series with Fuqua’s 2016 remake The Magnificent Seven. 

We talk about the thread of DNA starting with Seven Samurai and where it leaves this current iteration, knowing that the writers were largely pulling from Sturges’ remake while Fuqua and actor Denzel Washington were finding more inspiration from Kurosawa’s original film. We chat about Fuqua and the writers, wondering what they were each bringing to the table and why it didn’t feel as strong as it should have. We discuss the cast, how nice it is to see more diversity and how frustrating it is that those diverse elements don’t get as much to do. And we look at the locations, contemplating the movie magic they must’ve employed to create the old west in Louisiana where it was filmed primarily. 

It’s a faulted re-telling of this story, though we both acknowledge that people coming to this film without knowing its DNA roots may find it completely enjoyable. As frustrating as it may be for us, we still find it enjoyable to discuss. So check out the movie then tune in!


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]]> Thu, 29 Sep 2016 06:00:00 -0700 The Next Reel The Next Reel 4976 Join us – Pete Wright and Andy Nelson – as we conclude our Seven Samurai Family series with Antoine Fuqua’s 2016 remake The Magnificent Seven. Join us – Pete Wright and Andy Nelson – as we conclude our Seven Samurai Family series with Antoine Fuqua’s 2016 remake The Magnificent Seven. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A Bug's Life • The Next Reel 6 6 12 12 A Bug's Life • The Next Reel full 787ddb88-05d0-4357-b0fb-347f45e73a95 https://share.transistor.fm/s/7cb6828b "From way up here, you all look like little ants!"

Time heals all wounds, but the rift between Jeffrey Katzenberg and Disney may not apply. When Katzenberg, former chairman of Disney’s film division, left Disney after a bitter feud with CEO Michael Eisner, he formed DreamWorks with Steven Spielberg and David Geffen and soon began plotting his battle in animation with his former employer. So while Disney began working with Pixar on A Bug’s Life, he started working on Antz. And the great cinema battle of 1998 began. And while time may never heal the rift between Katzenberg and Disney, it certainly has shown us that Pixar knows how to make strong films and with their second film, they proved that they had staying power, regardless of what DreamWorks put out. 

Join us – Andy Nelson and Pete Wright – as we continue our Seven Samurai Family series with John Lasseter’s and Andrew Stanton’s 1998 A Bug’s Life. We talk about the battle between Antz and A Bug’s Life, debating the strengths of them both and which personally is our preference. We look at the amazing storytelling that Pixar’s team does here, crafting a fantastic film that shares its DNA with all its forefathers in this family, even if they never bring it up. We discuss the brilliant cast – notably Dave Foley and Kevin Spacey – and why they work so well in their roles. We talk about the hard work of bringing a world like this to life, even if it may look a bit more rough now that computer animated films have progressed to such amazing levels. And we have to talk about Randy Newman again and how he pops up in here, scoring the film its one Academy Award nomination. 

It’s a great film and a fun family addition to our series. Definitely check it out then tune in!

Film Sundries


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]]> "From way up here, you all look like little ants!"

Time heals all wounds, but the rift between Jeffrey Katzenberg and Disney may not apply. When Katzenberg, former chairman of Disney’s film division, left Disney after a bitter feud with CEO Michael Eisner, he formed DreamWorks with Steven Spielberg and David Geffen and soon began plotting his battle in animation with his former employer. So while Disney began working with Pixar on A Bug’s Life, he started working on Antz. And the great cinema battle of 1998 began. And while time may never heal the rift between Katzenberg and Disney, it certainly has shown us that Pixar knows how to make strong films and with their second film, they proved that they had staying power, regardless of what DreamWorks put out. 

Join us – Andy Nelson and Pete Wright – as we continue our Seven Samurai Family series with John Lasseter’s and Andrew Stanton’s 1998 A Bug’s Life. We talk about the battle between Antz and A Bug’s Life, debating the strengths of them both and which personally is our preference. We look at the amazing storytelling that Pixar’s team does here, crafting a fantastic film that shares its DNA with all its forefathers in this family, even if they never bring it up. We discuss the brilliant cast – notably Dave Foley and Kevin Spacey – and why they work so well in their roles. We talk about the hard work of bringing a world like this to life, even if it may look a bit more rough now that computer animated films have progressed to such amazing levels. And we have to talk about Randy Newman again and how he pops up in here, scoring the film its one Academy Award nomination. 

It’s a great film and a fun family addition to our series. Definitely check it out then tune in!

Film Sundries


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]]> Thu, 22 Sep 2016 14:11:00 -0700 The Next Reel The Next Reel 4868 Join us – Andy Nelson and Pete Wright – as we continue our Seven Samurai Family series with John Lasseter’s and Andrew Stanton’s 1998 A Bug’s Life. Join us – Andy Nelson and Pete Wright – as we continue our Seven Samurai Family series with John Lasseter’s and Andrew Stanton’s 1998 A Bug’s Life. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright ¡Three Amigos! • The Next Reel 6 6 11 11 ¡Three Amigos! • The Next Reel full f75577ad-a1f2-46f0-9e0d-73263e371604 https://share.transistor.fm/s/25c00da3 "They called us scum-sucking pigs! Us!"

It was the movie that had ‘hit’ written all over it. Three of the funniest actors starred together for the first time: Steve Martin, Chevy Chase and Martin Short. One of the top comedy directors – John Landis – was at the helm. But for whatever reason, ¡Three Amigos! did not find its audience. Critics were harsh on it and, while it may have made its money back, it was not deemed a success. But time has proven that some films need time to find their audiences. Now with a cult following, ¡Three Amigos! has found its staying power with its absurd comedy stylings. Join us – Pete Wright and Andy Nelson – as we continue our Seven Samurai family series with Landis’ 1986 film ¡Three Amigos!. 

We talk about why this film works so well for us, but also how smartly adapted it is from its forebears. We look at Landis as a director and what he brings to the table here, and also why he wasn’t around so much during the post. We chat about Martin, Chase and Short and how perfect they are for these three silent film stars that get in WAY over their heads. We look at what Elmer Bernstein did here, spoofing his own music from The Magnificent Seven. And we touch on co-writer Randy Newman (you read that right – Randy Flippin’ Newman’s one writing credit is this movie!) and the fantastic songs he wrote for the film. 

It’s a riotous film that we acknowledge may work well for us but not for others. And even though it works for us, it’s certainly worth deliberating how many stars to give it. So check it out and hopefully you’ll laugh like we did, then tune in to this week’s show!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script
  • Original theatrical trailer
  • Original poster artwork
  • Pete & Andy talk Seven Samurai
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Free Fire Red Band Trailer — "A story in a tight setting is always fun to see when pulled off well and the cast looks great. Plus red band trailers always make movies look extra fun. I missed High Rise, Ben Wheatley’s last film, but it’s been on my list of must-sees and now this is too."
  • Pete's Trailer: Live By Night — "Ben Affleck is back with another Dennis Lehane adaptation (remember Gone, Baby, Gone?), this time a story of prohibition era rum-running, mobsters, and race. I’m a fan of the book, as with other Lehane adaptations (and there are plenty) like Shutter Island and Mystic River. I’m liking Affleck more and more the older he gets. My money says this will be one to catch in theaters."

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]]> "They called us scum-sucking pigs! Us!"

It was the movie that had ‘hit’ written all over it. Three of the funniest actors starred together for the first time: Steve Martin, Chevy Chase and Martin Short. One of the top comedy directors – John Landis – was at the helm. But for whatever reason, ¡Three Amigos! did not find its audience. Critics were harsh on it and, while it may have made its money back, it was not deemed a success. But time has proven that some films need time to find their audiences. Now with a cult following, ¡Three Amigos! has found its staying power with its absurd comedy stylings. Join us – Pete Wright and Andy Nelson – as we continue our Seven Samurai family series with Landis’ 1986 film ¡Three Amigos!. 

We talk about why this film works so well for us, but also how smartly adapted it is from its forebears. We look at Landis as a director and what he brings to the table here, and also why he wasn’t around so much during the post. We chat about Martin, Chase and Short and how perfect they are for these three silent film stars that get in WAY over their heads. We look at what Elmer Bernstein did here, spoofing his own music from The Magnificent Seven. And we touch on co-writer Randy Newman (you read that right – Randy Flippin’ Newman’s one writing credit is this movie!) and the fantastic songs he wrote for the film. 

It’s a riotous film that we acknowledge may work well for us but not for others. And even though it works for us, it’s certainly worth deliberating how many stars to give it. So check it out and hopefully you’ll laugh like we did, then tune in to this week’s show!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script
  • Original theatrical trailer
  • Original poster artwork
  • Pete & Andy talk Seven Samurai
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Free Fire Red Band Trailer — "A story in a tight setting is always fun to see when pulled off well and the cast looks great. Plus red band trailers always make movies look extra fun. I missed High Rise, Ben Wheatley’s last film, but it’s been on my list of must-sees and now this is too."
  • Pete's Trailer: Live By Night — "Ben Affleck is back with another Dennis Lehane adaptation (remember Gone, Baby, Gone?), this time a story of prohibition era rum-running, mobsters, and race. I’m a fan of the book, as with other Lehane adaptations (and there are plenty) like Shutter Island and Mystic River. I’m liking Affleck more and more the older he gets. My money says this will be one to catch in theaters."

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]]> Thu, 15 Sep 2016 06:00:00 -0700 The Next Reel The Next Reel 3635 Join us – Pete Wright and Andy Nelson – as we continue our Seven Samurai family series with the 1986 film ¡Three Amigos!. Join us – Pete Wright and Andy Nelson – as we continue our Seven Samurai family series with the 1986 film ¡Three Amigos!. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Heat — Jayson Crothers • Movies We Like 1 1 9 9 Heat — Jayson Crothers • Movies We Like full 76c4cee6-62b5-416c-a1d1-613126d7fc90 https://share.transistor.fm/s/8efb3a27 "All I am is what I’m going after."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Jayson Crothers joins us to talk about one of his favorite films, Michael Mann’s epic 1995 crime drama Heat.

We talk about the world-building that Mann does here, giving us fascinating characters on both sides of the law along with the families they struggle to please. We chat about the powerhouse moment when Robert De Niro and Al Pacino finally end up on screen together for the first time and deliberate about Mann’s careful choice of when they’re fully in the same frame together. We discuss the rest of the amazing cast, notable because every role seems to be inhabited by yet another incredible actor. We chat about the nature of women in Mann’s films and why they may seem afterthoughts as compared to the men. We look at Dante Spinotti’s cinematography and the incredible work he does creating a relatively normal-looking Los Angeles. We touch on the editing, the music, the locations, and many other things that went into creating this rich tapestry. And we ponder an alternate universe where Tone Lōc might have played Pacino’s role. 

It’s an incredible conversation about an incredible film that certainly has stood the test of time. If you haven’t seen it, you definitely need to watch it right now, then join us in our conversation with Crothers about it!

Film Sundries


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]]> "All I am is what I’m going after."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Jayson Crothers joins us to talk about one of his favorite films, Michael Mann’s epic 1995 crime drama Heat.

We talk about the world-building that Mann does here, giving us fascinating characters on both sides of the law along with the families they struggle to please. We chat about the powerhouse moment when Robert De Niro and Al Pacino finally end up on screen together for the first time and deliberate about Mann’s careful choice of when they’re fully in the same frame together. We discuss the rest of the amazing cast, notable because every role seems to be inhabited by yet another incredible actor. We chat about the nature of women in Mann’s films and why they may seem afterthoughts as compared to the men. We look at Dante Spinotti’s cinematography and the incredible work he does creating a relatively normal-looking Los Angeles. We touch on the editing, the music, the locations, and many other things that went into creating this rich tapestry. And we ponder an alternate universe where Tone Lōc might have played Pacino’s role. 

It’s an incredible conversation about an incredible film that certainly has stood the test of time. If you haven’t seen it, you definitely need to watch it right now, then join us in our conversation with Crothers about it!

Film Sundries


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]]> Tue, 13 Sep 2016 06:00:00 -0700 TruStory FM TruStory FM 5653 This month in the Speakeasy, cinematographer Jayson Crothers (The Ghost and The Whale, Chicago Fire) joins us to talk about one of his favorite films, Michael Mann’s epic 1995 crime drama, Heat. This month in the Speakeasy, cinematographer Jayson Crothers (The Ghost and The Whale, Chicago Fire) joins us to talk about one of his favorite films, Michael Mann’s epic 1995 crime drama, Heat. Jayson Crothers, Movies We Like Yes Andy Nelson Pete Wright The Magnificent Seven (1960) • The Next Reel 6 6 10 10 The Magnificent Seven (1960) • The Next Reel full c104daaf-4084-44a7-aad1-05e4b06c208a https://share.transistor.fm/s/a55505f0 "We deal in lead, friend."

The Magnificent Seven is a breeze to watch. It’s fun. It has that clean vibe of early Hollywood westerns. Plus it’s based on Akira Kurosawa’s Seven Samurai, giving it some serious street cred. Despite all of that, however, it was quite a legal imbroglio to get made. Yet once released, it eventually became successful enough to spur three sequels, a TV series and more. Join us – Pete Wright and Andy Nelson – as we continue our Seven Samurai family series with John Sturges’ 1960 film The Magnificent Seven.

We talk about the differences between Kurosawa’s film and Sturges’, what works for us in those changes and why we suspect they were made. We touch on the Mexican censors required during production to ensure the script kept their people in a positive light. We chat about the actors, notably Yul Brynner, Steve McQueen, Eli Wallach, Charles Bronson and James Coburn, and what they bring to the table (aside from testosterone). We hit on Elmer Bernstein’s iconic score and highlight the main theme, arguably the greatest western theme written. And we chat about the production trouble this film had, not to mention the issues with the writers.

It’s a fun film, even if it’s one that falls short of the original when directly compared. We have a magnificent time chatting about it regardless and are certainly looking forward to seeing the remake. So tune in and join us!

Film Sundries


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]]> "We deal in lead, friend."

The Magnificent Seven is a breeze to watch. It’s fun. It has that clean vibe of early Hollywood westerns. Plus it’s based on Akira Kurosawa’s Seven Samurai, giving it some serious street cred. Despite all of that, however, it was quite a legal imbroglio to get made. Yet once released, it eventually became successful enough to spur three sequels, a TV series and more. Join us – Pete Wright and Andy Nelson – as we continue our Seven Samurai family series with John Sturges’ 1960 film The Magnificent Seven.

We talk about the differences between Kurosawa’s film and Sturges’, what works for us in those changes and why we suspect they were made. We touch on the Mexican censors required during production to ensure the script kept their people in a positive light. We chat about the actors, notably Yul Brynner, Steve McQueen, Eli Wallach, Charles Bronson and James Coburn, and what they bring to the table (aside from testosterone). We hit on Elmer Bernstein’s iconic score and highlight the main theme, arguably the greatest western theme written. And we chat about the production trouble this film had, not to mention the issues with the writers.

It’s a fun film, even if it’s one that falls short of the original when directly compared. We have a magnificent time chatting about it regardless and are certainly looking forward to seeing the remake. So tune in and join us!

Film Sundries


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]]> Thu, 08 Sep 2016 06:00:00 -0700 The Next Reel The Next Reel 4230 Join us – Pete Wright and Andy Nelson – as we continue our Seven Samurai family series with John Sturges’ 1960 film The Magnificent Seven. Join us – Pete Wright and Andy Nelson – as we continue our Seven Samurai family series with John Sturges’ 1960 film The Magnificent Seven. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Seven Samurai • The Next Reel 6 6 9 9 Seven Samurai • The Next Reel full 42edc701-7d11-421d-854d-f01291b85b56 https://share.transistor.fm/s/6ad32492 "Once more, we survive."

When you think of Akira Kurosawa, it’s easy to connect him to great samurai films like Ran, Throne of Blood, The Hidden Fortress, Yojimbo and Sanjuro. What’s surprising, however, is that he didn’t make his first samurai film until midway through his filmmaking career. That film, of course, is arguably his greatest film, Seven Samurai, which was released in 1954. Join us – Pete Wright and Andy Nelson – as we start up our Seven Samurai Family series with Kurosawa’s masterpiece. 

We talk about how well this film holds up and speculate as to why this film not only is so easy to watch despite it’s nearly three-and-a-half-hour running time, but also feels so modern. We discuss Kurosawa, what it took for him to get this film made and why he worked to make this stand apart from the glut of samurai films being made at the time. We chat about the cast, notably Toshirô Mifune, Takashi Shimura, Daisuke Katô, Isao Kimura, Minoru Chiaki, Seiji Miyaguchi and Yoshio Inaba as our titular seven, and why they all work so well here (even drawing a comparison to Coen brother casting). We look at the camera work and how Kurosawa, along with cinematographer Asakazu Nakai, proves himself a master of the medium as we look at his framing, lens choices, camera movement and more. We look at the rest of the production team to bring this world to life so perfectly (except perhaps the bald caps). And we discuss how well this film did in Japan contrasting that with why Toho Films felt the need to truncate it before releasing it to the rest of the world. 

It’s a brilliant film and the foundation of a series we’re quite excited to talk about. So tune in!

Film Sundries

  • Watch this film: iTunes • Amazon • [Netflix][netflix] • Hulu
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
  • If You Like Podcast Ep 17
    Trailers of the Week
  • Andy's Trailer: USS Indianapolis: Men of Courage — "Yeah, this could suck. It’s Nicolas Cage and Tom Sizemore. That rarely would add up to a winning combination. But realizing my knowledge of this disaster is pretty much based on Quinn’s monologue in Jaws, I figure there’s gotta be something in here to at least give me a bit more of a sense of what happened. Here’s hoping it doesn’t make me want to just go back and rewatch the monologue from Jaws again."
  • Pete's Trailer: Lion — "Dev Patel is on the search for his parents across India. Rooney Mara helps, Nicole Kidman hurts. And Garth Davis directs the adaptation by Luke Davies. I love Patel’s work and regret how irrationally hard I was initially on Slumdog. Wish Newsroom was still kicking."

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]]> "Once more, we survive."

When you think of Akira Kurosawa, it’s easy to connect him to great samurai films like Ran, Throne of Blood, The Hidden Fortress, Yojimbo and Sanjuro. What’s surprising, however, is that he didn’t make his first samurai film until midway through his filmmaking career. That film, of course, is arguably his greatest film, Seven Samurai, which was released in 1954. Join us – Pete Wright and Andy Nelson – as we start up our Seven Samurai Family series with Kurosawa’s masterpiece. 

We talk about how well this film holds up and speculate as to why this film not only is so easy to watch despite it’s nearly three-and-a-half-hour running time, but also feels so modern. We discuss Kurosawa, what it took for him to get this film made and why he worked to make this stand apart from the glut of samurai films being made at the time. We chat about the cast, notably Toshirô Mifune, Takashi Shimura, Daisuke Katô, Isao Kimura, Minoru Chiaki, Seiji Miyaguchi and Yoshio Inaba as our titular seven, and why they all work so well here (even drawing a comparison to Coen brother casting). We look at the camera work and how Kurosawa, along with cinematographer Asakazu Nakai, proves himself a master of the medium as we look at his framing, lens choices, camera movement and more. We look at the rest of the production team to bring this world to life so perfectly (except perhaps the bald caps). And we discuss how well this film did in Japan contrasting that with why Toho Films felt the need to truncate it before releasing it to the rest of the world. 

It’s a brilliant film and the foundation of a series we’re quite excited to talk about. So tune in!

Film Sundries

  • Watch this film: iTunes • Amazon • [Netflix][netflix] • Hulu
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
  • If You Like Podcast Ep 17
    Trailers of the Week
  • Andy's Trailer: USS Indianapolis: Men of Courage — "Yeah, this could suck. It’s Nicolas Cage and Tom Sizemore. That rarely would add up to a winning combination. But realizing my knowledge of this disaster is pretty much based on Quinn’s monologue in Jaws, I figure there’s gotta be something in here to at least give me a bit more of a sense of what happened. Here’s hoping it doesn’t make me want to just go back and rewatch the monologue from Jaws again."
  • Pete's Trailer: Lion — "Dev Patel is on the search for his parents across India. Rooney Mara helps, Nicole Kidman hurts. And Garth Davis directs the adaptation by Luke Davies. I love Patel’s work and regret how irrationally hard I was initially on Slumdog. Wish Newsroom was still kicking."

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]]> Thu, 01 Sep 2016 06:00:00 -0700 The Next Reel The Next Reel 4733 Join us – Pete Wright and Andy Nelson – as we start up our Seven Samurai Family series with Kurosawa’s 1954 masterpiece "Seven Samurai". Join us – Pete Wright and Andy Nelson – as we start up our Seven Samurai Family series with Kurosawa’s 1954 masterpiece "Seven Samurai". film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Contagion • The Next Reel 6 6 8 8 Contagion • The Next Reel full 4d097022-1379-41f4-bb24-4573fb5b9ac2 https://share.transistor.fm/s/213047a7 "How are we defining ‘contained?’"

While working on The Informer! with Steven Soderbergh, screenwriter Scott Z. Burns was inspired by a scene with Matt Damon ranting about the germs Scott Bakula’s character left on a phone to explore the idea of a viral pandemic. From there, Contagion was born. Join us – Pete Wright and Andy Nelson – as we conclude our disease film series with Soderbergh’s 2011 glimpse into how the world deals with a new disease outbreak. 

We talk about why this film works so well for us (and possibly not for other people), looking at the nature of a disease film that has such scope while maintaining its human touch. We discuss the idea of the terribly named ‘hyperlink cinema’ and why it works well for Soderbergh in the telling of this tale. We look at the many, many actors who lent their skills to tell each of these small stories, notably Jennifer Ehle as a CDC scientist who willingly puts herself in harm’s way to see if the cure works. We touch on Soderbergh as DP and what he’s bringing to the table with that hat on. And we hit on Cliff Martinez and his music he brings to the table for Soderbergh, even if it doesn’t stand out outside the film. 

It’s a great way to finish our series and we’re glad to have discussed it here. Check it out!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Rings — "This a sequel none of us were asking for and likely a sequel that won’t be that good. But I’ll still watch it. Maybe not in a movie theatre, but it’s something I’d rent. Yeah, I’m kinda the market for these."
  • Pete's Trailer: Mr. Church — "I have a soft spot for Eddie Murphy. This match up gives him the opportunity for a Driving Miss Daisy experience and I’m all for it. Britt Robertson might just get a shot at a role with some meat to it, something to challenge the sweetness she wears on her sleeve."

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]]> "How are we defining ‘contained?’"

While working on The Informer! with Steven Soderbergh, screenwriter Scott Z. Burns was inspired by a scene with Matt Damon ranting about the germs Scott Bakula’s character left on a phone to explore the idea of a viral pandemic. From there, Contagion was born. Join us – Pete Wright and Andy Nelson – as we conclude our disease film series with Soderbergh’s 2011 glimpse into how the world deals with a new disease outbreak. 

We talk about why this film works so well for us (and possibly not for other people), looking at the nature of a disease film that has such scope while maintaining its human touch. We discuss the idea of the terribly named ‘hyperlink cinema’ and why it works well for Soderbergh in the telling of this tale. We look at the many, many actors who lent their skills to tell each of these small stories, notably Jennifer Ehle as a CDC scientist who willingly puts herself in harm’s way to see if the cure works. We touch on Soderbergh as DP and what he’s bringing to the table with that hat on. And we hit on Cliff Martinez and his music he brings to the table for Soderbergh, even if it doesn’t stand out outside the film. 

It’s a great way to finish our series and we’re glad to have discussed it here. Check it out!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Rings — "This a sequel none of us were asking for and likely a sequel that won’t be that good. But I’ll still watch it. Maybe not in a movie theatre, but it’s something I’d rent. Yeah, I’m kinda the market for these."
  • Pete's Trailer: Mr. Church — "I have a soft spot for Eddie Murphy. This match up gives him the opportunity for a Driving Miss Daisy experience and I’m all for it. Britt Robertson might just get a shot at a role with some meat to it, something to challenge the sweetness she wears on her sleeve."

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]]> Thu, 25 Aug 2016 06:00:00 -0700 The Next Reel The Next Reel 3983 Join us – Pete Wright and Andy Nelson – as we conclude our disease film series with Steven Soderbergh’s 2011 glimpse into how the world deals with a new disease outbreak: Contagion. Join us – Pete Wright and Andy Nelson – as we conclude our disease film series with Steven Soderbergh’s 2011 glimpse into how the world deals with a new disease outbreak: Contagion. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Blindness • The Next Reel 6 6 7 7 Blindness • The Next Reel full 51e50614-4f03-4132-867d-039233a37aa2 https://share.transistor.fm/s/7a2e5d1e "Either the blindness spread the panic or the panic spread the blindness."

When Fernando Meirelles showed his 2008 film Blindness to José Saramago, the author of the original book upon which it was based, Saramago loved it. Unfortunately for them, neither critics nor audiences connected with the allegorical film. It’s a tough watch with questionable character motivations and a fairly depressing world view. But some people still really love it, creating quite a variety of reactions to the film well worth talking about. Join us – Pete Wright and Andy Nelson – as we discuss the penultimate film in our Disease Films series, Meirelles’ Blindness. 

We talk about why the film worked for Andy but didn’t work for Pete and how, for both, there are still gaping problems that should’ve been worked out. We discuss the cinematography and production design and how they work together to really create an interesting world on film, even if there are elements one could call on the nose. We dig into the technical side of the VistaVision camera and why the production team likely used it for filming. We look at the actors – from Julianne Moore and Mark Ruffalo to Danny Glover and Gael García Bernal – and what they’re all bringing to the table. And we look at the variety of locations they filmed at including Brazil, Canada and Uruguay. 

It’s a problematic film that some people may like while others may hate, but it is an interesting allegory all the same and certainly fun to talk about. So check it out and tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Blindness by José Saramago
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Allied — "It’s just a teaser, but I’ll see anything Robert Zemeckis does. The fact that it’s a WWII story written by Steven Knight with Brad Pitt and Marion Cotillard starring is just icing on the cake.”
  • Pete's Trailer: The Good Neighbor — "James Caan is incredibly scary. Just, as a person. He’s a scary person. In fact, there were moments that I actually thought Kathy Bates was the victim that one time. Remember that? He’s that scary of a guy. And now he’s playing the role of the scary guy in a SUPER-Rear-Window-vibed film. I’ll see this, and probably regret it for so many reasons."

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]]> "Either the blindness spread the panic or the panic spread the blindness."

When Fernando Meirelles showed his 2008 film Blindness to José Saramago, the author of the original book upon which it was based, Saramago loved it. Unfortunately for them, neither critics nor audiences connected with the allegorical film. It’s a tough watch with questionable character motivations and a fairly depressing world view. But some people still really love it, creating quite a variety of reactions to the film well worth talking about. Join us – Pete Wright and Andy Nelson – as we discuss the penultimate film in our Disease Films series, Meirelles’ Blindness. 

We talk about why the film worked for Andy but didn’t work for Pete and how, for both, there are still gaping problems that should’ve been worked out. We discuss the cinematography and production design and how they work together to really create an interesting world on film, even if there are elements one could call on the nose. We dig into the technical side of the VistaVision camera and why the production team likely used it for filming. We look at the actors – from Julianne Moore and Mark Ruffalo to Danny Glover and Gael García Bernal – and what they’re all bringing to the table. And we look at the variety of locations they filmed at including Brazil, Canada and Uruguay. 

It’s a problematic film that some people may like while others may hate, but it is an interesting allegory all the same and certainly fun to talk about. So check it out and tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Blindness by José Saramago
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Allied — "It’s just a teaser, but I’ll see anything Robert Zemeckis does. The fact that it’s a WWII story written by Steven Knight with Brad Pitt and Marion Cotillard starring is just icing on the cake.”
  • Pete's Trailer: The Good Neighbor — "James Caan is incredibly scary. Just, as a person. He’s a scary person. In fact, there were moments that I actually thought Kathy Bates was the victim that one time. Remember that? He’s that scary of a guy. And now he’s playing the role of the scary guy in a SUPER-Rear-Window-vibed film. I’ll see this, and probably regret it for so many reasons."

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]]> Thu, 18 Aug 2016 06:00:00 -0700 The Next Reel The Next Reel 5690 Join us – Pete Wright and Andy Nelson – as we discuss the penultimate film in our Disease Films series, Fernando Meirelles’ Blindness. Join us – Pete Wright and Andy Nelson – as we discuss the penultimate film in our Disease Films series, Fernando Meirelles’ Blindness. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Children of Men • The Next Reel 6 6 6 6 Children of Men • The Next Reel full e0553c92-4d80-4475-bb9e-d1c87b9767da https://share.transistor.fm/s/e694c5bc "Very odd what happens in a world without children’s voices."

It’s unfortunate that Alfonso Cuarón’s film Children of Men never found the audience it deserved, at least theatrically. Sure, it has been hailed as one of the best films of the year it was released, is often cited as one of the best science fiction films of the 21st century and was critically praised but for whatever reason, the audiences didn’t show up. The film lost money on its theatrical release. But Cuarón’s film is brilliant. It’s powerful. And it leaves you with a sense of hope for humanity.

Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Cuarón’s 2006 film Children of Men. We talk about the theme of hope and the religious overtones within the film, looking at why they work here and how they differ from the original novel written by P.D. James. We chat about Cuarón and his penchant for long shots, noting how there are over 30 minutes of shots in this movie that run 45 seconds or longer in single takes. We look at what it takes for Cuarón and his team to pull off these incredibly complicated shots. We discuss the performances, including Clive Owen, Julianne Moore, Chiwetel Ejiofor, Michael Caine and Clare-Hope Ashitey, and why Owen should’ve been nominated for an Oscar. And we deliberate on why this film was critically received so well but never quite found its footing.

It’s a marvelous film well worth watching and discussing. We enjoy talking about it here, so what are you waiting for? Tune in!

Film Sundries


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]]> "Very odd what happens in a world without children’s voices."

It’s unfortunate that Alfonso Cuarón’s film Children of Men never found the audience it deserved, at least theatrically. Sure, it has been hailed as one of the best films of the year it was released, is often cited as one of the best science fiction films of the 21st century and was critically praised but for whatever reason, the audiences didn’t show up. The film lost money on its theatrical release. But Cuarón’s film is brilliant. It’s powerful. And it leaves you with a sense of hope for humanity.

Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Cuarón’s 2006 film Children of Men. We talk about the theme of hope and the religious overtones within the film, looking at why they work here and how they differ from the original novel written by P.D. James. We chat about Cuarón and his penchant for long shots, noting how there are over 30 minutes of shots in this movie that run 45 seconds or longer in single takes. We look at what it takes for Cuarón and his team to pull off these incredibly complicated shots. We discuss the performances, including Clive Owen, Julianne Moore, Chiwetel Ejiofor, Michael Caine and Clare-Hope Ashitey, and why Owen should’ve been nominated for an Oscar. And we deliberate on why this film was critically received so well but never quite found its footing.

It’s a marvelous film well worth watching and discussing. We enjoy talking about it here, so what are you waiting for? Tune in!

Film Sundries


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]]> Thu, 11 Aug 2016 06:00:00 -0700 The Next Reel The Next Reel 6039 Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Alfonso Cuarón’s 2006 film Children of Men. Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Alfonso Cuarón’s 2006 film Children of Men. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Fat City — Sam Levy • Movies We Like 1 1 8 8 Fat City — Sam Levy • Movies We Like full 2fb8349f-ecec-410d-bbbf-8a06c04af756 https://share.transistor.fm/s/b2c6a32b "How’d you like to wake up in the morning and be him?"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Sam Levy joins us to talk about one of his favorite films, John Huston’s 1972 boxing film Fat City. 

We talk about the depressing story presented here as these characters try to reach the good life and why some of us can connect easier to it than others. We look at the incredible (and incredibly dark) cinematography by Conrad L. Hall and discuss the importance of a cinematographer getting to time their own film. We chat about the brilliant cast, from the actors like Stacy Keach, Jeff Bridges, Susan Tyrrell and Nicholas Colasanto; to the real-life boxers like Curtis Cokes and Sixto Rodriguez. We discuss Kris Kristofferson’s song “Help Me Make It Through the Night” and why it works so well in this movie. And we touch on what critics thought of the movie compared with how it did at the box office. 

John Huston was at a period in his career where he’d been making some duds so it’s great to see him return to top form with Fat City. It’s a master class in cinematic realism and a boxing film well worth watching and discussing. Check it out then tune in!

Film Sundries


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]]> "How’d you like to wake up in the morning and be him?"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Sam Levy joins us to talk about one of his favorite films, John Huston’s 1972 boxing film Fat City. 

We talk about the depressing story presented here as these characters try to reach the good life and why some of us can connect easier to it than others. We look at the incredible (and incredibly dark) cinematography by Conrad L. Hall and discuss the importance of a cinematographer getting to time their own film. We chat about the brilliant cast, from the actors like Stacy Keach, Jeff Bridges, Susan Tyrrell and Nicholas Colasanto; to the real-life boxers like Curtis Cokes and Sixto Rodriguez. We discuss Kris Kristofferson’s song “Help Me Make It Through the Night” and why it works so well in this movie. And we touch on what critics thought of the movie compared with how it did at the box office. 

John Huston was at a period in his career where he’d been making some duds so it’s great to see him return to top form with Fat City. It’s a master class in cinematic realism and a boxing film well worth watching and discussing. Check it out then tune in!

Film Sundries


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]]> Tue, 09 Aug 2016 06:00:00 -0700 TruStory FM TruStory FM 5094 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Sam Levy joins us to talk about one of his favorite films, John Huston’s 1972 boxing film Fat City. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Sam Levy joins us to talk about one of his favorite Movies We Like, Sam Levy No Andy Nelson Pete Wright Serenity • The Next Reel 6 6 5 5 Serenity • The Next Reel full b6589563-6203-4c37-b0cd-40cc2a90cac0 https://share.transistor.fm/s/f7937362 "You can’t stop the signal."

Most people involved in making Joss Whedon’s 2005 film Serenity acknowledge that it was a near miracle that they got to make it. The TV show upon which it was based, “Firefly,” was canceled before its 14 episodes all aired and it seemed dead. Luckily, the rabid fanbase clamored loud enough and Universal saw that there may be an audience for a continuation of the story after all. Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Whedon’s conclusion of his “Firefly” story, 2005’s Serenity. 

We talk about why the film works and what Whedon brings to the table, notably his sharp story construction and snappy dialogue. We chat about the cast, looking primarily at Serenity’s crew members and their antagonist played by Chiwetel Ejiofor. We look at the look of the film and why Jack Green’s cinematography works so well for us. We marvel at the stuntwork done by the cast, notably Summer Glau and Nathan Fillion as they handled most of their stunts to brilliant effect. We talk about the release of the film and why we think it didn’t do that well at the box office. And we take note of a fascinating milestone this film represents in the advancing world of digital film projection.

It’s an amazing science fiction western noir film and is one of our faves. Definitely check it out, then tune in to this week’s show!

Film Sundries


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]]> "You can’t stop the signal."

Most people involved in making Joss Whedon’s 2005 film Serenity acknowledge that it was a near miracle that they got to make it. The TV show upon which it was based, “Firefly,” was canceled before its 14 episodes all aired and it seemed dead. Luckily, the rabid fanbase clamored loud enough and Universal saw that there may be an audience for a continuation of the story after all. Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Whedon’s conclusion of his “Firefly” story, 2005’s Serenity. 

We talk about why the film works and what Whedon brings to the table, notably his sharp story construction and snappy dialogue. We chat about the cast, looking primarily at Serenity’s crew members and their antagonist played by Chiwetel Ejiofor. We look at the look of the film and why Jack Green’s cinematography works so well for us. We marvel at the stuntwork done by the cast, notably Summer Glau and Nathan Fillion as they handled most of their stunts to brilliant effect. We talk about the release of the film and why we think it didn’t do that well at the box office. And we take note of a fascinating milestone this film represents in the advancing world of digital film projection.

It’s an amazing science fiction western noir film and is one of our faves. Definitely check it out, then tune in to this week’s show!

Film Sundries


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]]> Thu, 04 Aug 2016 06:00:00 -0700 The Next Reel The Next Reel 5859 Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with the conclusion of the “Firefly” story, 2005’s Serenity. Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with the conclusion of the “Firefly” story, 2005’s Serenity. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Outbreak • The Next Reel 6 6 4 4 Outbreak • The Next Reel full 90d64ca4-0539-45c5-a71f-3f178336507f https://share.transistor.fm/s/287aca5a "You have to love its simplicity. It’s one billionth our size and it’s beating us."

After making Das Boot, Wolfgang Peterson came to Hollywood and began a new period in his life making big spectacle films, often action thrillers. Unfortunately, that meant when it came time to make his 1995 film Outbreak – stemmed from the world’s curiosity in the Ebola outbreak in Africa paired with the release of Richard Preston’s article “Crisis in the Hot Zone” and subsequent book – the powers that be felt that it too needed to be an action thriller. True, compared to something like The Andromeda Strain, a little more action could really help a story out, but they really seemed to go the wrong direction with this film, adding in an infuriating military conspiracy subplot to really kick things up a notch. Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Peterson’s ‘95 film Outbreak. 

We talk about why the film fell short on this recent watch, even though it seemed to hold up relatively well when we first saw it in ‘95. We chat about how the project came to be and why the film version of Preston’s article and book never got made. We look at all the wonderful actors in this movie and debate whose characters are the weakest. We chat about the nature of Ebola and the various outbreaks the world has seen with it (including a recent record-breaking outbreak starting in ‘13). And we ponder Peterson’s Hollywood directing, wondering if he’s still got another Das Boot in him. 

It’s a flawed film, albeit an entertaining one with a great cast. It’s fun to watch but also infuriating. And it’s really fun to talk about, so check it out then tune in this week!

Film Sundries


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]]> "You have to love its simplicity. It’s one billionth our size and it’s beating us."

After making Das Boot, Wolfgang Peterson came to Hollywood and began a new period in his life making big spectacle films, often action thrillers. Unfortunately, that meant when it came time to make his 1995 film Outbreak – stemmed from the world’s curiosity in the Ebola outbreak in Africa paired with the release of Richard Preston’s article “Crisis in the Hot Zone” and subsequent book – the powers that be felt that it too needed to be an action thriller. True, compared to something like The Andromeda Strain, a little more action could really help a story out, but they really seemed to go the wrong direction with this film, adding in an infuriating military conspiracy subplot to really kick things up a notch. Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Peterson’s ‘95 film Outbreak. 

We talk about why the film fell short on this recent watch, even though it seemed to hold up relatively well when we first saw it in ‘95. We chat about how the project came to be and why the film version of Preston’s article and book never got made. We look at all the wonderful actors in this movie and debate whose characters are the weakest. We chat about the nature of Ebola and the various outbreaks the world has seen with it (including a recent record-breaking outbreak starting in ‘13). And we ponder Peterson’s Hollywood directing, wondering if he’s still got another Das Boot in him. 

It’s a flawed film, albeit an entertaining one with a great cast. It’s fun to watch but also infuriating. And it’s really fun to talk about, so check it out then tune in this week!

Film Sundries


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]]> Thu, 28 Jul 2016 06:00:00 -0700 The Next Reel The Next Reel 5755 Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Wolfgang Peterson’s ‘95 film Outbreak. Join us – Pete Wright and Andy Nelson – as we continue our Disease Films series with Wolfgang Peterson’s ‘95 film Outbreak. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Crazies • The Next Reel 6 6 3 3 The Crazies • The Next Reel full 0c59c81b-a46d-4b10-906e-7f60590e1d5a https://share.transistor.fm/s/e91da14c "We’re not dealing with the flu virus here."

George A. Romero made The Crazies just a few years after making his breakout film Night of the Living Dead in ‘68, but with the popularity of Romero’s zombie film and the others in his ‘Dead’ trilogy still to be determined, he was still a struggling indie filmmaker. So it was with a very meager sum that he set out to make The Crazies and delivered a very interesting piece of work, even if it often fails in its storytelling. Join us – Andy Nelson and Pete Wright as we continue our Disease Films series with Romero’s 1973 film The Crazies.

We talk about the independent feel of the film, what works about it and what doesn’t. We chat about Romero and some of his tropes that were evident early on, shining strongly in this movie. We discuss the actors, the relatively short careers for many of them and the particularly lengthy (and schlocky) career of Lynn Lowry, still busy making films like Skysharks. We look at the various elements of production on display here, from cinematography and locations to makeup and effects to the canned music and the editing. And we talk about the distribution of the film and why it largely failed to find an audience. 

It’s a fun film to watch and clearly helmed by someone who knew how to put a taut film together, even if it’s a bit of a mess with some bad performances. But we like it anyway, even if it didn’t end up ranking very high on our Flickchart. So check it out and then tune in!

Film Sundries


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]]> "We’re not dealing with the flu virus here."

George A. Romero made The Crazies just a few years after making his breakout film Night of the Living Dead in ‘68, but with the popularity of Romero’s zombie film and the others in his ‘Dead’ trilogy still to be determined, he was still a struggling indie filmmaker. So it was with a very meager sum that he set out to make The Crazies and delivered a very interesting piece of work, even if it often fails in its storytelling. Join us – Andy Nelson and Pete Wright as we continue our Disease Films series with Romero’s 1973 film The Crazies.

We talk about the independent feel of the film, what works about it and what doesn’t. We chat about Romero and some of his tropes that were evident early on, shining strongly in this movie. We discuss the actors, the relatively short careers for many of them and the particularly lengthy (and schlocky) career of Lynn Lowry, still busy making films like Skysharks. We look at the various elements of production on display here, from cinematography and locations to makeup and effects to the canned music and the editing. And we talk about the distribution of the film and why it largely failed to find an audience. 

It’s a fun film to watch and clearly helmed by someone who knew how to put a taut film together, even if it’s a bit of a mess with some bad performances. But we like it anyway, even if it didn’t end up ranking very high on our Flickchart. So check it out and then tune in!

Film Sundries


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]]> Thu, 21 Jul 2016 06:00:00 -0700 The Next Reel The Next Reel 4950 Join us – Andy Nelson and Pete Wright as we continue our Disease Films series with George Romero’s 1973 film The Crazies. Join us – Andy Nelson and Pete Wright as we continue our Disease Films series with George Romero’s 1973 film The Crazies. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Andromeda Strain • The Next Reel 6 6 2 2 The Andromeda Strain • The Next Reel full 83063f36-cf07-4310-b1ec-a4ba326993ef https://share.transistor.fm/s/7b61e5fc "It should’ve been left up to the scientists! It’s a colossal mistake! Tell the President I said so!"

Michael Crichton’s space disease thriller hit the public at the perfect time – when everyone was afraid of the astronauts accidentally bringing back space viruses upon returning to Earth. Crichton wrote the book in a very pseudo-scientific way that made it feel like more of a scientific documentation of a real happening, and it worked gangbusters for his readers. When Robert Wise decided to adapt it, he opted to treat it the same and make it feel like a documentary. For some, it works better than for others. 

Join us – Pete Wright and Andy Nelson – as we continue our disease series with Wise’s 1971 thriller The Andromeda Strain. We discuss Crichton, Wise and the adaptation by Nelson Gidding, looking at what works and what doesn’t for us. We chat about the non-stars Wise cast in the film, talking about each of their careers then wondering why their careers weren’t as strong as Gregory Peck’s. We look at the production design and the special effects, enjoying everything they brought to the table, even if they weren’t used to their full potentials or, in many cases, often overused. And we chat about the non-score score by Gil Mellé, sharing opposing views as to what a score like this brings to the table to a film like this. 

It’s an interesting film that is burdened by Wise’s penchant for including too much of the processes these scientists have to go through, but still one worth talking about. Check the movie out then tune in!

Film Sundries


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]]> "It should’ve been left up to the scientists! It’s a colossal mistake! Tell the President I said so!"

Michael Crichton’s space disease thriller hit the public at the perfect time – when everyone was afraid of the astronauts accidentally bringing back space viruses upon returning to Earth. Crichton wrote the book in a very pseudo-scientific way that made it feel like more of a scientific documentation of a real happening, and it worked gangbusters for his readers. When Robert Wise decided to adapt it, he opted to treat it the same and make it feel like a documentary. For some, it works better than for others. 

Join us – Pete Wright and Andy Nelson – as we continue our disease series with Wise’s 1971 thriller The Andromeda Strain. We discuss Crichton, Wise and the adaptation by Nelson Gidding, looking at what works and what doesn’t for us. We chat about the non-stars Wise cast in the film, talking about each of their careers then wondering why their careers weren’t as strong as Gregory Peck’s. We look at the production design and the special effects, enjoying everything they brought to the table, even if they weren’t used to their full potentials or, in many cases, often overused. And we chat about the non-score score by Gil Mellé, sharing opposing views as to what a score like this brings to the table to a film like this. 

It’s an interesting film that is burdened by Wise’s penchant for including too much of the processes these scientists have to go through, but still one worth talking about. Check the movie out then tune in!

Film Sundries


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]]> Thu, 14 Jul 2016 06:00:00 -0700 The Next Reel The Next Reel 5143 Join us – Pete Wright and Andy Nelson – as we continue our disease series with Robert Wise’s 1971 thriller The Andromeda Strain. Join us – Pete Wright and Andy Nelson – as we continue our disease series with Robert Wise’s 1971 thriller The Andromeda Strain. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Omega Man • The Next Reel 6 6 1 1 The Omega Man • The Next Reel full 8c95996c-ee4e-43cf-8a47-5d7ceb7f395f https://share.transistor.fm/s/dab73e4b "You are discarded. You are the refuse of the past."

Richard Matheson’s 1954 vampire horror novel “I Am Legend” helped influence the zombie genre (it was the inspiration for the ‘68 George Romero film “Night of the Living Dead”) and popularized the concept of a worldwide apocalypse due to disease. Yet for some reason, filmmakers haven’t been able to crack the story. It’s been made into three different films, and it doesn’t seem like any of them have gotten it right. Join us – Pete Wright and Andy Nelson – as we kick off our disease series with the second of these adaptations, Boris Sagal’s 1971 film, “The Omega Man.”

We talk about why this movie doesn’t work for us and try to figure out what the movie has that gives it that ‘guilty pleasure’ feel. We discuss the actors, notably Charlton Heston, Anthony Zerbe and Rosalind Cash, as they all work together and deliver some terribly written lines. Speaking of lines, we discuss the script written by John William Corrington and Joyce Hooper Corrington, our problems with it and why it feels a bit like a soap opera. We also talk about Sagal’s direction and why the whole film really feels like a TV production. And we have to bring up the crazy amount of 70s zooms in the movie – definitely a sign of the times. 

It’s not a film that we love, even if Andy could see some of the guilty pleasure enjoyment with it. Regardless, it’s an interesting film worth discussing and opening up our disease films series. So check it out then tune in to this week’s show!

Film Sundries


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]]> "You are discarded. You are the refuse of the past."

Richard Matheson’s 1954 vampire horror novel “I Am Legend” helped influence the zombie genre (it was the inspiration for the ‘68 George Romero film “Night of the Living Dead”) and popularized the concept of a worldwide apocalypse due to disease. Yet for some reason, filmmakers haven’t been able to crack the story. It’s been made into three different films, and it doesn’t seem like any of them have gotten it right. Join us – Pete Wright and Andy Nelson – as we kick off our disease series with the second of these adaptations, Boris Sagal’s 1971 film, “The Omega Man.”

We talk about why this movie doesn’t work for us and try to figure out what the movie has that gives it that ‘guilty pleasure’ feel. We discuss the actors, notably Charlton Heston, Anthony Zerbe and Rosalind Cash, as they all work together and deliver some terribly written lines. Speaking of lines, we discuss the script written by John William Corrington and Joyce Hooper Corrington, our problems with it and why it feels a bit like a soap opera. We also talk about Sagal’s direction and why the whole film really feels like a TV production. And we have to bring up the crazy amount of 70s zooms in the movie – definitely a sign of the times. 

It’s not a film that we love, even if Andy could see some of the guilty pleasure enjoyment with it. Regardless, it’s an interesting film worth discussing and opening up our disease films series. So check it out then tune in to this week’s show!

Film Sundries


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]]> Thu, 07 Jul 2016 06:00:00 -0700 The Next Reel The Next Reel 3773 Join us – Pete Wright and Andy Nelson – as we kick off our disease series with the second adaptation of Richard Matheson's "I Am Legend," Boris Sagal’s 1971 film, “The Omega Man.” Join us – Pete Wright and Andy Nelson – as we kick off our disease series with the second adaptation of Richard Matheson's "I Am Legend," Boris Sagal’s 1971 film, “The Omega Man.” film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Never Let Me Go — Alana Morshead • Movies We Like 1 1 7 7 Never Let Me Go — Alana Morshead • Movies We Like full fde5555e-1298-4476-8e38-a0f814f12b49 https://share.transistor.fm/s/c51b4f0b "You have to know who you are and what you are. It’s the only way you’ll lead decent lives."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Alana Morshead joins us to talk about one of her favorite films, Mark Romanek’s 2010 film “Never Let Me Go” based on the book by Kazuo Ishiguro.

We talk about the science fiction nature of this story and how it really operates more as a minor element of the world-building, allowing the viewers to focus so much more on the three main characters in the film and their relationships. We discuss the choices made by Romanek in the look of the film, the way the camera moved, and the nature of the love story. We look at what Carey Mulligan, Andrew Garfield and Keira Knightley bring to the table as the three principal characters, and how they compare with their youthful counterparts. And we struggle with the fact that this film didn’t connect with its audience, leaving it in the red by the time it left theatres, which really is a disappointment considering how much we really enjoyed it. 

It’s a touching film and a fascinating glimpse at what strong writers can do with their science fiction. It’s something we enjoyed then found we connected to it more and more as time wore on. And it’s a thrill to have had it introduced to us finally as we’d both clearly missed it when it was released. So hopefully you’ll check it out, then tune in to the show!

Film Sundries


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]]> "You have to know who you are and what you are. It’s the only way you’ll lead decent lives."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Alana Morshead joins us to talk about one of her favorite films, Mark Romanek’s 2010 film “Never Let Me Go” based on the book by Kazuo Ishiguro.

We talk about the science fiction nature of this story and how it really operates more as a minor element of the world-building, allowing the viewers to focus so much more on the three main characters in the film and their relationships. We discuss the choices made by Romanek in the look of the film, the way the camera moved, and the nature of the love story. We look at what Carey Mulligan, Andrew Garfield and Keira Knightley bring to the table as the three principal characters, and how they compare with their youthful counterparts. And we struggle with the fact that this film didn’t connect with its audience, leaving it in the red by the time it left theatres, which really is a disappointment considering how much we really enjoyed it. 

It’s a touching film and a fascinating glimpse at what strong writers can do with their science fiction. It’s something we enjoyed then found we connected to it more and more as time wore on. And it’s a thrill to have had it introduced to us finally as we’d both clearly missed it when it was released. So hopefully you’ll check it out, then tune in to the show!

Film Sundries


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]]> Tue, 05 Jul 2016 06:00:00 -0700 TruStory FM TruStory FM 4216 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Alana Morshead joins us to talk about one of her favorite films, Mark Romanek’s 2010 film “Never Let Me Go” based on the book by Kazuo Ishiguro. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Alana Morshead joins us to talk about one of her f Movies We Like, Alanna Morshead No Andy Nelson Pete Wright Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb • The Next Reel 5 5 55 55 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb • The Next Reel full c6fd18ba-72e0-4db6-99c7-0746ea061132 https://share.transistor.fm/s/16da48ff "Gentlemen, you can’t fight in here! This is the war room!"

Stanley Kubrick didn’t do comedy often which is a shame because “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” is arguably one of the funniest films ever made. What’s interesting is that Kubrick intended on making a serious film about one of his greatest fears at the time: the threat of nuclear war. But after several attempts at finding the right way to tell the story seriously (including one involving aliens watching us from above, discussing our penchant for destruction), he hit on the idea of making it funny. And his dark comedy classic was born.

Join us – Andy Nelson and Pete Wright – as we wrap up our brief vacation challenge with Andy’s choice of his favorite end-of-the-world comedy, Kubrick’s 1964 film “Dr. Strangelove.” We talk about how we were introduced to this film and why it may not be a film that one connects to immediately but a film that one has to find the humor over time. We discuss the actors – Peter Sellers, George C. Scott, Slim Pickens, Sterling Hayden, Keenan Wynn, even James Earl Jones in his first screen role – and the level of comedy brilliance they all achieve individually and how it ties to the overall film. We single out Sellers, of course, as we discuss the three roles he played in the film and what makes them all so unique. We touch on the look of the film, shot by Gilbert Taylor with impeccable production design by Ken Adam, pointing out just what it took to make the war room one of the most iconic sets ever made. We mention the sequel that Kubrick wanted to make with the help of Terry Gilliam. And we argue about its placement on our Flickchart, as we inevitably do every week. 

It’s one of the best films out there and well worth a discussion. Haven’t seen it? Give it a try. Just be aware that you may not connect on the first viewing. This is one of those movies that may need a few shots. But it’ll be well worth it. We promise you.

Film Sundries


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]]> "Gentlemen, you can’t fight in here! This is the war room!"

Stanley Kubrick didn’t do comedy often which is a shame because “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” is arguably one of the funniest films ever made. What’s interesting is that Kubrick intended on making a serious film about one of his greatest fears at the time: the threat of nuclear war. But after several attempts at finding the right way to tell the story seriously (including one involving aliens watching us from above, discussing our penchant for destruction), he hit on the idea of making it funny. And his dark comedy classic was born.

Join us – Andy Nelson and Pete Wright – as we wrap up our brief vacation challenge with Andy’s choice of his favorite end-of-the-world comedy, Kubrick’s 1964 film “Dr. Strangelove.” We talk about how we were introduced to this film and why it may not be a film that one connects to immediately but a film that one has to find the humor over time. We discuss the actors – Peter Sellers, George C. Scott, Slim Pickens, Sterling Hayden, Keenan Wynn, even James Earl Jones in his first screen role – and the level of comedy brilliance they all achieve individually and how it ties to the overall film. We single out Sellers, of course, as we discuss the three roles he played in the film and what makes them all so unique. We touch on the look of the film, shot by Gilbert Taylor with impeccable production design by Ken Adam, pointing out just what it took to make the war room one of the most iconic sets ever made. We mention the sequel that Kubrick wanted to make with the help of Terry Gilliam. And we argue about its placement on our Flickchart, as we inevitably do every week. 

It’s one of the best films out there and well worth a discussion. Haven’t seen it? Give it a try. Just be aware that you may not connect on the first viewing. This is one of those movies that may need a few shots. But it’ll be well worth it. We promise you.

Film Sundries


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]]> Thu, 30 Jun 2016 06:00:00 -0700 The Next Reel The Next Reel 5098 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. 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 ab film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright ParaNorman • The Next Reel 5 5 54 54 ParaNorman • The Next Reel full 0612047d-8438-4b66-8f7c-4722949329ed https://share.transistor.fm/s/c871df99 "Would’ve been a quiet night, too, if it hadn’t been for those meddling kids!"

Stop-motion animation has been a part of film since nearly the beginning, starting with a toy circus coming to life in 1898’s “The Humpty Dumpty Circus.” Since then, it’s undergone many critical changes and improvements as filmmakers have experimented with what they could do with it, and in 2012, Laika released the first stop-motion animated feature film to use a 3D color printer to create the character faces. The movie, “ParaNorman,” was a comedy horror for kids and certainly seemed to find its audience while also creating quite a bit of controversy.

Join us – Pete Wright and Andy Nelson – as we start off our brief vacation challenge series with Chris Butler’s and Sam Bell’s horror comedy for the kids, “ParaNorman.” We talk about why Pete picked this movie and what he loves about not just this film but stop-motion animation in general. We chat about the directors behind this animated film and what sort of the criticism the film received upon its release (and still to this day!) due to the violence it depicted, the sexual situations and the fact that it has an openly gay character. We discuss not just the actors that voiced the characters – from Kodi Smit-McPhee and Tucker Albrizzi to Anna Kendrick and Casey Affleck – but also Heidi Smith who designed the characters and the animators who brought them to life. We look at Butler’s screenplay and chat about why it’s such a strong script. And we marvel at the cinematography, production design, rigging, effects and everything else that goes into making a stop-motion animated film, thrilled with how well this team did at focusing and working together to create a wholly realized world.

It’s an absolute blast to watch and certainly one well worth talking about. Is it safe for the kids? We think so and argue the point but some people aren’t so sure so perhaps look into it a bit before watching with your own children. Regardless, tune in after you’ve seen it to hear our thoughts!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Art of the Title
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Deepwater Horizon — "I don’t know if I’m really that excited about this one. The trailer gives me a good sense of the story without completely ruining the story for someone who missed the news coverage, but it still feels like so many other heroic real-life stories out there. Looks like a good renter though."
  • Pete's Trailer: Assassin’s Creed — "I’m a big fan of the game. But I’ve been a fan of games gone movies before. Seriously though, Fassbender? Cotillard? Irons? Brendan Gleeson? Michael Kenneth Williams? Is it possible that all these people have spontaneously decided to sell out at once? Or might this be a fair adaptation?"

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]]> "Would’ve been a quiet night, too, if it hadn’t been for those meddling kids!"

Stop-motion animation has been a part of film since nearly the beginning, starting with a toy circus coming to life in 1898’s “The Humpty Dumpty Circus.” Since then, it’s undergone many critical changes and improvements as filmmakers have experimented with what they could do with it, and in 2012, Laika released the first stop-motion animated feature film to use a 3D color printer to create the character faces. The movie, “ParaNorman,” was a comedy horror for kids and certainly seemed to find its audience while also creating quite a bit of controversy.

Join us – Pete Wright and Andy Nelson – as we start off our brief vacation challenge series with Chris Butler’s and Sam Bell’s horror comedy for the kids, “ParaNorman.” We talk about why Pete picked this movie and what he loves about not just this film but stop-motion animation in general. We chat about the directors behind this animated film and what sort of the criticism the film received upon its release (and still to this day!) due to the violence it depicted, the sexual situations and the fact that it has an openly gay character. We discuss not just the actors that voiced the characters – from Kodi Smit-McPhee and Tucker Albrizzi to Anna Kendrick and Casey Affleck – but also Heidi Smith who designed the characters and the animators who brought them to life. We look at Butler’s screenplay and chat about why it’s such a strong script. And we marvel at the cinematography, production design, rigging, effects and everything else that goes into making a stop-motion animated film, thrilled with how well this team did at focusing and working together to create a wholly realized world.

It’s an absolute blast to watch and certainly one well worth talking about. Is it safe for the kids? We think so and argue the point but some people aren’t so sure so perhaps look into it a bit before watching with your own children. Regardless, tune in after you’ve seen it to hear our thoughts!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Art of the Title
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Deepwater Horizon — "I don’t know if I’m really that excited about this one. The trailer gives me a good sense of the story without completely ruining the story for someone who missed the news coverage, but it still feels like so many other heroic real-life stories out there. Looks like a good renter though."
  • Pete's Trailer: Assassin’s Creed — "I’m a big fan of the game. But I’ve been a fan of games gone movies before. Seriously though, Fassbender? Cotillard? Irons? Brendan Gleeson? Michael Kenneth Williams? Is it possible that all these people have spontaneously decided to sell out at once? Or might this be a fair adaptation?"

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]]> Thu, 23 Jun 2016 06:00:00 -0700 The Next Reel The Next Reel 5036 Stop-motion animation has been a part of film since nearly the beginning, starting with a toy circus coming to life in 1898’s “The Humpty Dumpty Circus.” Since then, it’s undergone many critical changes and improvements as filmmakers have experimented with what they could do with it, and in 2012, Laika released the first stop-motion animated feature film to use a 3D color printer to create the character faces. The movie, “ParaNorman,” was a comedy horror for kids and certainly seemed to find its audience while also creating quite a bit of controversy. Stop-motion animation has been a part of film since nearly the beginning, starting with a toy circus coming to life in 1898’s “The Humpty Dumpty Circus.” Since then, it’s undergone many critical changes and improvements as filmmakers have experimented wit film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Great Escape • The Next Reel 5 5 53 53 The Great Escape • The Next Reel full 02e5f79b-a6c5-4ba7-a15a-07a8b7b30bef https://share.transistor.fm/s/bb6c97d8 "I’m going to cause such a terrible stink in this Third Reich of theirs that thousands of troops that could well be employed at the front will be tied up looking after us!"

It’s time for another Listener’s Choice episode, and we’re talking about one of the all-time WWII classics. That’s right, listener Michael Cook decided that it was time for us to discuss John Sturges’ 1963 film “The Great Escape,” and man, was he right on the money. 

Join us – Pete Wright and Andy Nelson – as we chat about our eight listener’s choice with “The Great Escape.” We talk about how this script was shaped around the real escape in 1944 of 76 POWs from Stalag Luft III, what details were changed for the film and how we feel about those changes. We chat about Sturges and the style he brings to the film paired with the way he directs his actors, giving them the freedom they wanted/needed to create their performances. We discuss those actors – and there are a lot of them including Steve McQueen, James Garner, Richard Attenborough, James Coburn, Charles Bronson and Donald Pleasence, to name a few – and what they bring to the table. We look at the fantastic production design, cinematography and editing that really bring this movie, filmed on location in Germany, to life, and what it took to get away from filming it outside of Palm Springs. We touch on Elmer Bernstein and the incredibly memorable score he delivers and what it does for the feel of the film. And we mention artist Archibald Willard and the connection his painting The Spirit of ‘76 has with the film. 

It’s a fantastic film, one we’re truly thrilled to talk about, so definitely check it out if you haven’t seen it before, then tune in!

Film Sundries


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]]> "I’m going to cause such a terrible stink in this Third Reich of theirs that thousands of troops that could well be employed at the front will be tied up looking after us!"

It’s time for another Listener’s Choice episode, and we’re talking about one of the all-time WWII classics. That’s right, listener Michael Cook decided that it was time for us to discuss John Sturges’ 1963 film “The Great Escape,” and man, was he right on the money. 

Join us – Pete Wright and Andy Nelson – as we chat about our eight listener’s choice with “The Great Escape.” We talk about how this script was shaped around the real escape in 1944 of 76 POWs from Stalag Luft III, what details were changed for the film and how we feel about those changes. We chat about Sturges and the style he brings to the film paired with the way he directs his actors, giving them the freedom they wanted/needed to create their performances. We discuss those actors – and there are a lot of them including Steve McQueen, James Garner, Richard Attenborough, James Coburn, Charles Bronson and Donald Pleasence, to name a few – and what they bring to the table. We look at the fantastic production design, cinematography and editing that really bring this movie, filmed on location in Germany, to life, and what it took to get away from filming it outside of Palm Springs. We touch on Elmer Bernstein and the incredibly memorable score he delivers and what it does for the feel of the film. And we mention artist Archibald Willard and the connection his painting The Spirit of ‘76 has with the film. 

It’s a fantastic film, one we’re truly thrilled to talk about, so definitely check it out if you haven’t seen it before, then tune in!

Film Sundries


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]]> Thu, 16 Jun 2016 06:00:00 -0700 The Next Reel The Next Reel 5518 It’s time for another Listener’s Choice episode, and we’re talking about one of the all-time WWII classics. That’s right, listener Michael Cook decided that it was time for us to discuss John Sturges’ 1963 film “The Great Escape,” and man, was he right on the money. It’s time for another Listener’s Choice episode, and we’re talking about one of the all-time WWII classics. That’s right, listener Michael Cook decided that it was time for us to discuss John Sturges’ 1963 film “The Great Escape,” and man, was he right on film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Ministry of Fear • The Next Reel 5 5 52 52 Ministry of Fear • The Next Reel full c14dd524-eb42-47f6-8fac-21edf8f939c7 https://share.transistor.fm/s/2bedf1aa "We’ve been patriotically slaving for three years to help a spy ring!"

“Ministry of Fear” was Fritz Lang’s third film of four anti-Nazi movies that he made, but it feels less anti-Nazi and more just straight up Hitchcockian thriller. And while Lang didn’t like the final result of the film and Graham Greene, who wrote the novel on which the movie’s based, also didn’t like the film, it’s a very fun film to watch and feels a bit like Lang lite. 

Join us – Pete Wright and Andy Nelson – as we wrap up our Lang series with his 1944 film, “Ministry of Fear.” We talk about why this film works for us, even if it still has story problems like he’s had in all of his other films so far, and debate as to what it was that caused him and Greene to dislike it so much. We discuss Seton Miller, the screenwriter and producer of this movie, and look at the control he exerted over this film, forcing Lang to make the film Miller wanted, right down to the last shot. We chat about the performances from Ray Milland, Marjorie Reynolds, Carl Esmond, Hillary Brooke, Percy Waram and most notably Dan Duryea, and look at what they each bring to the table. We touch on the cinematography by Henry Sharp, a studio contract DP Lang had to work with but still someone who ended up making this film feel very noirish and Langian. And we discuss our feelings about Lang as a director, looking at what we got out of this series and analyzing Lang’s work compared with how he ran his sets.

It’s a fun film to watch, even if it doesn’t feel as important as some of Lang’s earlier films. We have a great time talking about it on the show this week, commenting that this certainly will be an easy movie to put on down the road to enjoy all over again. So check out the movie then tune in!

Film Sundries

  • Watch this film: Amazon • YouTube
  • Original theatrical trailer
  • Original poster artwork
  • The Ministry of Fear: An Entertainment by Graham Greene
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Phantom Boy — "I love animated films in general, but after having so much fun with “A Cat in Paris,” I can’t wait to see what these filmmakers do with this story. A boy in a wheelchair who can project himself out of his body and does so to help a detective bring down some gangsters? It sounds like the stuff I dreamt up as a child and they pulled it straight from my head. I’m very much looking forward to this one."
  • Pete's Trailer: The Wailing — "Regular listeners know I’m not usually one for horror, but this film has that visual vibe I find appealing, hopefully more of a thriller than a grotesque, and it’s in Korean, so I’m banking on that helpful degree of abstraction."

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]]> "We’ve been patriotically slaving for three years to help a spy ring!"

“Ministry of Fear” was Fritz Lang’s third film of four anti-Nazi movies that he made, but it feels less anti-Nazi and more just straight up Hitchcockian thriller. And while Lang didn’t like the final result of the film and Graham Greene, who wrote the novel on which the movie’s based, also didn’t like the film, it’s a very fun film to watch and feels a bit like Lang lite. 

Join us – Pete Wright and Andy Nelson – as we wrap up our Lang series with his 1944 film, “Ministry of Fear.” We talk about why this film works for us, even if it still has story problems like he’s had in all of his other films so far, and debate as to what it was that caused him and Greene to dislike it so much. We discuss Seton Miller, the screenwriter and producer of this movie, and look at the control he exerted over this film, forcing Lang to make the film Miller wanted, right down to the last shot. We chat about the performances from Ray Milland, Marjorie Reynolds, Carl Esmond, Hillary Brooke, Percy Waram and most notably Dan Duryea, and look at what they each bring to the table. We touch on the cinematography by Henry Sharp, a studio contract DP Lang had to work with but still someone who ended up making this film feel very noirish and Langian. And we discuss our feelings about Lang as a director, looking at what we got out of this series and analyzing Lang’s work compared with how he ran his sets.

It’s a fun film to watch, even if it doesn’t feel as important as some of Lang’s earlier films. We have a great time talking about it on the show this week, commenting that this certainly will be an easy movie to put on down the road to enjoy all over again. So check out the movie then tune in!

Film Sundries

  • Watch this film: Amazon • YouTube
  • Original theatrical trailer
  • Original poster artwork
  • The Ministry of Fear: An Entertainment by Graham Greene
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Phantom Boy — "I love animated films in general, but after having so much fun with “A Cat in Paris,” I can’t wait to see what these filmmakers do with this story. A boy in a wheelchair who can project himself out of his body and does so to help a detective bring down some gangsters? It sounds like the stuff I dreamt up as a child and they pulled it straight from my head. I’m very much looking forward to this one."
  • Pete's Trailer: The Wailing — "Regular listeners know I’m not usually one for horror, but this film has that visual vibe I find appealing, hopefully more of a thriller than a grotesque, and it’s in Korean, so I’m banking on that helpful degree of abstraction."

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]]> Thu, 09 Jun 2016 06:00:00 -0700 The Next Reel The Next Reel 4739 “Ministry of Fear” was Fritz Lang’s third film of four anti-Nazi movies that he made, but it feels less anti-Nazi and more just straight up Hitchcockian thriller. And while Lang didn’t like the final result of the film and Graham Greene, who wrote the novel on which the movie’s based, also didn’t like the film, it’s a very fun film to watch and feels a bit like Lang lite. “Ministry of Fear” was Fritz Lang’s third film of four anti-Nazi movies that he made, but it feels less anti-Nazi and more just straight up Hitchcockian thriller. And while Lang didn’t like the final result of the film and Graham Greene, who wrote the nov film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Terminator 2: Judgment Day — Sarah Trost • Movies We Like 1 1 6 6 Terminator 2: Judgment Day — Sarah Trost • Movies We Like full 1da3ded4-ab3a-4557-866b-df240e610629 https://share.transistor.fm/s/db7df4f8 "Hasta la vista, baby."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Sarah Trost joins us to talk about one of her favorite films, Terminator 2: Judgment Day. 

We talk about why we all love this film so much and where this movie fits into our feelings for the entire franchise, and look at why James Cameron’s entries seemingly hold up so much better than the rest. We chat about the script that Cameron and William Wisher, Jr., put together here and the way they smartly chose to parallel elements from the first in the franchise. We look at how Cameron crafts films and why this film still holds up so incredibly well. We discuss the actors – Linda Hamilton, Arnold Schwarzenegger, Edward Furlong, Robert Patrick and Joe Morton primarily – and talk about what they all bring to the table, even commenting which of the actors delivers a performance that might have warranted an Oscar nomination. We look at the amazing cinematography, stunts, effects, makeup, costumes, models, music, editing – honestly, everyone involved in this film seems to be working at the top of their form and we talk about that. And we talk about the brilliant metal man effects work they did here bringing the T-1000 to life (and pushing this budget over $100 million, the first time a film cost that much). 

It truly is an action film that’s set a standard for all action films to follow and a film that hardly shows its age. We have a great time talking with Sarah about this one so tune in! (Oh, and be prepared for some explicit language in this one.)

Film Sundries


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]]> "Hasta la vista, baby."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Sarah Trost joins us to talk about one of her favorite films, Terminator 2: Judgment Day. 

We talk about why we all love this film so much and where this movie fits into our feelings for the entire franchise, and look at why James Cameron’s entries seemingly hold up so much better than the rest. We chat about the script that Cameron and William Wisher, Jr., put together here and the way they smartly chose to parallel elements from the first in the franchise. We look at how Cameron crafts films and why this film still holds up so incredibly well. We discuss the actors – Linda Hamilton, Arnold Schwarzenegger, Edward Furlong, Robert Patrick and Joe Morton primarily – and talk about what they all bring to the table, even commenting which of the actors delivers a performance that might have warranted an Oscar nomination. We look at the amazing cinematography, stunts, effects, makeup, costumes, models, music, editing – honestly, everyone involved in this film seems to be working at the top of their form and we talk about that. And we talk about the brilliant metal man effects work they did here bringing the T-1000 to life (and pushing this budget over $100 million, the first time a film cost that much). 

It truly is an action film that’s set a standard for all action films to follow and a film that hardly shows its age. We have a great time talking with Sarah about this one so tune in! (Oh, and be prepared for some explicit language in this one.)

Film Sundries


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]]> Tue, 07 Jun 2016 06:00:00 -0700 TruStory FM TruStory FM 5843 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Sarah Trost joins us to talk about one of her favorite films, Terminator 2: Judgment Day. The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Sarah Trost joins us to talk about one of her favo Movies We Like, Sarah Trost Yes Andy Nelson Pete Wright Man Hunt • The Next Reel 5 5 51 51 Man Hunt • The Next Reel full 0334d73e-a24d-4118-9020-e367866c34a5 https://share.transistor.fm/s/b50af178 "Good heavens, man, I never intended to shoot. I merely wanted to find out if it were possible."

1941 was an interesting time for the US as the country started the year off as a passive, neutral observer of what Germany and Hitler were doing in Europe and ended with the attack on Pearl Harbor, leading the US to officially enter WWII. And while Fritz Lang’s 1941 anti-Nazi film “Man Hunt” was rushed by Darryl F. Zanuck and 20th Century Fox into production then subsequently theatres to be current, they still had to contend with the Production Code and how the film would be seen by people while the Neutrality Act was still in effect. It’s a film that reflects the time in which it was made really well, giving us insight now not just how the filmmakers were thinking, but how society and the government were all thinking and working together (or against each other).

Join us – Pete Wright and Andy Nelson – as we continue our Fritz Lang series with “Man Hunt.” We talk about why this film is still such an interesting glimpse into what was going on in the late 30s/early 40s and how people were thinking. We chat about Lang and what he brings to the table paired with Dudley Nichols, the screenwriter, and how he adapted the source material, often in ways that make us scratch our heads. We look at the opening sequence of the film and talk about how powerful it is, likely even moreso at the time of its release. We discuss Walter Pidgeon, Joan Bennett, George Sanders, John Carradine, Roddy McDowall and the rest of the cast, deliberating on how well they did (or didn’t) do and whether any of them are any good at accents. We discuss the opening and closing shots of the film, looking at the imagery of the hunt and how it works in both contexts. And we look at the beautiful black-and-white cinematography by Arthur Miller and how well he worked with Lang here to give us some frightening urban night scenes that would fit perfectly in many of Lang’s films. 

The film may have story issues and some performances that we struggle with, but it’s still an interesting film to watch with some powerful moments that really stand out as pure Lang. Check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Original theatrical trailer
  • Original poster artwork
  • Rogue Male by Geoffrey Household
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: A Monster Calls — "While Spielberg’s ‘The BFG’ looks downright entertaining in all the right ways, there’s something about J.A. Bayona’s movie that looks like it touches on something a bit deeper. I’m excited for both but feel like this is the one I’m going to connect to a bit more strongly."
  • Pete's Trailer: Morgan — "A corporate risk management consultant is put in charge of the decision to terminate an artificial life. Oh, and looks like a bloody thriller. It’s like Ex Machina with an actual board room and Kate Mara."

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]]> "Good heavens, man, I never intended to shoot. I merely wanted to find out if it were possible."

1941 was an interesting time for the US as the country started the year off as a passive, neutral observer of what Germany and Hitler were doing in Europe and ended with the attack on Pearl Harbor, leading the US to officially enter WWII. And while Fritz Lang’s 1941 anti-Nazi film “Man Hunt” was rushed by Darryl F. Zanuck and 20th Century Fox into production then subsequently theatres to be current, they still had to contend with the Production Code and how the film would be seen by people while the Neutrality Act was still in effect. It’s a film that reflects the time in which it was made really well, giving us insight now not just how the filmmakers were thinking, but how society and the government were all thinking and working together (or against each other).

Join us – Pete Wright and Andy Nelson – as we continue our Fritz Lang series with “Man Hunt.” We talk about why this film is still such an interesting glimpse into what was going on in the late 30s/early 40s and how people were thinking. We chat about Lang and what he brings to the table paired with Dudley Nichols, the screenwriter, and how he adapted the source material, often in ways that make us scratch our heads. We look at the opening sequence of the film and talk about how powerful it is, likely even moreso at the time of its release. We discuss Walter Pidgeon, Joan Bennett, George Sanders, John Carradine, Roddy McDowall and the rest of the cast, deliberating on how well they did (or didn’t) do and whether any of them are any good at accents. We discuss the opening and closing shots of the film, looking at the imagery of the hunt and how it works in both contexts. And we look at the beautiful black-and-white cinematography by Arthur Miller and how well he worked with Lang here to give us some frightening urban night scenes that would fit perfectly in many of Lang’s films. 

The film may have story issues and some performances that we struggle with, but it’s still an interesting film to watch with some powerful moments that really stand out as pure Lang. Check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Original theatrical trailer
  • Original poster artwork
  • Rogue Male by Geoffrey Household
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: A Monster Calls — "While Spielberg’s ‘The BFG’ looks downright entertaining in all the right ways, there’s something about J.A. Bayona’s movie that looks like it touches on something a bit deeper. I’m excited for both but feel like this is the one I’m going to connect to a bit more strongly."
  • Pete's Trailer: Morgan — "A corporate risk management consultant is put in charge of the decision to terminate an artificial life. Oh, and looks like a bloody thriller. It’s like Ex Machina with an actual board room and Kate Mara."

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]]> Thu, 02 Jun 2016 06:00:00 -0700 The Next Reel The Next Reel 4424 1941 was an interesting time for the US as the country started the year off as a passive, neutral observer of what Germany and Hitler were doing in Europe and ended with the attack on Pearl Harbor, leading the US to officially enter WWII. And while Fritz Lang’s 1941 anti-Nazi film “Man Hunt” was rushed by Darryl F. Zanuck and 20th Century Fox into production then subsequently theatres to be current, they still had to contend with the Production Code and how the film would be seen by people while the Neutrality Act was still in effect. It’s a film that reflects the time in which it was made really well, giving us insight now not just how the filmmakers were thinking, but how society and the government were all thinking and working together (or against each other). 1941 was an interesting time for the US as the country started the year off as a passive, neutral observer of what Germany and Hitler were doing in Europe and ended with the attack on Pearl Harbor, leading the US to officially enter WWII. And while Fritz film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright M • The Next Reel 5 5 50 50 M • The Next Reel full 5c8792d0-cba5-40c9-8ec4-bcdc8c572ed8 https://share.transistor.fm/s/0f3089a5 "Just you wait, it won’t be long. / The man in black will soon be here / With his cleaver’s blade so true. / He’ll make mincemeat out of you!"

When “M,” Fritz Lang’s first sound film, opened in 1931, it was clear that Lang already understood how to employ sound to his advantage in telling his story. Unlike many early ‘talkies,’ “M” isn’t wall-to-wall talking; instead, Lang used it as a sparse tool to help catch a killer. He balanced quiet moments with abrupt sharp noises. He brought in off-screen noises that affected those on-screen. He had voiceover. And of course, there is the murderer’s whistling of Peer Gynt’s “In the Hall of the Mountain King.” Lang was a master of his craft, and certainly not a director who would be held back by the advent of sound. 

Join us – Pete Wright and Andy Nelson – as we continue our Lang series with “M.” We talk about the story of the film, the influences from the time on Lang, and what Lang may have been trying to say about the rise of Nazism. We chat about Peter Lorre in his breakout role and why his child murderer character is so compelling and, yes, sympathetic. We look at the way that Fritz Arno Wagner moved the camera and lit the scenes to capture Lang’s story (once again written by his wife at the time Thea von Harbou). We deliberate on von Harbou’s script and how well it worked in creating a fascinating police procedural but also how Lang’s research into killers may have affected some decisions in the character of Beckert. We talk about the sound and the lack of score with this movie and how the sound actually affected the frame size. We start a new segment called First Shot/Last Shot and look at how the director decided to start and end his story. And we discuss how the rise in Nazism helped some of the actors while hindering others.

It’s a film noted as a masterpiece, the best of German cinema, Lang’s finest film. We certainly see the quality here and have a great time talking about it on this week’s show. So give this one a watch – it deserves it – then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon • Hulu
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
  • Fritz Lang - the movie
    Trailers of the Week
  • Andy's Trailer: Tickled — "There are certain documentaries that really thrill me to no end, and those are the ones where it leads you in a completely different direction than you’re expecting it to. This looks like one of those docs. Plus, it’s about one of the strangest subjects I’ve ever encountered – competitive endurance tickling. (Or is it about that? Hmmm…)"
  • Pete's Trailer: Don’t Think Twice — "Keegan-Michael Key and Gillian Jacobs star in this Mike Birbiglia film chronicling the efforts of a New York City improv troupe to get picked up by their fictitious SNL counterparts. Looks funny, with a deceptive dose of heart. Suck it, cynicism."

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]]> "Just you wait, it won’t be long. / The man in black will soon be here / With his cleaver’s blade so true. / He’ll make mincemeat out of you!"

When “M,” Fritz Lang’s first sound film, opened in 1931, it was clear that Lang already understood how to employ sound to his advantage in telling his story. Unlike many early ‘talkies,’ “M” isn’t wall-to-wall talking; instead, Lang used it as a sparse tool to help catch a killer. He balanced quiet moments with abrupt sharp noises. He brought in off-screen noises that affected those on-screen. He had voiceover. And of course, there is the murderer’s whistling of Peer Gynt’s “In the Hall of the Mountain King.” Lang was a master of his craft, and certainly not a director who would be held back by the advent of sound. 

Join us – Pete Wright and Andy Nelson – as we continue our Lang series with “M.” We talk about the story of the film, the influences from the time on Lang, and what Lang may have been trying to say about the rise of Nazism. We chat about Peter Lorre in his breakout role and why his child murderer character is so compelling and, yes, sympathetic. We look at the way that Fritz Arno Wagner moved the camera and lit the scenes to capture Lang’s story (once again written by his wife at the time Thea von Harbou). We deliberate on von Harbou’s script and how well it worked in creating a fascinating police procedural but also how Lang’s research into killers may have affected some decisions in the character of Beckert. We talk about the sound and the lack of score with this movie and how the sound actually affected the frame size. We start a new segment called First Shot/Last Shot and look at how the director decided to start and end his story. And we discuss how the rise in Nazism helped some of the actors while hindering others.

It’s a film noted as a masterpiece, the best of German cinema, Lang’s finest film. We certainly see the quality here and have a great time talking about it on this week’s show. So give this one a watch – it deserves it – then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon • Hulu
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
  • Fritz Lang - the movie
    Trailers of the Week
  • Andy's Trailer: Tickled — "There are certain documentaries that really thrill me to no end, and those are the ones where it leads you in a completely different direction than you’re expecting it to. This looks like one of those docs. Plus, it’s about one of the strangest subjects I’ve ever encountered – competitive endurance tickling. (Or is it about that? Hmmm…)"
  • Pete's Trailer: Don’t Think Twice — "Keegan-Michael Key and Gillian Jacobs star in this Mike Birbiglia film chronicling the efforts of a New York City improv troupe to get picked up by their fictitious SNL counterparts. Looks funny, with a deceptive dose of heart. Suck it, cynicism."

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]]> Thu, 26 May 2016 06:00:00 -0700 The Next Reel The Next Reel 4796 When “M,” Fritz Lang’s first sound film, opened in 1931, it was clear that Lang already understood how to employ sound to his advantage in telling his story. Unlike many early ‘talkies,’ “M” isn’t wall-to-wall talking; instead, Lang used it as a sparse tool to help catch a killer. He balanced quiet moments with abrupt sharp noises. He brought in off-screen noises that affected those on-screen. He had voiceover. And of course, there is the murderer’s whistling of Peer Gynt’s “In the Hall of the Mountain King.” Lang was a master of his craft, and certainly not a director who would be held back by the advent of sound. When “M,” Fritz Lang’s first sound film, opened in 1931, it was clear that Lang already understood how to employ sound to his advantage in telling his story. Unlike many early ‘talkies,’ “M” isn’t wall-to-wall talking; instead, Lang used it as a sparse to film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Spies • The Next Reel 5 5 49 49 Spies • The Next Reel full a848e938-0463-497d-9e12-ea00de415d4e https://share.transistor.fm/s/45ec96d9 "You still don’t seem to know what I am capable of!"

Fritz Lang’s 1928 silent spy thriller “Spies” rarely gets brought up when people mention Lang and his filmography. Dwarfed by arguably two of his best made on either side of it – “Metropolis” and “M” – “Spies” was Lang’s first film outside the shell of Ufa, the German motion-picture company. It did well enough for itself, but not well enough to make a big mark in cinema. But if you watch it, you’ll see the birthplace for practically every spy movie trope that has been on screen since. 

Join us – Pete Wright and Andy Nelson – as we continue our Fritz Lang series with “Spies.” We talk about the spy tropes found in this film and what they led to in later films. We chat about the pacing of the film and why the length of this one at its mostly restored length of 143 minutes may be a bit too slow. We discuss Lang, what he was like as a director, and how his approach worked in the production of this film. We discuss the actors, notably Rudolf Klein-Rogge, Willy Fritsch and Gerda Maurus, and what they each bring to the table. We also touch on the affair Lang had with Maurus during the production of this film. We discuss Fritz Arno Wagner, the DP, and his role here as well as in German cinema in this period. And we chat about some of the filmmaking techniques used here, which work, and which are clearly still being developed. 

It’s a fun film, albeit a bit overlong, but definitely worth watching. Anyone interested in Lang’s filmography needs to see this one. So check it out then tune in!

Film Sundries


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]]> "You still don’t seem to know what I am capable of!"

Fritz Lang’s 1928 silent spy thriller “Spies” rarely gets brought up when people mention Lang and his filmography. Dwarfed by arguably two of his best made on either side of it – “Metropolis” and “M” – “Spies” was Lang’s first film outside the shell of Ufa, the German motion-picture company. It did well enough for itself, but not well enough to make a big mark in cinema. But if you watch it, you’ll see the birthplace for practically every spy movie trope that has been on screen since. 

Join us – Pete Wright and Andy Nelson – as we continue our Fritz Lang series with “Spies.” We talk about the spy tropes found in this film and what they led to in later films. We chat about the pacing of the film and why the length of this one at its mostly restored length of 143 minutes may be a bit too slow. We discuss Lang, what he was like as a director, and how his approach worked in the production of this film. We discuss the actors, notably Rudolf Klein-Rogge, Willy Fritsch and Gerda Maurus, and what they each bring to the table. We also touch on the affair Lang had with Maurus during the production of this film. We discuss Fritz Arno Wagner, the DP, and his role here as well as in German cinema in this period. And we chat about some of the filmmaking techniques used here, which work, and which are clearly still being developed. 

It’s a fun film, albeit a bit overlong, but definitely worth watching. Anyone interested in Lang’s filmography needs to see this one. So check it out then tune in!

Film Sundries


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]]> Thu, 19 May 2016 06:00:00 -0700 The Next Reel The Next Reel 3702 Fritz Lang’s 1928 silent spy thriller “Spies” rarely gets brought up when people mention Lang and his filmography. Dwarfed by arguably two of his best made on either side of it – “Metropolis” and “M” – “Spies” was Lang’s first film outside the shell of Ufa, the German motion-picture company. It did well enough for itself, but not well enough to make a big mark in cinema. But if you watch it, you’ll see the birthplace for practically every spy movie trope that has been on screen since. Fritz Lang’s 1928 silent spy thriller “Spies” rarely gets brought up when people mention Lang and his filmography. Dwarfed by arguably two of his best made on either side of it – “Metropolis” and “M” – “Spies” was Lang’s first film outside the shell of Uf film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Metropolis • The Next Reel 5 5 48 48 Metropolis • The Next Reel full fe9f071a-d87a-494c-bc21-ae663864dfba https://share.transistor.fm/s/1332b729 "Isn’t it worth the loss of a hand to have created the man of the future, the Machine-Man—?!”

Fritz Lang’s sci-fi classic has really been through the wringer since it’s premiere in 1927. After having been cut nearly in half then reshaped, people have struggled over the decades to restore the 2 ½ hour film to its full glory but to little avail. In 2008, however, a 16mm print of a horribly scratched copy of the nearly full version was found in Buenos Aires and the film was given new life. It’s since been beautifully restored and is a marvel to watch, even with the scratches. 

Join us – Pete Wright and Andy Nelson – as we begin our Fritz Lang series with “Metropolis.” We talk about what the film is about, what works in it and what doesn’t, and try to deduce why. We talk about various political directions the story seems to take and how they fit in with the time and place when Lang and his wife/co-writer Thea von Harbou were writing this. We chat about the actors – notably Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge – and what they bring to the table. We debate whether Giorgio Moroder’s rock interpretation of the movie in 1984 has any merit. And we marvel at the stunning effects by Eugen Schüfftan, from the miniatures and stop motion, to the video phone, to the creation of the Machine-Man and the rings of light moving around it. 

It’s a film that has inspired countless projects since and is clearly an important piece in the history of cinema, and even though the story is riddled with problems and could likely be condensed to get the same thing across, it’s still well worth a watch. So check out this movie then tune in to this week’s show!

Film Sundries

  • Watch this film: Amazon • Netflix • Hulu
  • Original theatrical trailer
  • Original poster artwork
  • Art of the Title
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Urge — "I really don’t know if I’m that excited about this movie, but I love seeing Pierce Brosnan in roles where he seems to be playing something drastically different from his Bond persona. That alone piqued my curiosity here and while I won’t be running out to the cinema to catch this one, I think I may watch this some late night just to see how it is."
  • Pete's Trailer: The Shallows — "So, it’s Jaws, but with Blake Lively, plus a bunch of Michael Bay low angle tracking shots. I have a feeling this is going to connect with me on a deeply disturbing level. I’m not proud, but at least I’m honest."

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]]> "Isn’t it worth the loss of a hand to have created the man of the future, the Machine-Man—?!”

Fritz Lang’s sci-fi classic has really been through the wringer since it’s premiere in 1927. After having been cut nearly in half then reshaped, people have struggled over the decades to restore the 2 ½ hour film to its full glory but to little avail. In 2008, however, a 16mm print of a horribly scratched copy of the nearly full version was found in Buenos Aires and the film was given new life. It’s since been beautifully restored and is a marvel to watch, even with the scratches. 

Join us – Pete Wright and Andy Nelson – as we begin our Fritz Lang series with “Metropolis.” We talk about what the film is about, what works in it and what doesn’t, and try to deduce why. We talk about various political directions the story seems to take and how they fit in with the time and place when Lang and his wife/co-writer Thea von Harbou were writing this. We chat about the actors – notably Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge – and what they bring to the table. We debate whether Giorgio Moroder’s rock interpretation of the movie in 1984 has any merit. And we marvel at the stunning effects by Eugen Schüfftan, from the miniatures and stop motion, to the video phone, to the creation of the Machine-Man and the rings of light moving around it. 

It’s a film that has inspired countless projects since and is clearly an important piece in the history of cinema, and even though the story is riddled with problems and could likely be condensed to get the same thing across, it’s still well worth a watch. So check out this movie then tune in to this week’s show!

Film Sundries

  • Watch this film: Amazon • Netflix • Hulu
  • Original theatrical trailer
  • Original poster artwork
  • Art of the Title
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Urge — "I really don’t know if I’m that excited about this movie, but I love seeing Pierce Brosnan in roles where he seems to be playing something drastically different from his Bond persona. That alone piqued my curiosity here and while I won’t be running out to the cinema to catch this one, I think I may watch this some late night just to see how it is."
  • Pete's Trailer: The Shallows — "So, it’s Jaws, but with Blake Lively, plus a bunch of Michael Bay low angle tracking shots. I have a feeling this is going to connect with me on a deeply disturbing level. I’m not proud, but at least I’m honest."

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]]> Thu, 12 May 2016 06:00:00 -0700 The Next Reel The Next Reel 5105 Fritz Lang’s sci-fi classic has really been through the wringer since it’s premiere in 1927. After having been cut nearly in half then reshaped, people have struggled over the decades to restore the 2 ½ hour film to its full glory but to little avail. In 2008, however, a 16mm print of a horribly scratched copy of the nearly full version was found in Buenos Aires and the film was given new life. It’s since been beautifully restored and is a marvel to watch, even with the scratches. Fritz Lang’s sci-fi classic has really been through the wringer since it’s premiere in 1927. After having been cut nearly in half then reshaped, people have struggled over the decades to restore the 2 ½ hour film to its full glory but to little avail. In film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Kiss Kiss Bang Bang • The Next Reel 5 5 47 47 Kiss Kiss Bang Bang • The Next Reel full d3f65eea-6478-4698-bac3-0619223a1405 https://share.transistor.fm/s/0c77b96d "This was, like, two corpses in three hours. I mean, am I crazy? That’s unusual, right?"

Shane Black was gone from the scene for a decade before his return as not just writer but also director with 2005’s “Kiss Kiss Bang Bang,” a comedy crime mystery that unjustly largely flew under everyone’s radar. It was mostly critically acclaimed, but with Warner Bros.’ modest release plans and minimal advertising, it didn’t have much of a chance. And we’re hoping to rectify that. Join us – Pete Wright and Andy Nelson – as we wrap up our Shane Black series with his directorial debut, “Kiss Kiss Bang Bang.”

We talk about why we love this film so much, from the noir and pulp elements Black incorporates to his comedic sensibilities, from the casting to the nature of the buddies. We chat about Robert Downey, Jr. and Val Kilmer and why they work so well together here. We discuss the challenge Black had to get this film made, and subsequently how he made it. We look at some of the other actors, including Michelle Monaghan and Corbin Bernsen, and what they bring to the table. We touch on the cinematography by Michael Barrett, the editing by Jim Page and the brilliant score by John Ottman, wondering if we can track down the soundtrack somehow. We look at the script and some of the Blackisms in it, but also compare it with the final scene and how having Black on set to direct allowed for one of his actors to create a stronger moment for the character. And we wrap up our look at the IMFDb to see what a much smaller budget does to the amount of firepower shown off in the film. 

It’s a brilliant ride of a film that thrills us to no end. We highly recommend everyone checks it out, so do so then tune in to the show!

Film Sundries


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]]> "This was, like, two corpses in three hours. I mean, am I crazy? That’s unusual, right?"

Shane Black was gone from the scene for a decade before his return as not just writer but also director with 2005’s “Kiss Kiss Bang Bang,” a comedy crime mystery that unjustly largely flew under everyone’s radar. It was mostly critically acclaimed, but with Warner Bros.’ modest release plans and minimal advertising, it didn’t have much of a chance. And we’re hoping to rectify that. Join us – Pete Wright and Andy Nelson – as we wrap up our Shane Black series with his directorial debut, “Kiss Kiss Bang Bang.”

We talk about why we love this film so much, from the noir and pulp elements Black incorporates to his comedic sensibilities, from the casting to the nature of the buddies. We chat about Robert Downey, Jr. and Val Kilmer and why they work so well together here. We discuss the challenge Black had to get this film made, and subsequently how he made it. We look at some of the other actors, including Michelle Monaghan and Corbin Bernsen, and what they bring to the table. We touch on the cinematography by Michael Barrett, the editing by Jim Page and the brilliant score by John Ottman, wondering if we can track down the soundtrack somehow. We look at the script and some of the Blackisms in it, but also compare it with the final scene and how having Black on set to direct allowed for one of his actors to create a stronger moment for the character. And we wrap up our look at the IMFDb to see what a much smaller budget does to the amount of firepower shown off in the film. 

It’s a brilliant ride of a film that thrills us to no end. We highly recommend everyone checks it out, so do so then tune in to the show!

Film Sundries


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]]> Thu, 05 May 2016 06:00:00 -0700 The Next Reel The Next Reel 4228 Shane Black was gone from the scene for a decade before his return as not just writer but also director with 2005’s “Kiss Kiss Bang Bang,” a comedy crime mystery that unjustly largely flew under everyone’s radar. It was mostly critically acclaimed, but with Warner Bros.’ modest release plans and minimal advertising, it didn’t have much of a chance. And we’re hoping to rectify that. Join us – Pete Wright and Andy Nelson – as we wrap up our Shane Black series with his directorial debut, “Kiss Kiss Bang Bang.” Shane Black was gone from the scene for a decade before his return as not just writer but also director with 2005’s “Kiss Kiss Bang Bang,” a comedy crime mystery that unjustly largely flew under everyone’s radar. It was mostly critically acclaimed, but wi film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Snatch. — Michael B. Koff • Movies We Like 1 1 5 5 Snatch. — Michael B. Koff • Movies We Like full 24f2f81e-27b5-4eed-947a-df73e9d56b79 https://share.transistor.fm/s/d304c4a2 "Is that a tea cozy on his head?"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, sound mixer Michael B. Koff joins us to talk about one of his favorite films, Guy Ritchie’s crime comedy thriller from the year 2000, “Snatch!” 

We talk about Guy Ritchie’s style, why it works for us, and why some people complained at the time that it felt like “Lock, Stock and Two Smoking Barrels” redux. We discuss the incredible talent onscreen here – from Jason Statham and Brad Pitt to Dennis Farina Andolan Ford – and what they all bring to the table, not to mention how much balance there is with all of their parts. We chat about the blending of the two storylines throughout the film and why it's effective in the ‘hyperlink cinema’ style. And we look at the technical aspects of the film – the sound, the cinematography and the editing in particular – and how it ties into the storytelling style overall. 

It’s a raucous ride of a film that’s not talked about enough, so check it out then grab a drink and join us in the Speakeasy!

Film Sundries


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]]> "Is that a tea cozy on his head?"

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, sound mixer Michael B. Koff joins us to talk about one of his favorite films, Guy Ritchie’s crime comedy thriller from the year 2000, “Snatch!” 

We talk about Guy Ritchie’s style, why it works for us, and why some people complained at the time that it felt like “Lock, Stock and Two Smoking Barrels” redux. We discuss the incredible talent onscreen here – from Jason Statham and Brad Pitt to Dennis Farina Andolan Ford – and what they all bring to the table, not to mention how much balance there is with all of their parts. We chat about the blending of the two storylines throughout the film and why it's effective in the ‘hyperlink cinema’ style. And we look at the technical aspects of the film – the sound, the cinematography and the editing in particular – and how it ties into the storytelling style overall. 

It’s a raucous ride of a film that’s not talked about enough, so check it out then grab a drink and join us in the Speakeasy!

Film Sundries


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]]> Tue, 03 May 2016 06:00:00 -0700 TruStory FM TruStory FM 4245 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, sound mixer Michael B. Koff joins us to talk about one of his favorite films, Guy Ritchie’s crime comedy thriller from the year 2000, “Snatch!” The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, sound mixer Michael B. Koff joins us to talk about one of his favor Movies We Like, Michael B. Koff No Andy Nelson Pete Wright The Long Kiss Goodnight • The Next Reel 5 5 46 46 The Long Kiss Goodnight • The Next Reel full 2030048b-9663-47b3-a751-f7cda3306850 https://share.transistor.fm/s/74b73527 "Name’s Charly, by the way. You’re gonna love me."

When New Line Cinema bought Shane Black’s spec script “The Long Kiss Goodnight” in 1994 for $4 million, it created a new record for the selling price of spec scripts for more than 10 years until 2005 when Terry Rossio’s and Bill Marsilii’s script “Déjà Vu” sold for $5 million. While Black walked away with a hefty paycheck, he had no idea that this sale and the subsequent underwhelming performance of the resulting movie would have a hand in the end of the halcyon days of spec script sales. The way that studios saw screenwriters changed. The way they approached projects changed. Some say the industry has changed for the better, some say for the worse. Whichever side you fall on the issue, Black found himself struggling to get work afterward. 

Join us – Pete Wright and Andy Nelson – as we continue our Shane Black series with Renny Harlin’s 1996 film “The Long Kiss Goodnight.” We talk about how much fun this movie is, particularly after our struggles with the last two in the series. We chat about Black and why the level of over-the-top fun in this script helps to elevate it in ways that didn’t quite work before. We chat about Harlin and what he brings to the table, not just here but in action and horror films through the late 80s and early 90s. We discuss Geena Davis, Samuel L. Jackson, Craig Bierko, Yvonne Zima, Brian Cox, David Morse and more, looking at how well they fit in this universe. And we look at how this film affected Black’s career, pushing him to step out of the industry for a decade. 

It’s a joyously ridiculous romp that’s nothing but fun and we have a great time talking about it on this week’s show. Definitely check out this movie then tune in to the show.

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: The Magnificent Seven — "’The Seven Samurai’ is such a great story, it’s been retold many times in many different ways. And I really enjoy the ones I’ve seen. With Antoine Fuqua’s upcoming remake of a remake, I’m just banking on the story I love to carry it through. Okay, I generally like Fuqua, and his cast looks pretty solid. I’m just not sold yet by this trailer. Or ‘teaser,’ I should say. I guess I’ll have to wait for the ‘full trailer’ to get a better sense of it."
  • Pete's Trailer: The Founder — "Outside of MBA circles, I’m not sure how many people give the mechanics of McDonald’s much thought. But unravelling the sordid history of much lauded Ray Croc and the real estate empire he built is a story worth telling, and Keaton looks terrific in the part. Like last week though, what really gets me in this trailer is the song: Barns Courtney’s Glitter & Gold."

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]]> "Name’s Charly, by the way. You’re gonna love me."

When New Line Cinema bought Shane Black’s spec script “The Long Kiss Goodnight” in 1994 for $4 million, it created a new record for the selling price of spec scripts for more than 10 years until 2005 when Terry Rossio’s and Bill Marsilii’s script “Déjà Vu” sold for $5 million. While Black walked away with a hefty paycheck, he had no idea that this sale and the subsequent underwhelming performance of the resulting movie would have a hand in the end of the halcyon days of spec script sales. The way that studios saw screenwriters changed. The way they approached projects changed. Some say the industry has changed for the better, some say for the worse. Whichever side you fall on the issue, Black found himself struggling to get work afterward. 

Join us – Pete Wright and Andy Nelson – as we continue our Shane Black series with Renny Harlin’s 1996 film “The Long Kiss Goodnight.” We talk about how much fun this movie is, particularly after our struggles with the last two in the series. We chat about Black and why the level of over-the-top fun in this script helps to elevate it in ways that didn’t quite work before. We chat about Harlin and what he brings to the table, not just here but in action and horror films through the late 80s and early 90s. We discuss Geena Davis, Samuel L. Jackson, Craig Bierko, Yvonne Zima, Brian Cox, David Morse and more, looking at how well they fit in this universe. And we look at how this film affected Black’s career, pushing him to step out of the industry for a decade. 

It’s a joyously ridiculous romp that’s nothing but fun and we have a great time talking about it on this week’s show. Definitely check out this movie then tune in to the show.

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: The Magnificent Seven — "’The Seven Samurai’ is such a great story, it’s been retold many times in many different ways. And I really enjoy the ones I’ve seen. With Antoine Fuqua’s upcoming remake of a remake, I’m just banking on the story I love to carry it through. Okay, I generally like Fuqua, and his cast looks pretty solid. I’m just not sold yet by this trailer. Or ‘teaser,’ I should say. I guess I’ll have to wait for the ‘full trailer’ to get a better sense of it."
  • Pete's Trailer: The Founder — "Outside of MBA circles, I’m not sure how many people give the mechanics of McDonald’s much thought. But unravelling the sordid history of much lauded Ray Croc and the real estate empire he built is a story worth telling, and Keaton looks terrific in the part. Like last week though, what really gets me in this trailer is the song: Barns Courtney’s Glitter & Gold."

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]]> Thu, 28 Apr 2016 07:00:00 -0700 The Next Reel The Next Reel 4875 When New Line Cinema bought Shane Black’s spec script “The Long Kiss Goodnight” in 1994 for $4 million, it created a new record for the selling price of spec scripts for more than 10 years until 2005 when Terry Rossio’s and Bill Marsilii’s script “Déjà Vu” sold for $5 million. While Black walked away with a hefty paycheck, he had no idea that this sale and the subsequent underwhelming performance of the resulting movie would have a hand in the end of the halcyon days of spec script sales. The way that studios saw screenwriters changed. The way they approached projects changed. Some say the industry has changed for the better, some say for the worse. Whichever side you fall on the issue, Black found himself struggling to get work afterward. When New Line Cinema bought Shane Black’s spec script “The Long Kiss Goodnight” in 1994 for $4 million, it created a new record for the selling price of spec scripts for more than 10 years until 2005 when Terry Rossio’s and Bill Marsilii’s script “Déjà Vu film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Last Boy Scout • The Next Reel 5 5 45 45 The Last Boy Scout • The Next Reel full 7e59c01d-220d-4bac-ba8b-31a337029785 https://share.transistor.fm/s/2d11df51 "Be prepared, son. That’s my motto. Be prepared."

When Shane Black was paid $1.75 million for his spec script “The Last Boy Scout,” it was the most any screenwriter had been paid for their script up to that point. It wouldn’t take long before that record was broken, but the bar had been set – and more importantly, the expectations – for what Shane Black the screenwriter could deliver. Unfortunately, the production was riddled with problems and the film struggled to make its money back. It didn’t kill Black’s career, but it may have signaled the beginning of the end for the spec script boom happening in the early 90s. 

Join us – Pete Wright and Andy Nelson – as we continue our Shane Black series with Tony Scott’s 1991 action extravaganza “The Last Boy Scout.” We talk about what Black brought to the table with his script and how it changed due to infighting amongst the above-the-line team involved in the production. We chat about the perfection of Bruce Willis in his role contrasted with the struggle we have with Damon Wayans as Willis’ inevitable sidekick. We touch on the goods and bads of Blackisms and Black’s storytelling themes he returns to time and again. We look at the nature of Scott’s films, how this fits into his body of work and why perhaps some of his ardent fans really love this movie. And we talk about the misogyny laced throughout the story, struggling with the way women are treated compared with what the screenwriter’s intentions likely were. 

It’s a frustrating film because it had a lot of promise but never quite gets there. Still, we have a great conversation about it. Tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Doctor Strange — "As a kid, Doctor Strange always looked like a weird comic book character that dealt with things I just didn’t understand. Now, with this impending movie iteration, it looks like an incredibly refreshing dip into something new in this glut of superhero films we’re in. Cumberbatch. McAdams. Mikkelson. Ejiofor. And a bald Swinton as The Ancient One. I’m in for sure.”
  • Pete's Trailer: The Birth of a Nation — “The movie looks terrific, but this week I’m choosing the trailer because the visuals-musical pairing is so, so good. Watch the trailer, then go pick up Nina Simone’s rendition of Strange Fruit.“

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]]> "Be prepared, son. That’s my motto. Be prepared."

When Shane Black was paid $1.75 million for his spec script “The Last Boy Scout,” it was the most any screenwriter had been paid for their script up to that point. It wouldn’t take long before that record was broken, but the bar had been set – and more importantly, the expectations – for what Shane Black the screenwriter could deliver. Unfortunately, the production was riddled with problems and the film struggled to make its money back. It didn’t kill Black’s career, but it may have signaled the beginning of the end for the spec script boom happening in the early 90s. 

Join us – Pete Wright and Andy Nelson – as we continue our Shane Black series with Tony Scott’s 1991 action extravaganza “The Last Boy Scout.” We talk about what Black brought to the table with his script and how it changed due to infighting amongst the above-the-line team involved in the production. We chat about the perfection of Bruce Willis in his role contrasted with the struggle we have with Damon Wayans as Willis’ inevitable sidekick. We touch on the goods and bads of Blackisms and Black’s storytelling themes he returns to time and again. We look at the nature of Scott’s films, how this fits into his body of work and why perhaps some of his ardent fans really love this movie. And we talk about the misogyny laced throughout the story, struggling with the way women are treated compared with what the screenwriter’s intentions likely were. 

It’s a frustrating film because it had a lot of promise but never quite gets there. Still, we have a great conversation about it. Tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Letterboxd
    Trailers of the Week
  • Andy's Trailer: Doctor Strange — "As a kid, Doctor Strange always looked like a weird comic book character that dealt with things I just didn’t understand. Now, with this impending movie iteration, it looks like an incredibly refreshing dip into something new in this glut of superhero films we’re in. Cumberbatch. McAdams. Mikkelson. Ejiofor. And a bald Swinton as The Ancient One. I’m in for sure.”
  • Pete's Trailer: The Birth of a Nation — “The movie looks terrific, but this week I’m choosing the trailer because the visuals-musical pairing is so, so good. Watch the trailer, then go pick up Nina Simone’s rendition of Strange Fruit.“

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]]> Thu, 21 Apr 2016 07:00:00 -0700 The Next Reel The Next Reel 4572 When Shane Black was paid $1.75 million for his spec script “The Last Boy Scout,” it was the most any screenwriter had been paid for their script up to that point. It wouldn’t take long before that record was broken, but the bar had been set – and more importantly, the expectations – for what Shane Black the screenwriter could deliver. Unfortunately, the production was riddled with problems and the film struggled to make its money back. It didn’t kill Black’s career, but it may have signaled the beginning of the end for the spec script boom happening in the early 90s. When Shane Black was paid $1.75 million for his spec script “The Last Boy Scout,” it was the most any screenwriter had been paid for their script up to that point. It wouldn’t take long before that record was broken, but the bar had been set – and more im film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Silent Partner — Craig Anderson • Movies We Like 1 1 4 4 The Silent Partner — Craig Anderson • Movies We Like full 98d09a31-90b0-4911-af77-8715eb4843e4 https://share.transistor.fm/s/c711aa60 “If you decide you’re not going to be reasonable, then one night when you come home, you’ll find me on the inside waiting for you, and that’ll be the night you’ll wish you’d never been born.”

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actor, comedian and director Craig Anderson joins us to talk about one of his favorites, Daryl Duke’s Canadian bank heist thriller from 1978, “The Silent Partner.” We talk about the tone of films in the 70s and the nature of crime depicted in this film, not just of bank heists but also rampant infidelity and violent murder. We chat about the performances from Elliott Gould and Christopher Plummer and what they bring to the table, as well as those from Susannah York, John Candy and Céline Lomez to name a few. We discuss the taut screenplay adaptation by Curtis Hanson and the efficiency with which he crafts this story so as to avoid unnecessary exposition. And we ponder the manliness of Gould at this time in his career paired with the evil of Plummer. It’s a great film that isn’t talked about enough, so check it out then grab a drink and join us in the Speakeasy!

Film Sundries


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]]> “If you decide you’re not going to be reasonable, then one night when you come home, you’ll find me on the inside waiting for you, and that’ll be the night you’ll wish you’d never been born.”

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actor, comedian and director Craig Anderson joins us to talk about one of his favorites, Daryl Duke’s Canadian bank heist thriller from 1978, “The Silent Partner.” We talk about the tone of films in the 70s and the nature of crime depicted in this film, not just of bank heists but also rampant infidelity and violent murder. We chat about the performances from Elliott Gould and Christopher Plummer and what they bring to the table, as well as those from Susannah York, John Candy and Céline Lomez to name a few. We discuss the taut screenplay adaptation by Curtis Hanson and the efficiency with which he crafts this story so as to avoid unnecessary exposition. And we ponder the manliness of Gould at this time in his career paired with the evil of Plummer. It’s a great film that isn’t talked about enough, so check it out then grab a drink and join us in the Speakeasy!

Film Sundries


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]]> Tue, 19 Apr 2016 07:00:00 -0700 TruStory FM TruStory FM 4509 The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actor, comedian and director Craig Anderson joins us to talk about one of his favorites, Daryl Duke’s Canadian bank heist thriller from 1978, “The Silent Partner.” The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actor, comedian and director Craig Anderson joins us to talk about Movies We Like, Craig Anderson No Andy Nelson Pete Wright Lethal Weapon • The Next Reel 5 5 44 44 Lethal Weapon • The Next Reel full ba0277d5-6c4a-4242-9818-2c1ce550fe91 https://share.transistor.fm/s/6c80ca20 "You ever met anybody you didn’t kill?"

Shortly after graduating from UCLA, Shane Black sold his first screenplay to Warner Bros. to the tune of $250,000. That script was “Lethal Weapon.” Black didn’t know it at the time, but he was on his way to changing the way Hollywood thought about big blockbuster action films and about screenwriters as well. Join us – Pete Wright and Andy Nelson – as we kick off our Shane Black series with Richard Donner’s 1987 film “Lethal Weapon.” We talk about how the film held up for us after our first viewings in our teen years. We chat about Black and his screenplay, looking at what’s in it, what’s not, and why his writing works so well. We look at Mel Gibson and Danny Glover as Riggs and Murtaugh, discussing everything from their partnership in this buddy cop movie to Mel’s hair and from Murtaugh’s family to Mel’s butt. We look at Gary Busey and talk about why he works well in this film. We chat about the stunts, notably Dar Richardson who lost his life right after principal photography finished. And we argue about the quality of Michael Kamen’s and Eric Clapton’s music. It’s a fun film, even if it doesn’t hold up to memories of it from our youth, so check it out then tune in to hear what we thought.

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Internet Movie Firearms Database
    Trailers of the Week
  • Andy's Trailer: The Family Fang — "Whether the movie ends up good or not, there’s still something I just absolutely love about Jason Bateman. This story he stars in and directs about a dysfunctional family run by parents who are all about performance art and their now grown-up children looking to distance themselves from the antics looks to be the right kind of quirky for me. Plus Nicole Kidman and Christopher Walken. I’m all in!"
  • Pete's Trailer: Rogue One — "We were mixed on Godzilla, but Gareth Edwards at the helm of the first stand-alone Star Wars story has us intrigued. From the trailer, the frame-by-frame forensic analysis that’s being done on it in most corners of the internet at least, feels like they got the look just right. I’m all in."

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]]> "You ever met anybody you didn’t kill?"

Shortly after graduating from UCLA, Shane Black sold his first screenplay to Warner Bros. to the tune of $250,000. That script was “Lethal Weapon.” Black didn’t know it at the time, but he was on his way to changing the way Hollywood thought about big blockbuster action films and about screenwriters as well. Join us – Pete Wright and Andy Nelson – as we kick off our Shane Black series with Richard Donner’s 1987 film “Lethal Weapon.” We talk about how the film held up for us after our first viewings in our teen years. We chat about Black and his screenplay, looking at what’s in it, what’s not, and why his writing works so well. We look at Mel Gibson and Danny Glover as Riggs and Murtaugh, discussing everything from their partnership in this buddy cop movie to Mel’s hair and from Murtaugh’s family to Mel’s butt. We look at Gary Busey and talk about why he works well in this film. We chat about the stunts, notably Dar Richardson who lost his life right after principal photography finished. And we argue about the quality of Michael Kamen’s and Eric Clapton’s music. It’s a fun film, even if it doesn’t hold up to memories of it from our youth, so check it out then tune in to hear what we thought.

Film Sundries

  • Watch this film: iTunes • Amazon
  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
  • Internet Movie Firearms Database
    Trailers of the Week
  • Andy's Trailer: The Family Fang — "Whether the movie ends up good or not, there’s still something I just absolutely love about Jason Bateman. This story he stars in and directs about a dysfunctional family run by parents who are all about performance art and their now grown-up children looking to distance themselves from the antics looks to be the right kind of quirky for me. Plus Nicole Kidman and Christopher Walken. I’m all in!"
  • Pete's Trailer: Rogue One — "We were mixed on Godzilla, but Gareth Edwards at the helm of the first stand-alone Star Wars story has us intrigued. From the trailer, the frame-by-frame forensic analysis that’s being done on it in most corners of the internet at least, feels like they got the look just right. I’m all in."

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]]> Thu, 14 Apr 2016 07:00:00 -0700 The Next Reel The Next Reel 5353 Shortly after graduating from UCLA, Shane Black sold his first screenplay to Warner Bros. to the tune of $250,000. That script was “Lethal Weapon.” Black didn’t know it at the time, but he was on his way to changing the way Hollywood thought about big blockbuster action films and about screenwriters as well. Join us – Pete Wright and Andy Nelson – as we kick off our Shane Black series with Richard Donner’s 1987 film “Lethal Weapon.” We talk about how the film held up for us after our first viewings in our teen years. We chat about Black and his screenplay, looking at what’s in it, what’s not, and why his writing works so well. We look at Mel Gibson and Danny Glover as Riggs and Murtaugh, discussing everything from their partnership in this buddy cop movie to Mel’s hair and from Murtaugh’s family to Mel’s butt. We look at Gary Busey and talk about why he works well in this film. We chat about the stunts, notably Dar Richardson who lost his life right after principal photography finished. And we argue about the quality of Michael Kamen’s and Eric Clapton’s music. It’s a fun film, even if it doesn’t hold up to memories of it from our youth, so check it out then tune in to hear what we thought. Shortly after graduating from UCLA, Shane Black sold his first screenplay to Warner Bros. to the tune of $250,000. That script was “Lethal Weapon.” Black didn’t know it at the time, but he was on his way to changing the way Hollywood thought about big blo film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Hound of the Baskervilles • The Next Reel 5 5 43 43 The Hound of the Baskervilles • The Next Reel full 515ce7ec-c8b9-4477-8ea6-017196636a85 https://share.transistor.fm/s/9da0a564 "They were the footprints… of a gigantic hound!"

Basil Rathbone and Nigel Bruce became synonymous with Sherlock Holmes and Dr. Watson after appearing in 14 film versions of various stories written by Sir Arthur Conan Doyle. Yet at the start, neither of them got top billing. Yet now, Rathbone’s look as the famous detective is the iconic look for him. Join us – Pete Wright and Andy Nelson – as we wrap up this year’s series of films from 1939, commonly called the greatest year of cinema, with Sidney Lanfield’s 1939 version of the famous story.

We talk about the various versions of this story brought to the screen – from 1914 to 2016 – and contrast its popularity with what our sense is of the actual story from the book (a fairly lame way to commit a crime). We chat about Rathbone and Bruce and what they bring to the table, along with Richard Greene, Wendy Barrie, Lionel Atwill, John Carradine and Barlowe Borland. We discuss problems we have with the detective story and how that compares with what is provided by this film. We chat about the look of the film and how the production crew brought it to life, from costumes to sets, from casting to effects, from music (or lack thereof) to screenwriting. And we touch on the controversial last line and why it was so problematic when first released.

It’s a film that tells a mediocre detective story without much panache, but does at least introduce the world to Rathbone and Bruce as the iconic pair. Is it worth seeing? That’s up to you, but either way, make sure you tune in to our show!

Film Sundries


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]]> "They were the footprints… of a gigantic hound!"

Basil Rathbone and Nigel Bruce became synonymous with Sherlock Holmes and Dr. Watson after appearing in 14 film versions of various stories written by Sir Arthur Conan Doyle. Yet at the start, neither of them got top billing. Yet now, Rathbone’s look as the famous detective is the iconic look for him. Join us – Pete Wright and Andy Nelson – as we wrap up this year’s series of films from 1939, commonly called the greatest year of cinema, with Sidney Lanfield’s 1939 version of the famous story.

We talk about the various versions of this story brought to the screen – from 1914 to 2016 – and contrast its popularity with what our sense is of the actual story from the book (a fairly lame way to commit a crime). We chat about Rathbone and Bruce and what they bring to the table, along with Richard Greene, Wendy Barrie, Lionel Atwill, John Carradine and Barlowe Borland. We discuss problems we have with the detective story and how that compares with what is provided by this film. We chat about the look of the film and how the production crew brought it to life, from costumes to sets, from casting to effects, from music (or lack thereof) to screenwriting. And we touch on the controversial last line and why it was so problematic when first released.

It’s a film that tells a mediocre detective story without much panache, but does at least introduce the world to Rathbone and Bruce as the iconic pair. Is it worth seeing? That’s up to you, but either way, make sure you tune in to our show!

Film Sundries


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]]> Thu, 07 Apr 2016 07:00:00 -0700 The Next Reel The Next Reel 4946 Basil Rathbone and Nigel Bruce became synonymous with Sherlock Holmes and Dr. Watson after appearing in 14 film versions of various stories written by Sir Arthur Conan Doyle. Yet at the start, neither of them got top billing. Yet now, Rathbone’s look as the famous detective is the iconic look for him. Join us – Pete Wright and Andy Nelson – as we wrap up this year’s series of films from 1939, commonly called the greatest year of cinema, with Sidney Lanfield’s 1939 version of the famous story. Basil Rathbone and Nigel Bruce became synonymous with Sherlock Holmes and Dr. Watson after appearing in 14 film versions of various stories written by Sir Arthur Conan Doyle. Yet at the start, neither of them got top billing. Yet now, Rathbone’s look as t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Goodbye, Mr. Chips • The Next Reel 5 5 42 42 Goodbye, Mr. Chips • The Next Reel full 8b0cfb75-ea2c-49e6-b7e4-745d2fee75e1 https://share.transistor.fm/s/7d71f2e9 "Give a boy a sense of humor and a sense of proportion and he’ll stand up to anything."

Robert Donat defied the odds and beat both Clark Gable and Jimmy Stewart for the Best Actor Oscar in the 1939 Academy Awards with his portrayal of Mr. Chips in Sam Wood’s “Goodbye, Mr. Chips.” It’s a movie that celebrates school heroes everyone had (or should’ve) and connects in its ability to reflect back on the nostalgia of one’s life. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Wood’s film. We talk about how we felt about the film and, despite any issues we had, still found it affecting. We chat about Robert Donat and Greer Garson, both of whom really give touching and honest performances. We touch on Sam Wood as the director and what he brings to the table. We discuss the story and why stories about teachers can work so well, and why they work on us in particular. And we look at the magnificent work Jack Dawn did with the hair and makeup to bring Mr. Chips to life over the course of his 60+ years, from new hire to headmaster. It’s a touching film that works to connect us with this character and reminds us what we love about the best ‘great teacher’ movies. Check it out!

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]]> "Give a boy a sense of humor and a sense of proportion and he’ll stand up to anything."

Robert Donat defied the odds and beat both Clark Gable and Jimmy Stewart for the Best Actor Oscar in the 1939 Academy Awards with his portrayal of Mr. Chips in Sam Wood’s “Goodbye, Mr. Chips.” It’s a movie that celebrates school heroes everyone had (or should’ve) and connects in its ability to reflect back on the nostalgia of one’s life. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Wood’s film. We talk about how we felt about the film and, despite any issues we had, still found it affecting. We chat about Robert Donat and Greer Garson, both of whom really give touching and honest performances. We touch on Sam Wood as the director and what he brings to the table. We discuss the story and why stories about teachers can work so well, and why they work on us in particular. And we look at the magnificent work Jack Dawn did with the hair and makeup to bring Mr. Chips to life over the course of his 60+ years, from new hire to headmaster. It’s a touching film that works to connect us with this character and reminds us what we love about the best ‘great teacher’ movies. Check it out!

Film Sundries


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]]> Thu, 31 Mar 2016 07:00:00 -0700 The Next Reel The Next Reel 5001 Robert Donat defied the odds and beat both Clark Gable and Jimmy Stewart for the Best Actor Oscar in the 1939 Academy Awards with his portrayal of Mr. Chips in Sam Wood’s “Goodbye, Mr. Chips.” It’s a movie that celebrates school heroes everyone had (or should’ve) and connects in its ability to reflect back on the nostalgia of one’s life. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Wood’s film. We talk about how we felt about the film and, despite any issues we had, still found it affecting. We chat about Robert Donat and Greer Garson, both of whom really give touching and honest performances. We touch on Sam Wood as the director and what he brings to the table. We discuss the story and why stories about teachers can work so well, and why they work on us in particular. And we look at the magnificent work Jack Dawn did with the hair and makeup to bring Mr. Chips to life over the course of his 60+ years, from new hire to headmaster. It’s a touching film that works to connect us with this character and reminds us what we love about the best ‘great teacher’ movies. Check it out! Robert Donat defied the odds and beat both Clark Gable and Jimmy Stewart for the Best Actor Oscar in the 1939 Academy Awards with his portrayal of Mr. Chips in Sam Wood’s “Goodbye, Mr. Chips.” It’s a movie that celebrates school heroes everyone had (or sh film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Wizard of Oz • The Next Reel 5 5 41 41 The Wizard of Oz • The Next Reel full 2e4fe9cb-19fd-4fc5-a14f-e03e9c8d4d4d https://share.transistor.fm/s/ab172603 "Toto, I’ve a feeling we’re not in Kansas anymore!"

Victor Fleming didn’t just direct two movies in 1939, he directed two of what many consider to be the greatest films made – ”Gone With the Wind” and “The Wizard of Oz.” Where the former, though, has more problems to contend with in today’s society, what with its depiction of slavery and race in the South during the Civil War, the latter is nothing but pure cinematic joy. Seen by more people than any other movie, “The Wizard of Oz” has become infused in who we are. Quotes from the movie can pop up in everyday conversation without people even realizing they’re quoting it. The songs – particularly “Over the Rainbow” – have been burned into our brains at an early age. It truly is a shining example of what cinema can be. Join us – Pete Wright and Andy Nelson – as we continue our ‘films of 1939’ series with one of the great cinema achievements, Flemings’ “The Wizard of Oz.” We talk about what makes this film so great and why it’s lasted so long, looking at everything from the story to the music to Judy Garland as Dorothy Gale. We discuss Fleming as the main director putting the film together, the 14 writers tasked with bringing this script to life, and L. Frank Baum, the author of the original Oz stories. We chat about the actors – Garland, Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan, Margaret Hamilton, Jerry Maren, the Singer Midgets and more (not to mention Terry the dog as Toto) – and look at what they all bring to the table here. We chat about Buddy Gillespie’s special effects, Adrian’s costumes, Harold Rosson’s cinematography, Herbert Stothart’s music adaptation, Harold Arlen’s & Yip Harberg’s songs and Mervyn LeRoy’s & Arthur Freed’s producing, tying together all the elements they each were responsible for. And we comment on the popularity of the film, chat about it being a gay icon, and look at how it started at a loss but ended up making bank over the decades. It’s one of the greats and certainly one we have a lot of passion about discussing. Check it out!

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]]> "Toto, I’ve a feeling we’re not in Kansas anymore!"

Victor Fleming didn’t just direct two movies in 1939, he directed two of what many consider to be the greatest films made – ”Gone With the Wind” and “The Wizard of Oz.” Where the former, though, has more problems to contend with in today’s society, what with its depiction of slavery and race in the South during the Civil War, the latter is nothing but pure cinematic joy. Seen by more people than any other movie, “The Wizard of Oz” has become infused in who we are. Quotes from the movie can pop up in everyday conversation without people even realizing they’re quoting it. The songs – particularly “Over the Rainbow” – have been burned into our brains at an early age. It truly is a shining example of what cinema can be. Join us – Pete Wright and Andy Nelson – as we continue our ‘films of 1939’ series with one of the great cinema achievements, Flemings’ “The Wizard of Oz.” We talk about what makes this film so great and why it’s lasted so long, looking at everything from the story to the music to Judy Garland as Dorothy Gale. We discuss Fleming as the main director putting the film together, the 14 writers tasked with bringing this script to life, and L. Frank Baum, the author of the original Oz stories. We chat about the actors – Garland, Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan, Margaret Hamilton, Jerry Maren, the Singer Midgets and more (not to mention Terry the dog as Toto) – and look at what they all bring to the table here. We chat about Buddy Gillespie’s special effects, Adrian’s costumes, Harold Rosson’s cinematography, Herbert Stothart’s music adaptation, Harold Arlen’s & Yip Harberg’s songs and Mervyn LeRoy’s & Arthur Freed’s producing, tying together all the elements they each were responsible for. And we comment on the popularity of the film, chat about it being a gay icon, and look at how it started at a loss but ended up making bank over the decades. It’s one of the greats and certainly one we have a lot of passion about discussing. Check it out!

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]]> Thu, 24 Mar 2016 00:23:00 -0700 The Next Reel The Next Reel 7215 Victor Fleming didn’t just direct two movies in 1939, he directed two of what many consider to be the greatest films made – ”Gone With the Wind” and “The Wizard of Oz.” Where the former, though, has more problems to contend with in today’s society, what with its depiction of slavery and race in the South during the Civil War, the latter is nothing but pure cinematic joy. Seen by more people than any other movie, “The Wizard of Oz” has become infused in who we are. Quotes from the movie can pop up in everyday conversation without people even realizing they’re quoting it. The songs – particularly “Over the Rainbow” – have been burned into our brains at an early age. It truly is a shining example of what cinema can be. Join us – Pete Wright and Andy Nelson – as we continue our ‘films of 1939’ series with one of the great cinema achievements, Flemings’ “The Wizard of Oz.” We talk about what makes this film so great and why it’s lasted so long, looking at everything from the story to the music to Judy Garland as Dorothy Gale. We discuss Fleming as the main director putting the film together, the 14 writers tasked with bringing this script to life, and L. Frank Baum, the author of the original Oz stories. We chat about the actors – Garland, Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan, Margaret Hamilton, Jerry Maren, the Singer Midgets and more (not to mention Terry the dog as Toto) – and look at what they all bring to the table here. We chat about Buddy Gillespie’s special effects, Adrian’s costumes, Harold Rosson’s cinematography, Herbert Stothart’s music adaptation, Harold Arlen’s & Yip Harberg’s songs and Mervyn LeRoy’s & Arthur Freed’s producing, tying together all the elements they each were responsible for. And we comment on the popularity of the film, chat about it being a gay icon, and look at how it started at a loss but ended up making bank over the decades. It’s one of the greats and certainly one we have a lot of passion about discussing. Check it out! 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 w film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Stagecoach • The Next Reel 5 5 40 40 Stagecoach • The Next Reel full 195c3505-afad-45d6-aaa5-497e782aa9cb https://share.transistor.fm/s/dc3dadab "We’re the victims of a foul disease called social prejudice, my child."

When John Ford decided to helm “Stagecoach” in 1939, he hadn’t done a western since his days in the silent film era. Yet it was this film, along with his relationship with John Wayne, that would lead to him making arguably some of the greatest westerns in cinema. Yet with this film, it was really more of a chance to make a western that could be a bit more serious, not just another b-level shoot-em-up, while still making a movie that was pretty light and entertaining. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Ford’s “Stagecoach.” We talk about John Ford as a director and what he was trying to do with this film, pointing out some Ford-isms along with debating his strength as a filmmaker. We chat about Dudley Nichols’ script adapted from Ernest Haycox’s short story, enjoying what he did with the nine principal characters in the film, even if there were some pacing issues throughout. We discuss the cinematography of Bert Glennon and the way he and Ford shot the action sequences. We chat about stuntman and stunt coordinator Yakima Canutt, marveling at the amazing stunts he performs in the film while also feeling pretty horrified at the methods he devised to get the horses to fall on camera. And we touch on the cast, touching on what each of them bring to their roles. It’s a fun film, even if not one of our favorites, but still gives us a great movie to talk about. So check it out then tune in!

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]]> "We’re the victims of a foul disease called social prejudice, my child."

When John Ford decided to helm “Stagecoach” in 1939, he hadn’t done a western since his days in the silent film era. Yet it was this film, along with his relationship with John Wayne, that would lead to him making arguably some of the greatest westerns in cinema. Yet with this film, it was really more of a chance to make a western that could be a bit more serious, not just another b-level shoot-em-up, while still making a movie that was pretty light and entertaining. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Ford’s “Stagecoach.” We talk about John Ford as a director and what he was trying to do with this film, pointing out some Ford-isms along with debating his strength as a filmmaker. We chat about Dudley Nichols’ script adapted from Ernest Haycox’s short story, enjoying what he did with the nine principal characters in the film, even if there were some pacing issues throughout. We discuss the cinematography of Bert Glennon and the way he and Ford shot the action sequences. We chat about stuntman and stunt coordinator Yakima Canutt, marveling at the amazing stunts he performs in the film while also feeling pretty horrified at the methods he devised to get the horses to fall on camera. And we touch on the cast, touching on what each of them bring to their roles. It’s a fun film, even if not one of our favorites, but still gives us a great movie to talk about. So check it out then tune in!

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]]> Thu, 17 Mar 2016 18:44:00 -0700 The Next Reel The Next Reel 5102 When John Ford decided to helm “Stagecoach” in 1939, he hadn’t done a western since his days in the silent film era. Yet it was this film, along with his relationship with John Wayne, that would lead to him making arguably some of the greatest westerns in cinema. Yet with this film, it was really more of a chance to make a western that could be a bit more serious, not just another b-level shoot-em-up, while still making a movie that was pretty light and entertaining. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Ford’s “Stagecoach.” We talk about John Ford as a director and what he was trying to do with this film, pointing out some Ford-isms along with debating his strength as a filmmaker. We chat about Dudley Nichols’ script adapted from Ernest Haycox’s short story, enjoying what he did with the nine principal characters in the film, even if there were some pacing issues throughout. We discuss the cinematography of Bert Glennon and the way he and Ford shot the action sequences. We chat about stuntman and stunt coordinator Yakima Canutt, marveling at the amazing stunts he performs in the film while also feeling pretty horrified at the methods he devised to get the horses to fall on camera. And we touch on the cast, touching on what each of them bring to their roles. It’s a fun film, even if not one of our favorites, but still gives us a great movie to talk about. So check it out then tune in! 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 film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Women • The Next Reel 5 5 39 39 The Women • The Next Reel full fecde4a2-4e47-42ad-8dcb-86223e317d38 https://share.transistor.fm/s/fd8cbac3 “We women are so much more sensible. When we tire of ourselves, we change the way we do our hair or hire a new cook or decorate the house. I suppose a man could do over his office, but he never thinks of anything so simple. No, dear, a man has only one escape from his old self: to see a different self in the mirror of some woman’s eyes.”

After getting taken off what ended up being the biggest film of all time – ”Gone With the Wind” – George Cukor was given the adaptation of Claire Boothe’s very popular Broadway play, “The Women,” to direct. For someone called a ‘woman’s director,’ this was a good choice for both movies. That being said, it doesn’t mean Cukor’s film holds up well today. Join us – Pete Wright and Andy Nelson – as we head back to our series on the year 1939 to really explore what made it the ‘best year of movies,’ and we kick it off with Cukor’s “The Women.” We talk about the screenplay for this film and why it doesn’t hold up today, while also wondering what made it hold up back then. We ponder the schizophrenic messages this movie espouses, trying to figure out if it’s meant to be an early feminist film or if it’s eschewing everything feminism is about. We talk about the cast, notably Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, Joan Fontaine and Virginia Weidler, and how they hold up with both the snappy dialogue and the painfully awkward story elements. We discuss Adrian and the meaning of a 10-minute technicolor fashion show in the middle of a film, trying to decide if there really is any meaning in it or if it’s just awkwardly lumped in there. And we learn all about the existence of divorce ranches in Nevada during this period in time and why it had to figure so prominently in the story. It’s a film that really didn’t work at all for either of us, but because of that, gives us a lot of fodder for conversation. Check out the film (or skip it and save yourself the time), then tune in!

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]]> “We women are so much more sensible. When we tire of ourselves, we change the way we do our hair or hire a new cook or decorate the house. I suppose a man could do over his office, but he never thinks of anything so simple. No, dear, a man has only one escape from his old self: to see a different self in the mirror of some woman’s eyes.”

After getting taken off what ended up being the biggest film of all time – ”Gone With the Wind” – George Cukor was given the adaptation of Claire Boothe’s very popular Broadway play, “The Women,” to direct. For someone called a ‘woman’s director,’ this was a good choice for both movies. That being said, it doesn’t mean Cukor’s film holds up well today. Join us – Pete Wright and Andy Nelson – as we head back to our series on the year 1939 to really explore what made it the ‘best year of movies,’ and we kick it off with Cukor’s “The Women.” We talk about the screenplay for this film and why it doesn’t hold up today, while also wondering what made it hold up back then. We ponder the schizophrenic messages this movie espouses, trying to figure out if it’s meant to be an early feminist film or if it’s eschewing everything feminism is about. We talk about the cast, notably Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, Joan Fontaine and Virginia Weidler, and how they hold up with both the snappy dialogue and the painfully awkward story elements. We discuss Adrian and the meaning of a 10-minute technicolor fashion show in the middle of a film, trying to decide if there really is any meaning in it or if it’s just awkwardly lumped in there. And we learn all about the existence of divorce ranches in Nevada during this period in time and why it had to figure so prominently in the story. It’s a film that really didn’t work at all for either of us, but because of that, gives us a lot of fodder for conversation. Check out the film (or skip it and save yourself the time), then tune in!

Film Sundries


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]]> Thu, 10 Mar 2016 21:30:00 -0800 The Next Reel The Next Reel 4671 After getting taken off what ended up being the biggest film of all time – ”Gone With the Wind” – George Cukor was given the adaptation of Claire Boothe’s very popular Broadway play, “The Women,” to direct. For someone called a ‘woman’s director,’ this was a good choice for both movies. That being said, it doesn’t mean Cukor’s film holds up well today. Join us – Pete Wright and Andy Nelson – as we head back to our series on the year 1939 to really explore what made it the ‘best year of movies,’ and we kick it off with Cukor’s “The Women.” We talk about the screenplay for this film and why it doesn’t hold up today, while also wondering what made it hold up back then. We ponder the schizophrenic messages this movie espouses, trying to figure out if it’s meant to be an early feminist film or if it’s eschewing everything feminism is about. We talk about the cast, notably Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, Joan Fontaine and Virginia Weidler, and how they hold up with both the snappy dialogue and the painfully awkward story elements. We discuss Adrian and the meaning of a 10-minute technicolor fashion show in the middle of a film, trying to decide if there really is any meaning in it or if it’s just awkwardly lumped in there. And we learn all about the existence of divorce ranches in Nevada during this period in time and why it had to figure so prominently in the story. It’s a film that really didn’t work at all for either of us, but because of that, gives us a lot of fodder for conversation. Check out the film (or skip it and save yourself the time), then tune in! After getting taken off what ended up being the biggest film of all time – ”Gone With the Wind” – George Cukor was given the adaptation of Claire Boothe’s very popular Broadway play, “The Women,” to direct. For someone called a ‘woman’s director,’ this wa film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Behind the Sites with Matthew Buchanan of Letterboxd.com • Behind the Sites 1 1 4 4 Behind the Sites with Matthew Buchanan of Letterboxd.com • Behind the Sites full c181127e-78a4-4cab-8261-9ec24a609638 https://share.transistor.fm/s/bc812145 As part of our ongoing series on the people behind the sites and services that serve the film-loving community, today we’re talking to Matthew Buchanan, co-founder of Letterboxd.com. Letterboxd has become an indispensable service for film journalists, diarists, and fans, marked by a beautiful design and just the right mix of social connectivity. Matthew and team have created a robust community in Letterboxd, one that stands out on the Internet not only in calibre of discussion, but in kindness of its members.

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]]> As part of our ongoing series on the people behind the sites and services that serve the film-loving community, today we’re talking to Matthew Buchanan, co-founder of Letterboxd.com. Letterboxd has become an indispensable service for film journalists, diarists, and fans, marked by a beautiful design and just the right mix of social connectivity. Matthew and team have created a robust community in Letterboxd, one that stands out on the Internet not only in calibre of discussion, but in kindness of its members.

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]]> Tue, 08 Mar 2016 03:00:00 -0800 TruStory FM TruStory FM 1708 As part of our ongoing series on the people behind the sites and services that serve the film-loving community, today we’re talking to Matthew Buchanan, co-founder of Letterboxd.com. Letterboxd has become an indispensable service for film journalists, diarists, and fans, marked by a beautiful design and just the right mix of social connectivity. Matthew and team have created a robust community in Letterboxd, one that stands out on the Internet not only in calibre of discussion, but in kindness of its members. As part of our ongoing series on the people behind the sites and services that serve the film-loving community, today we’re talking to Matthew Buchanan, co-founder of Letterboxd.com. Letterboxd has become an indispensable service for film journalists, dia film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright What's up, Doc? • The Next Reel 5 5 38 38 What's up, Doc? • The Next Reel full 86959789-53fc-4a82-b0e1-3bb39c3a984b https://share.transistor.fm/s/ad8e8ce8 “You’re upside down, sir.”

It’s time for another Listener’s Choice episode! This time, 2015 Pony Prize winner Ben Lott gets to select and he chose Peter Bogdanovich’s 1972 screwball comedy “What’s Up, Doc?” Join us – Pete Wright and Andy Nelson – as we delve into one of Ben’s favorites. We talk about our initial expectations and experiences of this movie and how this film improves with conversation and when watched with a group of friends. We chat about the nature of screwball comedy and how it can be very difficult to jump back into an old genre but how well the writers David Newman, Robert Benton and Buck Henry pull it off here. We discuss our issues with the daffy dame played by Barbra Streisand and how she really compares to a psychopath or thief, despite the fact that once you get past the setup of the film, she really is a fun character that we grow to love. We chat about the other performers in the film, notably Ryan O’Neal and Madeline Kahn, and discuss what they bring to the table. And we talk about the nature of the comedy in the film and look at several sequences that stand out as the highlights. It’s a really fun movie that we’re glad to have seen, so thanks, Ben! So check out the movie then tune in to the conversation!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Embrace of the Serpent — “I’m not quite sure what to make of this story but the look of the trailer is really quite haunting. There’s something about it that draws me in with the stark beauty of the Amazon in black and white. The story looks to be equally as intriguing as the imagery; it feels a bit like a surreal nightmare. High on my list of must-sees.”
  • Pete’s Trailer: Fan — “Shahrukh Kahn plays an Indian superstar, and the young superfan that’s obsessed with him. Looks like a fun thriller with wtih some wacky Benjamin Button technological hoops to make this 40-something look 17 again.”

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]]> “You’re upside down, sir.”

It’s time for another Listener’s Choice episode! This time, 2015 Pony Prize winner Ben Lott gets to select and he chose Peter Bogdanovich’s 1972 screwball comedy “What’s Up, Doc?” Join us – Pete Wright and Andy Nelson – as we delve into one of Ben’s favorites. We talk about our initial expectations and experiences of this movie and how this film improves with conversation and when watched with a group of friends. We chat about the nature of screwball comedy and how it can be very difficult to jump back into an old genre but how well the writers David Newman, Robert Benton and Buck Henry pull it off here. We discuss our issues with the daffy dame played by Barbra Streisand and how she really compares to a psychopath or thief, despite the fact that once you get past the setup of the film, she really is a fun character that we grow to love. We chat about the other performers in the film, notably Ryan O’Neal and Madeline Kahn, and discuss what they bring to the table. And we talk about the nature of the comedy in the film and look at several sequences that stand out as the highlights. It’s a really fun movie that we’re glad to have seen, so thanks, Ben! So check out the movie then tune in to the conversation!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Embrace of the Serpent — “I’m not quite sure what to make of this story but the look of the trailer is really quite haunting. There’s something about it that draws me in with the stark beauty of the Amazon in black and white. The story looks to be equally as intriguing as the imagery; it feels a bit like a surreal nightmare. High on my list of must-sees.”
  • Pete’s Trailer: Fan — “Shahrukh Kahn plays an Indian superstar, and the young superfan that’s obsessed with him. Looks like a fun thriller with wtih some wacky Benjamin Button technological hoops to make this 40-something look 17 again.”

Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 03 Mar 2016 22:15:00 -0800 The Next Reel The Next Reel 6318 It’s time for another Listener’s Choice episode! This time, 2015 Pony Prize winner Ben Lott gets to select and he chose Peter Bogdanovich’s 1972 screwball comedy “What’s Up, Doc?” Join us – Pete Wright and Andy Nelson – as we delve into one of Ben’s favorites. We talk about our initial expectations and experiences of this movie and how this film improves with conversation and when watched with a group of friends. We chat about the nature of screwball comedy and how it can be very difficult to jump back into an old genre but how well the writers David Newman, Robert Benton and Buck Henry pull it off here. We discuss our issues with the daffy dame played by Barbra Streisand and how she really compares to a psychopath or thief, despite the fact that once you get past the setup of the film, she really is a fun character that we grow to love. We chat about the other performers in the film, notably Ryan O’Neal and Madeline Kahn, and discuss what they bring to the table. And we talk about the nature of the comedy in the film and look at several sequences that stand out as the highlights. It’s a really fun movie that we’re glad to have seen, so thanks, Ben! So check out the movie then tune in to the conversation! It’s time for another Listener’s Choice episode! This time, 2015 Pony Prize winner Ben Lott gets to select and he chose Peter Bogdanovich’s 1972 screwball comedy “What’s Up, Doc?” Join us – Pete Wright and Andy Nelson – as we delve into one of Ben’s favor film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Room — Dee Wallace • Movies We Like 1 1 3 3 Room — Dee Wallace • Movies We Like full 66442a4a-f246-4e15-89ce-b0a3b0651624 https://share.transistor.fm/s/50483732 “When I was small, I only knew small things, but now I’m five – I know everything!”

The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actress Dee Wallace joins us to talk about one of her relatively new favorites, Lenny Abrahamson’s amazing film “Room.” We talk about the brilliant performances of Jacob Tremblay and Brie Larson and the fascinating exploration of this pair forced to live in the titular room. We talk about Abrahamson’s work, paired with DP Danny Cohen, to tell the film from 5-year-old Jack’s perspective and how well that works for this movie. We chat about the other actors, notably the trio of ‘villains’ played by William H. Macy, Sean Bridgers and Wendy Crewson. We touch on the origins of the story and how it translated to the film. And we debate the strength of the Oscars when a performance like Tremblay’s doesn’t get nominated. It’s a movie that can break you if you’re wusses like us, or at least can move you if you’re made of stronger stuff like Dee, so check it out then grab a drink and join us in the Speakeasy!

Film Sundries


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]]> “When I was small, I only knew small things, but now I’m five – I know everything!”

The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actress Dee Wallace joins us to talk about one of her relatively new favorites, Lenny Abrahamson’s amazing film “Room.” We talk about the brilliant performances of Jacob Tremblay and Brie Larson and the fascinating exploration of this pair forced to live in the titular room. We talk about Abrahamson’s work, paired with DP Danny Cohen, to tell the film from 5-year-old Jack’s perspective and how well that works for this movie. We chat about the other actors, notably the trio of ‘villains’ played by William H. Macy, Sean Bridgers and Wendy Crewson. We touch on the origins of the story and how it translated to the film. And we debate the strength of the Oscars when a performance like Tremblay’s doesn’t get nominated. It’s a movie that can break you if you’re wusses like us, or at least can move you if you’re made of stronger stuff like Dee, so check it out then grab a drink and join us in the Speakeasy!

Film Sundries


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]]> Tue, 01 Mar 2016 15:39:00 -0800 TruStory FM TruStory FM 4307 The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actress Dee Wallace joins us to talk about one of her relatively new favorites, Lenny Abrahamson’s amazing film “Room.” The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, actress Dee Wallace joins us to talk about one of her relatively Movies We Like, Dee Wallace No Andy Nelson Pete Wright The Departed • The Next Reel 5 5 37 37 The Departed • The Next Reel full 3bfe1268-0758-4c49-be6b-0d8b781341f0 https://share.transistor.fm/s/578d188c “When you’re facing a loaded gun, what’s the difference?”

“The Departed,” Martin Scorsese’s 2006 remake of “Infernal Affairs,” is the film he finally won his Oscar for. It’s a strong crime film and is definitely a Scorsese film with incredible camera work and intense violence, but is it as good as the original? Join us – Pete Wright and Andy Nelson – as we wrap up our Movies & Their Remakes series with Scorsese’s “The Departed.” We talk about what we thought of this film when we first saw it and now how it compares to its predecessor. We chat about the script and how William Monahan approached the adaptation of the original story into a South Boston setting. We discuss the actors – Leonardo DiCaprio, Matt Damon, Jack Nicholson, Martin Sheen, Vera Farmiga, Mark Whalberg and the rest – and how well they work for us (or don’t in some cases). We touch on Scorsese and how much this film fits right in with his output. We hit on other crew members and what they bring to the table, from editing to composing to cinematography and more. And we debate just how good the actors’ South Boston accents are and how effective we are at pinpointing them. It’s a great action movie that may have diminished in quality after such a recent viewing of “Infernal Affairs,” and it certainly has its share of problems, but we have a great time talking about it on this week’s show. Check it out!

Film Sundries

Trailers of the Week

  • Andy’s Trailer: Bastille Day — “Idris Elba is my pick for the next James Bond. This gives him a chance to show off his action skills and prove he’s got what it takes. Plus, Robb Stark!”
  • Pete’s Trailer: A Bigger Splash — “Tilda Swinton plays a famous rock star hiding out, her vacation interrupted by Dakota Johnson in a movie that looks a lot better than 50 Shades. Director Luca Guadagnino offers an interesting follow-up to his 2009 film, I Am Love.”

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]]> “When you’re facing a loaded gun, what’s the difference?”

“The Departed,” Martin Scorsese’s 2006 remake of “Infernal Affairs,” is the film he finally won his Oscar for. It’s a strong crime film and is definitely a Scorsese film with incredible camera work and intense violence, but is it as good as the original? Join us – Pete Wright and Andy Nelson – as we wrap up our Movies & Their Remakes series with Scorsese’s “The Departed.” We talk about what we thought of this film when we first saw it and now how it compares to its predecessor. We chat about the script and how William Monahan approached the adaptation of the original story into a South Boston setting. We discuss the actors – Leonardo DiCaprio, Matt Damon, Jack Nicholson, Martin Sheen, Vera Farmiga, Mark Whalberg and the rest – and how well they work for us (or don’t in some cases). We touch on Scorsese and how much this film fits right in with his output. We hit on other crew members and what they bring to the table, from editing to composing to cinematography and more. And we debate just how good the actors’ South Boston accents are and how effective we are at pinpointing them. It’s a great action movie that may have diminished in quality after such a recent viewing of “Infernal Affairs,” and it certainly has its share of problems, but we have a great time talking about it on this week’s show. Check it out!

Film Sundries

Trailers of the Week

  • Andy’s Trailer: Bastille Day — “Idris Elba is my pick for the next James Bond. This gives him a chance to show off his action skills and prove he’s got what it takes. Plus, Robb Stark!”
  • Pete’s Trailer: A Bigger Splash — “Tilda Swinton plays a famous rock star hiding out, her vacation interrupted by Dakota Johnson in a movie that looks a lot better than 50 Shades. Director Luca Guadagnino offers an interesting follow-up to his 2009 film, I Am Love.”

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]]> Thu, 25 Feb 2016 21:32:00 -0800 The Next Reel The Next Reel 5118 “The Departed,” Martin Scorsese’s 2006 remake of “Infernal Affairs,” is the film he finally won his Oscar for. It’s a strong crime film and is definitely a Scorsese film with incredible camera work and intense violence, but is it as good as the original? Join us – Pete Wright and Andy Nelson – as we wrap up our Movies & Their Remakes series with Scorsese’s “The Departed.” We talk about what we thought of this film when we first saw it and now how it compares to its predecessor. We chat about the script and how William Monahan approached the adaptation of the original story into a South Boston setting. We discuss the actors – Leonardo DiCaprio, Matt Damon, Jack Nicholson, Martin Sheen, Vera Farmiga, Mark Whalberg and the rest – and how well they work for us (or don’t in some cases). We touch on Scorsese and how much this film fits right in with his output. We hit on other crew members and what they bring to the table, from editing to composing to cinematography and more. And we debate just how good the actors’ South Boston accents are and how effective we are at pinpointing them. It’s a great action movie that may have diminished in quality after such a recent viewing of “Infernal Affairs,” and it certainly has its share of problems, but we have a great time talking about it on this week’s show. Check it out! “The Departed,” Martin Scorsese’s 2006 remake of “Infernal Affairs,” is the film he finally won his Oscar for. It’s a strong crime film and is definitely a Scorsese film with incredible camera work and intense violence, but is it as good as the original? film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Behind the Scenes on Filmumentaries with Jamie Benning • Behind the Sites 1 1 3 3 Behind the Scenes on Filmumentaries with Jamie Benning • Behind the Sites full 75f6f590-9ecc-4c9c-88df-52dc6fd503f8 https://share.transistor.fm/s/e46804dd As a part of our series on the movie sites we love, today we’re talking about one of our favorite movie projects. Jamie Benning has become, through great effort and time, custodian to the behind the scenes media of our most iconic films of the 70’s and 80s through his ultimate fan creations: Filmumentaries. In addition to his feature Filmumentaries on the original Star Wars trilogy, Raiders, and Jaws, he’s released a series of shorts furthering his contribution to the body of film analysis, and cementing his position as primary source for schleps like us.

Sundries


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]]> As a part of our series on the movie sites we love, today we’re talking about one of our favorite movie projects. Jamie Benning has become, through great effort and time, custodian to the behind the scenes media of our most iconic films of the 70’s and 80s through his ultimate fan creations: Filmumentaries. In addition to his feature Filmumentaries on the original Star Wars trilogy, Raiders, and Jaws, he’s released a series of shorts furthering his contribution to the body of film analysis, and cementing his position as primary source for schleps like us.

Sundries


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]]> Tue, 23 Feb 2016 03:00:00 -0800 TruStory FM TruStory FM 3141 As a part of our series on the movie sites we love, today we’re talking about one of our favorite movie projects. Jamie Benning has become, through great effort and time, custodian to the behind the scenes media of our most iconic films of the 70’s and 80s through his ultimate fan creations: Filmumentaries. In addition to his feature Filmumentaries on the original Star Wars trilogy, Raiders, and Jaws, he’s released a series of shorts furthering his contribution to the body of film analysis, and cementing his position as primary source for schleps like us. As a part of our series on the movie sites we love, today we’re talking about one of our favorite movie projects. Jamie Benning has become, through great effort and time, custodian to the behind the scenes media of our most iconic films of the 70’s and 80 film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Infernal Affairs • The Next Reel 5 5 36 36 Infernal Affairs • The Next Reel full fd7fac17-2f17-4a83-878d-6093f605f4df https://share.transistor.fm/s/a2ca4ba2 “I’ve chosen to be the good guy.”

“Infernal Affairs” may have won seven out of the sixteen Hong Kong Film Awards it was nominated for in 2002, including beating Zhang Yimou’s “Hero” as Best Film, but the majority of Americans probably didn’t hear of it until it was remade by Martin Scorsese four years later as “The Departed.” And while that’s a shame that it took so many people so long to discover this 2002 Hong Kong gem by directors Andrew Lau and Alan Mak, it’s great that they did discover it. Join us – Pete Wright and Andy Nelson – as we continue our Movies & Their Remakes series with Lau’s and Mak’s crime thriller “Infernal Affairs.” We talk about the title, why it’s silly to overexplain the English title, what the original Chinese title “The Unceasing Path” means and things you can read about the film from it. We discuss the actors, primarily Tony Leung and Andy Lau (not related to the director), and how so many of the actors here are performers in other capacities. (Cantopop, anyone?) We chat about the almost pathetic role the women play in this version of the story. And we hit on the taut storytelling style exhibited here which lets us really focus on the struggle the two main characters go through. It’s a wonderful film and definitely worth watching regardless of whether you’ve seen “The Departed” or not. So give it a shot then tune in!

Film Sundries

Trailers of the Week

  • Andy’s Trailer: Criminal — “It’s got Pa Kent. It’s got Deadpool. It’s got Wonder Woman. It’s got Commissioner Gordon. And it’s got Two Face. But it’s not a superhero movie. It’s a memory implant sci-fi criminal thriller that might be more drama than anything else. I don’t know what to make of it – it could be a gigantic mess or it could be brilliant. Jury’s out on this one.”
  • Pete’s Trailer: Forsaken — “The Sutherland boys are together again. And this time, they’re bringing Demi. And guns. And some horses. I’ve been a fan of director Jon Cassar’s work on 24 for a long time so I’m willing to give this one a bit of a pass.”

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]]> “I’ve chosen to be the good guy.”

“Infernal Affairs” may have won seven out of the sixteen Hong Kong Film Awards it was nominated for in 2002, including beating Zhang Yimou’s “Hero” as Best Film, but the majority of Americans probably didn’t hear of it until it was remade by Martin Scorsese four years later as “The Departed.” And while that’s a shame that it took so many people so long to discover this 2002 Hong Kong gem by directors Andrew Lau and Alan Mak, it’s great that they did discover it. Join us – Pete Wright and Andy Nelson – as we continue our Movies & Their Remakes series with Lau’s and Mak’s crime thriller “Infernal Affairs.” We talk about the title, why it’s silly to overexplain the English title, what the original Chinese title “The Unceasing Path” means and things you can read about the film from it. We discuss the actors, primarily Tony Leung and Andy Lau (not related to the director), and how so many of the actors here are performers in other capacities. (Cantopop, anyone?) We chat about the almost pathetic role the women play in this version of the story. And we hit on the taut storytelling style exhibited here which lets us really focus on the struggle the two main characters go through. It’s a wonderful film and definitely worth watching regardless of whether you’ve seen “The Departed” or not. So give it a shot then tune in!

Film Sundries

Trailers of the Week

  • Andy’s Trailer: Criminal — “It’s got Pa Kent. It’s got Deadpool. It’s got Wonder Woman. It’s got Commissioner Gordon. And it’s got Two Face. But it’s not a superhero movie. It’s a memory implant sci-fi criminal thriller that might be more drama than anything else. I don’t know what to make of it – it could be a gigantic mess or it could be brilliant. Jury’s out on this one.”
  • Pete’s Trailer: Forsaken — “The Sutherland boys are together again. And this time, they’re bringing Demi. And guns. And some horses. I’ve been a fan of director Jon Cassar’s work on 24 for a long time so I’m willing to give this one a bit of a pass.”

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]]> Thu, 18 Feb 2016 21:13:00 -0800 The Next Reel The Next Reel 4005 “Infernal Affairs” may have won seven out of the sixteen Hong Kong Film Awards it was nominated for in 2002, including beating Zhang Yimou’s “Hero” as Best Film, but the majority of Americans probably didn’t hear of it until it was remade by Martin Scorsese four years later as “The Departed.” And while that’s a shame that it took so many people so long to discover this 2002 Hong Kong gem by directors Andrew Lau and Alan Mak, it’s great that they did discover it. Join us – Pete Wright and Andy Nelson – as we continue our Movies & Their Remakes series with Lau’s and Mak’s crime thriller “Infernal Affairs.” We talk about the title, why it’s silly to overexplain the English title, what the original Chinese title “The Unceasing Path” means and things you can read about the film from it. We discuss the actors, primarily Tony Leung and Andy Lau (not related to the director), and how so many of the actors here are performers in other capacities. (Cantopop, anyone?) We chat about the almost pathetic role the women play in this version of the story. And we hit on the taut storytelling style exhibited here which lets us really focus on the struggle the two main characters go through. It’s a wonderful film and definitely worth watching regardless of whether you’ve seen “The Departed” or not. So give it a shot then tune in! “Infernal Affairs” may have won seven out of the sixteen Hong Kong Film Awards it was nominated for in 2002, including beating Zhang Yimou’s “Hero” as Best Film, but the majority of Americans probably didn’t hear of it until it was remade by Martin Scorse film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Outland • The Next Reel 5 5 35 35 Outland • The Next Reel full 1dabddf0-67d9-425f-868b-790329d5f372 https://share.transistor.fm/s/fcab434d “If you’re looking for sterling character, you’re in the wrong place.”

In the early 80s, Peter Hyams was trying to get a western made. Unfortunately for him, no studio was interested in the genre right then; as far as they were concerned, westerns were dead. Then Hyams made the realization that westerns were still alive but that they’d been transposed to the world of sci-fi. And with that, he wrote “Outland.” Join us – Pete Wright and Andy Nelson – as we continue our Movies and Their Remakes series with the ‘remake’ of “High Noon,” Hyams’ 1981 film “Outland.” We talk about the comparisons between this film and “High Noon,” and deliberate on the screenplay structure here, noting how the waiting-for-the-showdown bit works so much better here because there’s so much more story before getting into it. We chat about Hyams and the look he achieves with his DP Stephen Goldblatt and production designer Philip Harrison, not to mention Introvision, the amazing model work and megasound. We discuss Sean Connery, Peter Boyle, Frances Sternhagen and more, looking at what they each bring to the table. We touch on the fun special effects of heads blowing up and people decompressing in space and mention what really happens to a human body in decompression. And we chat about Jerry Goldsmith, chalking up another great score to one of our favorite ‘J’ composers. It’s a really fun sci-fi romp that not enough people are talking about, so check it out and tune in!

Film Sundries


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]]> “If you’re looking for sterling character, you’re in the wrong place.”

In the early 80s, Peter Hyams was trying to get a western made. Unfortunately for him, no studio was interested in the genre right then; as far as they were concerned, westerns were dead. Then Hyams made the realization that westerns were still alive but that they’d been transposed to the world of sci-fi. And with that, he wrote “Outland.” Join us – Pete Wright and Andy Nelson – as we continue our Movies and Their Remakes series with the ‘remake’ of “High Noon,” Hyams’ 1981 film “Outland.” We talk about the comparisons between this film and “High Noon,” and deliberate on the screenplay structure here, noting how the waiting-for-the-showdown bit works so much better here because there’s so much more story before getting into it. We chat about Hyams and the look he achieves with his DP Stephen Goldblatt and production designer Philip Harrison, not to mention Introvision, the amazing model work and megasound. We discuss Sean Connery, Peter Boyle, Frances Sternhagen and more, looking at what they each bring to the table. We touch on the fun special effects of heads blowing up and people decompressing in space and mention what really happens to a human body in decompression. And we chat about Jerry Goldsmith, chalking up another great score to one of our favorite ‘J’ composers. It’s a really fun sci-fi romp that not enough people are talking about, so check it out and tune in!

Film Sundries


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]]> Thu, 11 Feb 2016 18:25:00 -0800 The Next Reel The Next Reel 4941 In the early 80s, Peter Hyams was trying to get a western made. Unfortunately for him, no studio was interested in the genre right then; as far as they were concerned, westerns were dead. Then Hyams made the realization that westerns were still alive but that they’d been transposed to the world of sci-fi. And with that, he wrote “Outland.” Join us – Pete Wright and Andy Nelson – as we continue our Movies and Their Remakes series with the ‘remake’ of “High Noon,” Hyams’ 1981 film “Outland.” We talk about the comparisons between this film and “High Noon,” and deliberate on the screenplay structure here, noting how the waiting-for-the-showdown bit works so much better here because there’s so much more story before getting into it. We chat about Hyams and the look he achieves with his DP Stephen Goldblatt and production designer Philip Harrison, not to mention Introvision, the amazing model work and megasound. We discuss Sean Connery, Peter Boyle, Frances Sternhagen and more, looking at what they each bring to the table. We touch on the fun special effects of heads blowing up and people decompressing in space and mention what really happens to a human body in decompression. And we chat about Jerry Goldsmith, chalking up another great score to one of our favorite ‘J’ composers. It’s a really fun sci-fi romp that not enough people are talking about, so check it out and tune in! In the early 80s, Peter Hyams was trying to get a western made. Unfortunately for him, no studio was interested in the genre right then; as far as they were concerned, westerns were dead. Then Hyams made the realization that westerns were still alive but film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright High Noon • The Next Reel 5 5 34 34 High Noon • The Next Reel full 37d8d246-21af-4af3-b0df-672a367ca90c https://share.transistor.fm/s/ddd6ace0  

“People’ve gotta talk themselves into law and order before they do anything about it, maybe because down deep, they don’t care – they just don’t care.”

“High Noon” is often cited as one of the greatest westerns ever made, and a lot of that praise is likely because it was so different from other westerns at the time. It was bleak and black-and-white. There was hardly any action in it. And it was a character piece. This story didn’t have to be set in the old west – it could work in many genres (as we’ll explore next week). It’s more about the protagonist and his struggle to stay true to what he believes in the face of incredible odds. Join us – Pete Wright and Andy Nelson – as we kick off our Movies and Their Remakes series with Fred Zinnemann’s 1952 classic “High Noon.” We talk about why this film works, but more specifically why it doesn’t work as well for us on this most recent rewatch. We chat about Gary Cooper and our struggles with him as an actor, despite him being such a popular performer. We discuss the history of this script and story, and how it got tangled up with HUAC. We talk about Zinnemann and his cinematographer Floyd Crosby, the look they went for in the film, what they did with the camera and why they didn’t do more of it. We touch on the earworm of a song and how it really saved the movie. And we deliberate on the nature of real-time storytelling and its implications in making a gripping yarn. It’s a classic, to be sure, but not one that was at the top of our lists. Inevitably, problems with a film make for a great conversation so make sure you check out the movie and tune in!

Film Sundries


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]]>  

“People’ve gotta talk themselves into law and order before they do anything about it, maybe because down deep, they don’t care – they just don’t care.”

“High Noon” is often cited as one of the greatest westerns ever made, and a lot of that praise is likely because it was so different from other westerns at the time. It was bleak and black-and-white. There was hardly any action in it. And it was a character piece. This story didn’t have to be set in the old west – it could work in many genres (as we’ll explore next week). It’s more about the protagonist and his struggle to stay true to what he believes in the face of incredible odds. Join us – Pete Wright and Andy Nelson – as we kick off our Movies and Their Remakes series with Fred Zinnemann’s 1952 classic “High Noon.” We talk about why this film works, but more specifically why it doesn’t work as well for us on this most recent rewatch. We chat about Gary Cooper and our struggles with him as an actor, despite him being such a popular performer. We discuss the history of this script and story, and how it got tangled up with HUAC. We talk about Zinnemann and his cinematographer Floyd Crosby, the look they went for in the film, what they did with the camera and why they didn’t do more of it. We touch on the earworm of a song and how it really saved the movie. And we deliberate on the nature of real-time storytelling and its implications in making a gripping yarn. It’s a classic, to be sure, but not one that was at the top of our lists. Inevitably, problems with a film make for a great conversation so make sure you check out the movie and tune in!

Film Sundries


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]]> Thu, 04 Feb 2016 21:28:00 -0800 The Next Reel The Next Reel 4824 “High Noon” is often cited as one of the greatest westerns ever made, and a lot of that praise is likely because it was so different from other westerns at the time. It was bleak and black-and-white. There was hardly any action in it. And it was a character piece. This story didn’t have to be set in the old west – it could work in many genres (as we’ll explore next week). It’s more about the protagonist and his struggle to stay true to what he believes in the face of incredible odds. Join us – Pete Wright and Andy Nelson – as we kick off our Movies and Their Remakes series with Fred Zinnemann’s 1952 classic “High Noon.” We talk about why this film works, but more specifically why it doesn’t work as well for us on this most recent rewatch. We chat about Gary Cooper and our struggles with him as an actor, despite him being such a popular performer. We discuss the history of this script and story, and how it got tangled up with HUAC. We talk about Zinnemann and his cinematographer Floyd Crosby, the look they went for in the film, what they did with the camera and why they didn’t do more of it. We touch on the earworm of a song and how it really saved the movie. And we deliberate on the nature of real-time storytelling and its implications in making a gripping yarn. It’s a classic, to be sure, but not one that was at the top of our lists. Inevitably, problems with a film make for a great conversation so make sure you check out the movie and tune in! “High Noon” is often cited as one of the greatest westerns ever made, and a lot of that praise is likely because it was so different from other westerns at the time. It was bleak and black-and-white. There was hardly any action in it. And it was a charact film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Casino Royale — Matthew Gratzner • Movies We Like 1 1 2 2 Casino Royale — Matthew Gratzner • Movies We Like full 88c6c39f-0876-46a9-b747-674d8f4acae4 https://share.transistor.fm/s/e002fddf “I would ask you if you could remain emotionally detached, but I don’t think that’s your problem. Is it, Bond?”

The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, visual effects supervisor and director Matthew Gratzner joins us to talk about one of his faves, Martin Campbell’s reboot of the James Bond franchise that introduced us to Daniel Craig’s 007, “Casino Royale.” We talk about Craig and the rest of the cast, including Dame Judy Dench, Eva Green and Mads Mikkelsen, and look at what they bring to the table. We discuss the story and its origins, from Ian Fleming’s original novel and the rights to the book, to where the franchise had been with Pierce Brosnan as the previous Bond, and finally to the screenwriters Neal Purvis, Robert Wade and Paul Haggis and what they delivered here. We chat about Barbara Broccoli and Michael G. Wilson and how they’ve worked so hard as a driving force to keep the franchise alive, consistent and relevant. And we chat effects, from the amazing stuntwork and the incredibly limited CGI to the model work. It’s a fantastic movie in a franchise we all love and we have a great time talking about it, so grab a drink and join us in the Speakeasy!

About Matthew Gratzner
@MatthewGratzner

Matthew Gratzner is a triple threat talent who balances directing, design and technology fluidly when creating content. Matthew has a pioneering spirit and is always willing to create with new tools while remaining grounded in story and character.

Best known for his visual effects work on the biggest feature films over the last decade as Visual Effects Supervisor and co-founder New Deal Studios, Matthew is also an accomplished director. He has two feature films in post, several commercials, huge visual effects sequences, digital shorts and is now pioneering cinematic virtual reality content. He was the first to direct a cinematic live action virtual reality short called The Mission. He has directed live sports VR for the NHL. HIs Music Video for Galvanized Souls for the song “New Generation” that has been hugely popular this summer. His latest is virtual reality short is Mutiny for Nokia and their OZO camera. 

Film Sundries


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]]> “I would ask you if you could remain emotionally detached, but I don’t think that’s your problem. Is it, Bond?”

The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, visual effects supervisor and director Matthew Gratzner joins us to talk about one of his faves, Martin Campbell’s reboot of the James Bond franchise that introduced us to Daniel Craig’s 007, “Casino Royale.” We talk about Craig and the rest of the cast, including Dame Judy Dench, Eva Green and Mads Mikkelsen, and look at what they bring to the table. We discuss the story and its origins, from Ian Fleming’s original novel and the rights to the book, to where the franchise had been with Pierce Brosnan as the previous Bond, and finally to the screenwriters Neal Purvis, Robert Wade and Paul Haggis and what they delivered here. We chat about Barbara Broccoli and Michael G. Wilson and how they’ve worked so hard as a driving force to keep the franchise alive, consistent and relevant. And we chat effects, from the amazing stuntwork and the incredibly limited CGI to the model work. It’s a fantastic movie in a franchise we all love and we have a great time talking about it, so grab a drink and join us in the Speakeasy!

About Matthew Gratzner
@MatthewGratzner

Matthew Gratzner is a triple threat talent who balances directing, design and technology fluidly when creating content. Matthew has a pioneering spirit and is always willing to create with new tools while remaining grounded in story and character.

Best known for his visual effects work on the biggest feature films over the last decade as Visual Effects Supervisor and co-founder New Deal Studios, Matthew is also an accomplished director. He has two feature films in post, several commercials, huge visual effects sequences, digital shorts and is now pioneering cinematic virtual reality content. He was the first to direct a cinematic live action virtual reality short called The Mission. He has directed live sports VR for the NHL. HIs Music Video for Galvanized Souls for the song “New Generation” that has been hugely popular this summer. His latest is virtual reality short is Mutiny for Nokia and their OZO camera. 

Film Sundries


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]]> Tue, 02 Feb 2016 10:00:00 -0800 TruStory FM TruStory FM 4708 The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, visual effects supervisor and director Matthew Gratzner joins us to talk about one of his faves, Martin Campbell’s reboot of the James Bond franchise that introduced us to Daniel Craig’s 007, “Casino Royale.” The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, visual effects supervisor and director Matthew Gratzner joins us Movies We Like, Matthew Gratzner No Andy Nelson Pete Wright The Edge • The Next Reel 5 5 33 33 The Edge • The Next Reel full 630ab8b2-cc26-49c6-aa83-11f6c1d75aee https://share.transistor.fm/s/0040e915 “Behold, the mighty hunter.”

Lee Tamahori’s first foray in Hollywood, ‘Mulholland Falls,’ didn’t fare all that well. Luckily, his follow-up with 1997’s ‘The Edge’ made money and allowed him to keep working in the business. (Though if you look at his foray in the Bond franchise, ‘Die Another Day,’ maybe it’s not so lucky after all.) But does the movie feel like something from a David Mamet script? Or does it fall into formulaic Hollywood junk? Join us—Pete Wright and Andy Nelson—as we wrap up our ‘David Mamet as a screenwriter’ series with ‘The Edge.’ We talk about why this film doesn’t work for us overall, even if there are some redeeming elements here and there. We chat about Mamet and debate about how perhaps writing for the Great Outdoors really isn’t for him. We discuss the actors, notably Alec Baldwin, Anthony Hopkins and Harold Perrineau, and how they fare in the wilderness. We chat about Bart the Bear and his Hollywood legacy. We look at the cinematography and try to figure out why Donald McAlpine’s work here feels like it was shot on backlots, not the gorgeous backdrops of the Canadian Rockies. And we bring up Jerry Goldsmith, the legendary composer, who lends his hand here to compose what ends up being a strong theme that’s perhaps repeated a few times too many. It’s a frustrating film to rewatch as it certainly brought our memories of it down a bit, but definitely is a fun one to talk about. Check it out (or don’t) then tune in!

Film Sundries

Trailers of the Week

  • Andy’s Trailer: Hunt for the Wilderpeople — “I know this is just a teaser, but it looks absurd and funny in all the right ways. Taika Waititi is behind some great Kiwi funny stuff like Flight of the Conchords so I definitely want to give this a chance.”
  • Pete’s Trailer: Keanu — “Key and Peele go on a rescue mission for their gangsta kitten. I’m more excited for this film than any other Will Forte thug film yet evar. Plus, director Peter Atencio is from Ft. Collins, Colorado. Land of the free, home of the Andy.”

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]]> “Behold, the mighty hunter.”

Lee Tamahori’s first foray in Hollywood, ‘Mulholland Falls,’ didn’t fare all that well. Luckily, his follow-up with 1997’s ‘The Edge’ made money and allowed him to keep working in the business. (Though if you look at his foray in the Bond franchise, ‘Die Another Day,’ maybe it’s not so lucky after all.) But does the movie feel like something from a David Mamet script? Or does it fall into formulaic Hollywood junk? Join us—Pete Wright and Andy Nelson—as we wrap up our ‘David Mamet as a screenwriter’ series with ‘The Edge.’ We talk about why this film doesn’t work for us overall, even if there are some redeeming elements here and there. We chat about Mamet and debate about how perhaps writing for the Great Outdoors really isn’t for him. We discuss the actors, notably Alec Baldwin, Anthony Hopkins and Harold Perrineau, and how they fare in the wilderness. We chat about Bart the Bear and his Hollywood legacy. We look at the cinematography and try to figure out why Donald McAlpine’s work here feels like it was shot on backlots, not the gorgeous backdrops of the Canadian Rockies. And we bring up Jerry Goldsmith, the legendary composer, who lends his hand here to compose what ends up being a strong theme that’s perhaps repeated a few times too many. It’s a frustrating film to rewatch as it certainly brought our memories of it down a bit, but definitely is a fun one to talk about. Check it out (or don’t) then tune in!

Film Sundries

Trailers of the Week

  • Andy’s Trailer: Hunt for the Wilderpeople — “I know this is just a teaser, but it looks absurd and funny in all the right ways. Taika Waititi is behind some great Kiwi funny stuff like Flight of the Conchords so I definitely want to give this a chance.”
  • Pete’s Trailer: Keanu — “Key and Peele go on a rescue mission for their gangsta kitten. I’m more excited for this film than any other Will Forte thug film yet evar. Plus, director Peter Atencio is from Ft. Collins, Colorado. Land of the free, home of the Andy.”

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]]> Thu, 28 Jan 2016 08:14:00 -0800 The Next Reel The Next Reel 4443 Lee Tamahori’s first foray in Hollywood, ‘Mulholland Falls,’ didn’t fare all that well. Luckily, his follow-up with 1997’s ‘The Edge’ made money and allowed him to keep working in the business. (Though if you look at his foray in the Bond franchise, ‘Die Another Day,’ maybe it’s not so lucky after all.) But does the movie feel like something from a David Mamet script? Or does it fall into formulaic Hollywood junk? Join us—Pete Wright and Andy Nelson—as we wrap up our ‘David Mamet as a screenwriter’ series with ‘The Edge.’ We talk about why this film doesn’t work for us overall, even if there are some redeeming elements here and there. We chat about Mamet and debate about how perhaps writing for the Great Outdoors really isn’t for him. We discuss the actors, notably Alec Baldwin, Anthony Hopkins and Harold Perrineau, and how they fare in the wilderness. We chat about Bart the Bear and his Hollywood legacy. We look at the cinematography and try to figure out why Donald McAlpine’s work here feels like it was shot on backlots, not the gorgeous backdrops of the Canadian Rockies. And we bring up Jerry Goldsmith, the legendary composer, who lends his hand here to compose what ends up being a strong theme that’s perhaps repeated a few times too many. It’s a frustrating film to rewatch as it certainly brought our memories of it down a bit, but definitely is a fun one to talk about. Check it out (or don’t) then tune in! Lee Tamahori’s first foray in Hollywood, ‘Mulholland Falls,’ didn’t fare all that well. Luckily, his follow-up with 1997’s ‘The Edge’ made money and allowed him to keep working in the business. (Though if you look at his foray in the Bond franchise, ‘Die film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Nathan Chase & Jeremy Thompson from Flickchart.com • Behind the Sites 1 1 2 2 Nathan Chase & Jeremy Thompson from Flickchart.com • Behind the Sites full d2429742-5563-433e-9d24-de800007d3e7 https://share.transistor.fm/s/14fe64ff As a part of our series on the movie sites we love, you’d probably guess that we couldn’t go very far without talking to Nathan Chase and Jeremy Thompson, the team behind Flickchart.com. Over the years, Flickchart has become central to our own ranking of films we review on this show, and offers a fun — if enormously frustrating at times — paradigm for stack ranking our favorites. It’s at once a service and an addiction, and we’re thrilled to be able to sit down with Nathan and Jeremy to hear how it all came to be. We talk about the origins of the site and founding philosophy. We explore the technical underpinnings of the site and how the technology has had to scale to keep up with growth and complexity. Most importantly, we get to hear a little bit about Flickchart 2.0, and get a firm non-committal committal of a specific though frustratingly vague launch date … No, we can’t wait to get our hands on it either. 

Links & Notes


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]]> As a part of our series on the movie sites we love, you’d probably guess that we couldn’t go very far without talking to Nathan Chase and Jeremy Thompson, the team behind Flickchart.com. Over the years, Flickchart has become central to our own ranking of films we review on this show, and offers a fun — if enormously frustrating at times — paradigm for stack ranking our favorites. It’s at once a service and an addiction, and we’re thrilled to be able to sit down with Nathan and Jeremy to hear how it all came to be. We talk about the origins of the site and founding philosophy. We explore the technical underpinnings of the site and how the technology has had to scale to keep up with growth and complexity. Most importantly, we get to hear a little bit about Flickchart 2.0, and get a firm non-committal committal of a specific though frustratingly vague launch date … No, we can’t wait to get our hands on it either. 

Links & Notes


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]]> Tue, 26 Jan 2016 03:00:00 -0800 TruStory FM TruStory FM 1740 As a part of our series on the movie sites we love, you’d probably guess that we couldn’t go very far without talking to Nathan Chase and Jeremy Thompson, the team behind Flickchart.com. Over the years, Flickchart has become central to our own ranking of films we review on this show, and offers a fun — if enormously frustrating at times — paradigm for stack ranking our favorites. It’s at once a service and an addiction, and we’re thrilled to be able to sit down with Nathan and Jeremy to hear how it all came to be. As a part of our series on the movie sites we love, you’d probably guess that we couldn’t go very far without talking to Nathan Chase and Jeremy Thompson, the team behind Flickchart.com. Over the years, Flickchart has become central to our own ranking of film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Glengarry Glen Ross • The Next Reel 5 5 32 32 Glengarry Glen Ross • The Next Reel full 02e70431-257c-4f57-9c1d-88d7cabc1668 https://share.transistor.fm/s/c5e6792b “The good news is you’re fired.”

David Mamet won the Pulitzer Prize in 1984 with his play “Glengarry Glen Ross.” The play really exemplified Mamet-speak and its transition to film retained that, despite the fact that it took eight years to make it to the silver screen. Join us – Pete Wright and Andy Nelson – as we continue our David Mamet as Screenwriter series with James Foley’s 1992 film Glengarry Glen Ross. We talk about its transition from stage play to film, what changed, what was added, and how it works. We discuss the cast and how strong it is (even if it’s all white guys) – Pacino, Lemmon, Harris, Arkin, Spacey, Baldwin, Price – and how they manage Mamet’s script. We chat about Foley and his filmography, looking at how this one fits into the mix. And we get into some of the technical aspects, looking at the look and music. It’s a brilliant script that makes for a very strong film, certainly one worth watching and discussing. Check it out then tune in!

Film Sundries


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]]> “The good news is you’re fired.”

David Mamet won the Pulitzer Prize in 1984 with his play “Glengarry Glen Ross.” The play really exemplified Mamet-speak and its transition to film retained that, despite the fact that it took eight years to make it to the silver screen. Join us – Pete Wright and Andy Nelson – as we continue our David Mamet as Screenwriter series with James Foley’s 1992 film Glengarry Glen Ross. We talk about its transition from stage play to film, what changed, what was added, and how it works. We discuss the cast and how strong it is (even if it’s all white guys) – Pacino, Lemmon, Harris, Arkin, Spacey, Baldwin, Price – and how they manage Mamet’s script. We chat about Foley and his filmography, looking at how this one fits into the mix. And we get into some of the technical aspects, looking at the look and music. It’s a brilliant script that makes for a very strong film, certainly one worth watching and discussing. Check it out then tune in!

Film Sundries


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]]> Thu, 21 Jan 2016 10:51:00 -0800 The Next Reel The Next Reel 6036 David Mamet won the Pulitzer Prize in 1984 with his play “Glengarry Glen Ross.” The play really exemplified Mamet-speak and its transition to film retained that, despite the fact that it took eight years to make it to the silver screen. David Mamet won the Pulitzer Prize in 1984 with his play “Glengarry Glen Ross.” The play really exemplified Mamet-speak and its transition to film retained that, despite the fact that it took eight years to make it to the silver screen. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Untouchables • The Next Reel 5 5 31 31 The Untouchables • The Next Reel full e1b9c70c-7b7c-4fbf-9eee-6a5f257c0118 https://share.transistor.fm/s/747d05b2 “He pulls a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue. That’s the Chicago way, and that’s how you get Capone!”

Brian De Palma was coming off a couple of box office disappointments when he signed on to bring David Mamet’s script “The Untouchables” to life. The studio was hoping for something akin to a movie version of their old TV show but this team opted to tell a more focused story, and that is both the success and failure of this movie. Join us – Pete Wright and Andy Nelson – as we continue our ‘Mamet as screenwriter’ series with 1987’s “The Untouchables.” We talk about what works in Mamet’s script and what doesn’t, and why elements aren’t working the way they should. We chat about De Palma and all of the De Palma-isms that he delivers here, never one to disappoint. We look at the key actors in the film – Kevin Costner, Sean Connery, Robert De Niro, Andy Garcia and Charles Martin Smith – and what they each bring to the table, particularly Connery in his Oscar-winning performance. And we touch on the technical with Ennio Morricone’s score, the fantastic production design and the noirish title design. It’s a film that unfortunately didn’t hold up for us this go-around, despite still being able to get enjoyment from it. It’s worth the watch, particularly if you haven’t seen it before, so check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Screenplay
  • Original theatrical trailer
  • Original poster artwork
  • Art of the Title
  • The Untouchables by Eliot Ness and Oscar Fraley
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: The Conjuring 2: The Enfield Poltergeist — “I had a blast watching the first in this series. Wan has a great handle on horror and doesn’t seem to mess up sequels when he takes them on, as Insidious: Chapter 2 and Furious 7 showed us. He’s also found his muse in Patrick Wilson who makes a great team with Vera Farmiga. Plus, it’s downright creepy and daddy like.”
  • Pete’s Trailer: Colonia — “I don’t think I have this movie figured out. Emma Watson joins a cult to find her political rabble rowser of a boyfriend. That’s all I’ve got. But by the end of the trailer, it’s looking like a genuine thriller, so I’m willing to give it a shot. It should be said, however, that I also predicted good things about Child 44.”

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]]> “He pulls a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue. That’s the Chicago way, and that’s how you get Capone!”

Brian De Palma was coming off a couple of box office disappointments when he signed on to bring David Mamet’s script “The Untouchables” to life. The studio was hoping for something akin to a movie version of their old TV show but this team opted to tell a more focused story, and that is both the success and failure of this movie. Join us – Pete Wright and Andy Nelson – as we continue our ‘Mamet as screenwriter’ series with 1987’s “The Untouchables.” We talk about what works in Mamet’s script and what doesn’t, and why elements aren’t working the way they should. We chat about De Palma and all of the De Palma-isms that he delivers here, never one to disappoint. We look at the key actors in the film – Kevin Costner, Sean Connery, Robert De Niro, Andy Garcia and Charles Martin Smith – and what they each bring to the table, particularly Connery in his Oscar-winning performance. And we touch on the technical with Ennio Morricone’s score, the fantastic production design and the noirish title design. It’s a film that unfortunately didn’t hold up for us this go-around, despite still being able to get enjoyment from it. It’s worth the watch, particularly if you haven’t seen it before, so check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Screenplay
  • Original theatrical trailer
  • Original poster artwork
  • Art of the Title
  • The Untouchables by Eliot Ness and Oscar Fraley
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: The Conjuring 2: The Enfield Poltergeist — “I had a blast watching the first in this series. Wan has a great handle on horror and doesn’t seem to mess up sequels when he takes them on, as Insidious: Chapter 2 and Furious 7 showed us. He’s also found his muse in Patrick Wilson who makes a great team with Vera Farmiga. Plus, it’s downright creepy and daddy like.”
  • Pete’s Trailer: Colonia — “I don’t think I have this movie figured out. Emma Watson joins a cult to find her political rabble rowser of a boyfriend. That’s all I’ve got. But by the end of the trailer, it’s looking like a genuine thriller, so I’m willing to give it a shot. It should be said, however, that I also predicted good things about Child 44.”

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]]> Thu, 14 Jan 2016 23:30:00 -0800 The Next Reel The Next Reel 5255 Brian De Palma was coming off a couple of box office disappointments when he signed on to bring David Mamet’s script “The Untouchables” to life. The studio was hoping for something akin to a movie version of their old TV show but this team opted to tell a more focused story, and that is both the success and failure of this movie. Join us – Pete Wright and Andy Nelson – as we continue our ‘Mamet as screenwriter’ series with 1987’s “The Untouchables.” We talk about what works in Mamet’s script and what doesn’t, and why elements aren’t working the way they should. We chat about De Palma and all of the De Palma-isms that he delivers here, never one to disappoint. We look at the key actors in the film – Kevin Costner, Sean Connery, Robert De Niro, Andy Garcia and Charles Martin Smith – and what they each bring to the table, particularly Connery in his Oscar-winning performance. And we touch on the technical with Ennio Morricone’s score, the fantastic production design and the noirish title design. It’s a film that unfortunately didn’t hold up for us this go-around, despite still being able to get enjoyment from it. It’s worth the watch, particularly if you haven’t seen it before, so check it out then tune in! Brian De Palma was coming off a couple of box office disappointments when he signed on to bring David Mamet’s script “The Untouchables” to life. The studio was hoping for something akin to a movie version of their old TV show but this team opted to tell a film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Get your Trailer Fix on Trailer.Town with Founders Joel Farris & Alex Carvalho • Behind the Sites 1 1 1 1 Get your Trailer Fix on Trailer.Town with Founders Joel Farris & Alex Carvalho • Behind the Sites full 6db3c278-1365-49e9-8f77-ed006aa64d16 https://share.transistor.fm/s/c3d0175f A few weeks ago, we ran across a new site dedicated to movie trailers. It’s called Trailer.Town and it’s a clean, well-organized home for our favorite form of promotion. This week on Shorts, we’re joined by Joel Farris and Alex Carvalho, half of the Trailer.Town team and founders of the site to talk about trailers, spoilers, and the importance of curation in a messy Youtube world. 


Sundries


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]]> A few weeks ago, we ran across a new site dedicated to movie trailers. It’s called Trailer.Town and it’s a clean, well-organized home for our favorite form of promotion. This week on Shorts, we’re joined by Joel Farris and Alex Carvalho, half of the Trailer.Town team and founders of the site to talk about trailers, spoilers, and the importance of curation in a messy Youtube world. 


Sundries


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]]> Tue, 12 Jan 2016 03:00:00 -0800 TruStory FM TruStory FM 1227 A few weeks ago, we ran across a new site dedicated to movie trailers. It’s called Trailer.Town and it’s a clean, well-organized home for our favorite form of promotion. This week on Shorts, we’re joined by Joel Farris and Alex Carvalho, half of the Trailer.Town team and founders of the site to talk about trailers, spoilers, and the importance of curation in a messy Youtube world. A few weeks ago, we ran across a new site dedicated to movie trailers. It’s called Trailer.Town and it’s a clean, well-organized home for our favorite form of promotion. This week on Shorts, we’re joined by Joel Farris and Alex Carvalho, half of the Trail film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Verdict • The Next Reel 5 5 30 30 The Verdict • The Next Reel full bfbc9683-b120-4ff3-8123-76eb87371123 https://share.transistor.fm/s/ce88725c “So much of the time, we’re just lost.”

David Mamet wrote screenplays for several years before he jumped into the director’s seat, and while some of them still distinctly sound like Mamet’s writing, others really don’t. The ‘Mamet Speak’ isn’t there, or perhaps it’s just less obvious. Join us – Pete Wright and Andy Nelson – as we kick off another Mamet series, this time focusing on films he worked on only as screenwriter. We start this series with his second screen credit as screenwriter, Sidney Lumet’s 1982 courtroom drama “The Verdict.” We talk about what works for us with Mamet’s script and what doesn’t, and really try to figure out why – is it not Mamet enough? We chat about the actors, from Paul Newman and Jack Warden to Charlotte Rampling and James Mason, and what they bring to the table. We really get into the look of the film, discussing Andrzej Barkowiak’s cinematography, Edward Pisoni’s production design and John Kasarda’s art direction, analyzing how they use their tools to tell this story. And we get into some subplots, really trying to resolve some issues that the film leaves hanging. It’s a strong courtroom character study, even if it wasn’t strong enough to take on Gandhi at the Oscars. Check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Screenplay
  • Original theatrical trailer
  • Original poster artwork
  • The Verdict by Barry Reed
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Lazer Team — “I’m not sure if this is comedy genius or a truly great representative of the dregs of January. Either way, it made me laugh and will probably end up as a guilty pleasure for me. Plus, I’m curious to see how things shake out for YouTube’s paid subscription service YouTube Red.”
  • Pete’s Trailer: Remember — “Atom Egoyan. Martin Landau. Christopher Plummer. Nazi Hunter Thriller. When did you stop reading to go find out when you can see this movie?”

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]]> “So much of the time, we’re just lost.”

David Mamet wrote screenplays for several years before he jumped into the director’s seat, and while some of them still distinctly sound like Mamet’s writing, others really don’t. The ‘Mamet Speak’ isn’t there, or perhaps it’s just less obvious. Join us – Pete Wright and Andy Nelson – as we kick off another Mamet series, this time focusing on films he worked on only as screenwriter. We start this series with his second screen credit as screenwriter, Sidney Lumet’s 1982 courtroom drama “The Verdict.” We talk about what works for us with Mamet’s script and what doesn’t, and really try to figure out why – is it not Mamet enough? We chat about the actors, from Paul Newman and Jack Warden to Charlotte Rampling and James Mason, and what they bring to the table. We really get into the look of the film, discussing Andrzej Barkowiak’s cinematography, Edward Pisoni’s production design and John Kasarda’s art direction, analyzing how they use their tools to tell this story. And we get into some subplots, really trying to resolve some issues that the film leaves hanging. It’s a strong courtroom character study, even if it wasn’t strong enough to take on Gandhi at the Oscars. Check it out then tune in!

Film Sundries

  • Watch this film: iTunes • Amazon
  • Screenplay
  • Original theatrical trailer
  • Original poster artwork
  • The Verdict by Barry Reed
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Lazer Team — “I’m not sure if this is comedy genius or a truly great representative of the dregs of January. Either way, it made me laugh and will probably end up as a guilty pleasure for me. Plus, I’m curious to see how things shake out for YouTube’s paid subscription service YouTube Red.”
  • Pete’s Trailer: Remember — “Atom Egoyan. Martin Landau. Christopher Plummer. Nazi Hunter Thriller. When did you stop reading to go find out when you can see this movie?”

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]]> Thu, 07 Jan 2016 21:41:00 -0800 The Next Reel The Next Reel 4689 David Mamet wrote screenplays for several years before he jumped into the director’s seat, and while some of them still distinctly sound like Mamet’s writing, others really don’t. The ‘Mamet Speak’ isn’t there, or perhaps it’s just less obvious. Join us – Pete Wright and Andy Nelson – as we kick off another Mamet series, this time focusing on films he worked on only as screenwriter. We start this series with his second screen credit as screenwriter, Sidney Lumet’s 1982 courtroom drama “The Verdict.” We talk about what works for us with Mamet’s script and what doesn’t, and really try to figure out why – is it not Mamet enough? We chat about the actors, from Paul Newman and Jack Warden to Charlotte Rampling and James Mason, and what they bring to the table. We really get into the look of the film, discussing Andrzej Barkowiak’s cinematography, Edward Pisoni’s production design and John Kasarda’s art direction, analyzing how they use their tools to tell this story. And we get into some subplots, really trying to resolve some issues that the film leaves hanging. It’s a strong courtroom character study, even if it wasn’t strong enough to take on Gandhi at the Oscars. Check it out then tune in! David Mamet wrote screenplays for several years before he jumped into the director’s seat, and while some of them still distinctly sound like Mamet’s writing, others really don’t. The ‘Mamet Speak’ isn’t there, or perhaps it’s just less obvious. Join us – film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright My Favorite Year — Abraham Benrubi • Movies We Like 1 1 1 1 My Favorite Year — Abraham Benrubi • Movies We Like full 5628bf3a-bc6e-46d2-898a-f12bd531f617 https://share.transistor.fm/s/1935372c “I’m not an actor, I’m a movie star!”

The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and, instead of bringing their favorite cocktail, we have them bring along one of their favorite movies to talk about. In this inaugural episode, actor Abraham Benrubi joins us to talk about one of his faves, Richard Benjamin’s 1982 comedy gem “My Favorite Year,” starring Peter O’Toole and Mark Linn-Baker. We talk about the cast – from the brilliant (and Oscar-nominated) performance by O’Toole and the fantastic Linn-Baker to everyone else involved like Jessica Harper, Joseph Bologna, Bill Macy, Lainie Kazan, George Wyner, Selma Diamond and even an appearance by queen of the “Titanic” herself, Gloria Stewart. We chat about the origins of the story from writers who worked for Sid Caesar’s “Show of Shows” and how this fits in the world of live TV from the 50s. And we discuss the script and how it moves assuredly from the madcap comedy antics to some wonderfully poignant moments that really tug at your heartstrings. It’s a wonderful film to kick off this new series, so check it out then tune in!

Film Sundries


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]]> “I’m not an actor, I’m a movie star!”

The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and, instead of bringing their favorite cocktail, we have them bring along one of their favorite movies to talk about. In this inaugural episode, actor Abraham Benrubi joins us to talk about one of his faves, Richard Benjamin’s 1982 comedy gem “My Favorite Year,” starring Peter O’Toole and Mark Linn-Baker. We talk about the cast – from the brilliant (and Oscar-nominated) performance by O’Toole and the fantastic Linn-Baker to everyone else involved like Jessica Harper, Joseph Bologna, Bill Macy, Lainie Kazan, George Wyner, Selma Diamond and even an appearance by queen of the “Titanic” herself, Gloria Stewart. We chat about the origins of the story from writers who worked for Sid Caesar’s “Show of Shows” and how this fits in the world of live TV from the 50s. And we discuss the script and how it moves assuredly from the madcap comedy antics to some wonderfully poignant moments that really tug at your heartstrings. It’s a wonderful film to kick off this new series, so check it out then tune in!

Film Sundries


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The Next Reel Family of Film Shows:

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]]> Tue, 05 Jan 2016 08:22:00 -0800 TruStory FM TruStory FM 3550 The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and, instead of bringing their favorite cocktail, we have them bring along one of their favorite movies to talk about. In this inaugural episode, actor Abraham Benrubi joins us to talk about one of his faves, Richard Benjamin’s 1982 comedy gem “My Favorite Year,” starring Peter O’Toole and Mark Linn-Baker. The Next Reel’s Speakeasy is a new ongoing series of ours in which we invite an industry guest to join us and, instead of bringing their favorite cocktail, we have them bring along one of their favorite movies to talk about. In this inaugural episode, act Movies We Like, Abe Benrubi No Andy Nelson Pete Wright Boogie Nights • The Next Reel 5 5 29 29 Boogie Nights • The Next Reel full e6308acf-4ed9-4c3e-9e21-adc1ed97ecac https://share.transistor.fm/s/f52a443f “I’ve got a feeling beneath those jeans, there’s something wonderful just waiting to get out.”

Happy New Year! Goodbye 2015, hello 2016. And what better way to kick off the new year of shows than with Paul Thomas Anderson’s 1997 epic glimpse into the golden age of porn. With an epic New Year’s party that transitions the story from the halcyon days of porn in the 70s to its characters’ declines in the 80s, “Boogie Nights” is a great way to celebrate the previous year and welcome the new one. Join us – Pete Wright and Andy Nelson – as we discuss Paul Thomas Anderson’s second film, “Boogie Nights.” We talk about the story and why it works so well for us, regardless of the industry it presents. We chat about Anderson and what he brings to the table, highlighting so many strengths that show why he is still such a tremendous force in the film business. We discuss the actors, from Mark Wahlberg and Burt Reynolds to Julianne Moore and don Cheadle, touching on what brought them to this film and how well they work with Anderson in his story. And we cover the cinematography by Robert Elswit and editing by Dylan Tichenor. It’s really a magnificent film, even if it does make us feel a bit dirty by watching it. Check it out then tune in!

Film Sundries


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]]> “I’ve got a feeling beneath those jeans, there’s something wonderful just waiting to get out.”

Happy New Year! Goodbye 2015, hello 2016. And what better way to kick off the new year of shows than with Paul Thomas Anderson’s 1997 epic glimpse into the golden age of porn. With an epic New Year’s party that transitions the story from the halcyon days of porn in the 70s to its characters’ declines in the 80s, “Boogie Nights” is a great way to celebrate the previous year and welcome the new one. Join us – Pete Wright and Andy Nelson – as we discuss Paul Thomas Anderson’s second film, “Boogie Nights.” We talk about the story and why it works so well for us, regardless of the industry it presents. We chat about Anderson and what he brings to the table, highlighting so many strengths that show why he is still such a tremendous force in the film business. We discuss the actors, from Mark Wahlberg and Burt Reynolds to Julianne Moore and don Cheadle, touching on what brought them to this film and how well they work with Anderson in his story. And we cover the cinematography by Robert Elswit and editing by Dylan Tichenor. It’s really a magnificent film, even if it does make us feel a bit dirty by watching it. Check it out then tune in!

Film Sundries


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]]> Thu, 31 Dec 2015 14:13:00 -0800 The Next Reel The Next Reel 5750 Happy New Year! Goodbye 2015, hello 2016. And what better way to kick off the new year of shows than with Paul Thomas Anderson’s 1997 epic glimpse into the golden age of porn. With an epic New Year’s party that transitions the story from the halcyon days of porn in the 70s to its characters’ declines in the 80s, “Boogie Nights” is a great way to celebrate the previous year and welcome the new one. Join us – Pete Wright and Andy Nelson – as we discuss Paul Thomas Anderson’s second film, “Boogie Nights.” We talk about the story and why it works so well for us, regardless of the industry it presents. We chat about Anderson and what he brings to the table, highlighting so many strengths that show why he is still such a tremendous force in the film business. We discuss the actors, from Mark Wahlberg and Burt Reynolds to Julianne Moore and don Cheadle, touching on what brought them to this film and how well they work with Anderson in his story. And we cover the cinematography by Robert Elswit and editing by Dylan Tichenor. It’s really a magnificent film, even if it does make us feel a bit dirty by watching it. Check it out then tune in! Happy New Year! Goodbye 2015, hello 2016. And what better way to kick off the new year of shows than with Paul Thomas Anderson’s 1997 epic glimpse into the golden age of porn. With an epic New Year’s party that transitions the story from the halcyon days film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Gremlins • The Next Reel 5 5 28 28 Gremlins • The Next Reel full ab9c9f99-b4a3-4aec-8e7b-b3f97916f022 https://share.transistor.fm/s/bc7872dd “They might even replace the dog as the family pet.”

‘Tis the holiday season, which means it’s time for another Next Reel Christmas movie, and how better to share in the joy and festivities of the Christmas season than with some wacky laughs and slimy gore from Joe Dante’s 1984 horror comedy “Gremlins.” Join us – Pete Wright and Andy Nelson – as we celebrate another end of the year with some holiday cheer (and mayhem), this time with Gizmo, Stripe, Billy, Kate, Mrs. Deagle, Barney and the rest of the residents of Kingston Falls (aka Universal’s backlot). We talk about our impressions of this film from when we were young and how those changed (or didn’t) since then. We chat about the actors, from Zach Galligan and Phoebe Cates to Polly Holliday and Howie Mandel, and what they brought to the table. We discuss Jerry Goldsmith’s score and why it works really well for Andy while not so much for Pete. We talk about Chris Walas and his creature effects, and banter about the script and how it really is pretty simplistic. And we touch on what Steven Spielberg, Joe Dante and Chris Columbus all bring to the table here. It’s a fun film, one that certainly seems to have held up better for Andy than it has for Pete, and definitely fun to talk about. Check the movie out then tune in!

Film Sundries


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]]> “They might even replace the dog as the family pet.”

‘Tis the holiday season, which means it’s time for another Next Reel Christmas movie, and how better to share in the joy and festivities of the Christmas season than with some wacky laughs and slimy gore from Joe Dante’s 1984 horror comedy “Gremlins.” Join us – Pete Wright and Andy Nelson – as we celebrate another end of the year with some holiday cheer (and mayhem), this time with Gizmo, Stripe, Billy, Kate, Mrs. Deagle, Barney and the rest of the residents of Kingston Falls (aka Universal’s backlot). We talk about our impressions of this film from when we were young and how those changed (or didn’t) since then. We chat about the actors, from Zach Galligan and Phoebe Cates to Polly Holliday and Howie Mandel, and what they brought to the table. We discuss Jerry Goldsmith’s score and why it works really well for Andy while not so much for Pete. We talk about Chris Walas and his creature effects, and banter about the script and how it really is pretty simplistic. And we touch on what Steven Spielberg, Joe Dante and Chris Columbus all bring to the table here. It’s a fun film, one that certainly seems to have held up better for Andy than it has for Pete, and definitely fun to talk about. Check the movie out then tune in!

Film Sundries


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]]> Thu, 24 Dec 2015 14:35:00 -0800 The Next Reel The Next Reel 4601 ‘Tis the holiday season, which means it’s time for another Next Reel Christmas movie, and how better to share in the joy and festivities of the Christmas season than with some wacky laughs and slimy gore from Joe Dante’s 1984 horror comedy “Gremlins.” Join us – Pete Wright and Andy Nelson – as we celebrate another end of the year with some holiday cheer (and mayhem), this time with Gizmo, Stripe, Billy, Kate, Mrs. Deagle, Barney and the rest of the residents of Kingston Falls (aka Universal’s backlot). We talk about our impressions of this film from when we were young and how those changed (or didn’t) since then. We chat about the actors, from Zach Galligan and Phoebe Cates to Polly Holliday and Howie Mandel, and what they brought to the table. We discuss Jerry Goldsmith’s score and why it works really well for Andy while not so much for Pete. We talk about Chris Walas and his creature effects, and banter about the script and how it really is pretty simplistic. And we touch on what Steven Spielberg, Joe Dante and Chris Columbus all bring to the table here. It’s a fun film, one that certainly seems to have held up better for Andy than it has for Pete, and definitely fun to talk about. Check the movie out then tune in! ‘Tis the holiday season, which means it’s time for another Next Reel Christmas movie, and how better to share in the joy and festivities of the Christmas season than with some wacky laughs and slimy gore from Joe Dante’s 1984 horror comedy “Gremlins.” Joi film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Next Reel's 2016 Announcement Extravaganza! • The Next Reel 5 5 The Next Reel's 2016 Announcement Extravaganza! • The Next Reel bonus 4b6b4155-848f-4446-8cfa-444d075b81db https://share.transistor.fm/s/b7d5c6d2 Hey folks! Please listen to this episode! We tried to keep it short, but we need to tell you about a few things you'll be seeing come January 2016 which, if you don't listen now, may come as a surprise later. 

In short, new shows, new shirts, new stuff, new membership program. 

Thanks for tuning in, and happy new year from all of us at The Next Reel!

]]> Hey folks! Please listen to this episode! We tried to keep it short, but we need to tell you about a few things you'll be seeing come January 2016 which, if you don't listen now, may come as a surprise later. 

In short, new shows, new shirts, new stuff, new membership program. 

Thanks for tuning in, and happy new year from all of us at The Next Reel!

]]> Mon, 21 Dec 2015 21:50:00 -0800 The Next Reel The Next Reel 472 Hey folks! Please listen to this episode! We tried to keep it short, but we need to tell you about a few things you'll be seeing come January 2016 which, if you don't listen now, may come as a surprise later. Hey folks! Please listen to this episode! We tried to keep it short, but we need to tell you about a few things you'll be seeing come January 2016 which, if you don't listen now, may come as a surprise later. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright National Lampoon's Vacation • The Next Reel 5 5 27 27 National Lampoon's Vacation • The Next Reel full 800a3d26-fb62-40fb-bfe2-89bcea66b1cd https://share.transistor.fm/s/61fc87c8 “Everybody in the car. Boat leaves in two minutes, or perhaps you don’t want to see the second largest ball of twine on the face of the Earth, which is only four short hours away?!”

Harold Ramis’ second foray into feature film directing introduced the world to the Griswolds – Clark, Ellen, Rusty and Audrey – as they drive from Chicago to LA on a 2-week vacation with the aim of visiting an obvious Disneyland replacement for legal reasons, Walley World. It’s a wonderful film and proved to be another box office success for Ramis, who wouldn’t direct another hit like this for 10 years with ‘Groundhog Day.’ Join us – Pete Wright and Andy Nelson – as we wrap up our very short Harold Ramis series with the classic 1983 road trip comedy “National Lampoon’s Vacation.” We talk about the original John Hughes story on which this is based and look at the darker tones in that story, comparing it with how it was reshaped in this film. We discuss the cast, notably Chevy Chase, Beverly D’Angelo, Anthony Michael Hall, Dana Barron, Imogene Coca (and her dog), Randy Quaid, Christie Brinkley and Eddie Bracken. We chat about the ending of the short story, the original ending and the rewritten ending and debate what works best (and what problems this one may have because of the final ending). And we, of course, talk about the franchise, comparing this with what we view as the only other good one in the bunch, 1989’s ‘National Lampoon’s Christmas Vacation.’ It’s a comedy classic and a great way to finish our Ramis series, so check it out then tune in!

Film Sundries


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]]> “Everybody in the car. Boat leaves in two minutes, or perhaps you don’t want to see the second largest ball of twine on the face of the Earth, which is only four short hours away?!”

Harold Ramis’ second foray into feature film directing introduced the world to the Griswolds – Clark, Ellen, Rusty and Audrey – as they drive from Chicago to LA on a 2-week vacation with the aim of visiting an obvious Disneyland replacement for legal reasons, Walley World. It’s a wonderful film and proved to be another box office success for Ramis, who wouldn’t direct another hit like this for 10 years with ‘Groundhog Day.’ Join us – Pete Wright and Andy Nelson – as we wrap up our very short Harold Ramis series with the classic 1983 road trip comedy “National Lampoon’s Vacation.” We talk about the original John Hughes story on which this is based and look at the darker tones in that story, comparing it with how it was reshaped in this film. We discuss the cast, notably Chevy Chase, Beverly D’Angelo, Anthony Michael Hall, Dana Barron, Imogene Coca (and her dog), Randy Quaid, Christie Brinkley and Eddie Bracken. We chat about the ending of the short story, the original ending and the rewritten ending and debate what works best (and what problems this one may have because of the final ending). And we, of course, talk about the franchise, comparing this with what we view as the only other good one in the bunch, 1989’s ‘National Lampoon’s Christmas Vacation.’ It’s a comedy classic and a great way to finish our Ramis series, so check it out then tune in!

Film Sundries


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]]> Thu, 17 Dec 2015 15:57:00 -0800 The Next Reel The Next Reel 5038 Harold Ramis’ second foray into feature film directing introduced the world to the Griswolds – Clark, Ellen, Rusty and Audrey – as they drive from Chicago to LA on a 2-week vacation with the aim of visiting an obvious Disneyland replacement for legal reasons, Walley World. It’s a wonderful film and proved to be another box office success for Ramis, who wouldn’t direct another hit like this for 10 years with ‘Groundhog Day.’ Join us – Pete Wright and Andy Nelson – as we wrap up our very short Harold Ramis series with the classic 1983 road trip comedy “National Lampoon’s Vacation.” We talk about the original John Hughes story on which this is based and look at the darker tones in that story, comparing it with how it was reshaped in this film. We discuss the cast, notably Chevy Chase, Beverly D’Angelo, Anthony Michael Hall, Dana Barron, Imogene Coca (and her dog), Randy Quaid, Christie Brinkley and Eddie Bracken. We chat about the ending of the short story, the original ending and the rewritten ending and debate what works best (and what problems this one may have because of the final ending). And we, of course, talk about the franchise, comparing this with what we view as the only other good one in the bunch, 1989’s ‘National Lampoon’s Christmas Vacation.’ It’s a comedy classic and a great way to finish our Ramis series, so check it out then tune in! Harold Ramis’ second foray into feature film directing introduced the world to the Griswolds – Clark, Ellen, Rusty and Audrey – as they drive from Chicago to LA on a 2-week vacation with the aim of visiting an obvious Disneyland replacement for legal reas film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Stripes • The Next Reel 5 5 26 26 Stripes • The Next Reel full 5201ce15-2f05-496a-9268-a967909f7dd4 https://share.transistor.fm/s/2f15e774 “Razzle dazzle!”

Harold Ramis made his big screen debut acting in Ivan Reitman’s 1981 military comedy “Stripes,” which he also co-wrote for Reitman, having worked on “Animal House” and “Meatballs” with him a few years before. He’d go on to appear in a number of films throughout his career, and generally played the straight man to people like Bill Murray. Join us – Pete Wright and Andy Nelson – as we continue our Harold Ramis series with 1981’s “Stripes.” We talk about how this film may have worked in the past but how it didn’t really work well for us in the present. We chat about the comedy and why some of it works but why much of it falls flat, possibly due to the editing, or the writing, or the directing, or the performances, or the time period, or all of it. We discuss the structure of the script and why it really should have ended after the second act. And we go through the talent, from Murray and Ramis to the wonderful old timer Warren Oates and all of the first timers popping up here all babyfaced and eager to act. It’s not a film that we really clicked with while knowing that many hold it near and dear in their hearts. That being said, we still have a great time talking about it and spoiling it rotten. So check it out and tune in!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Nice Guys — “Shane Black writes such fun scripts. Since he’s also started directing, I’ve really enjoyed his style. Well, maybe not Iron Man 3. But this looks right up there with Kiss Kiss Bang Bang. Maybe even better. This is way up there for films I have to catch next year!”
  • Pete’s Trailer: Batman vs. Superman — “I was all ready to hate this trailer. But then I watched it with my daughter and the look on her face during the Wonder Woman reveal? That convinced me to give it a chance. You know what else? Batfleck looks damned good.”

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]]> “Razzle dazzle!”

Harold Ramis made his big screen debut acting in Ivan Reitman’s 1981 military comedy “Stripes,” which he also co-wrote for Reitman, having worked on “Animal House” and “Meatballs” with him a few years before. He’d go on to appear in a number of films throughout his career, and generally played the straight man to people like Bill Murray. Join us – Pete Wright and Andy Nelson – as we continue our Harold Ramis series with 1981’s “Stripes.” We talk about how this film may have worked in the past but how it didn’t really work well for us in the present. We chat about the comedy and why some of it works but why much of it falls flat, possibly due to the editing, or the writing, or the directing, or the performances, or the time period, or all of it. We discuss the structure of the script and why it really should have ended after the second act. And we go through the talent, from Murray and Ramis to the wonderful old timer Warren Oates and all of the first timers popping up here all babyfaced and eager to act. It’s not a film that we really clicked with while knowing that many hold it near and dear in their hearts. That being said, we still have a great time talking about it and spoiling it rotten. So check it out and tune in!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Nice Guys — “Shane Black writes such fun scripts. Since he’s also started directing, I’ve really enjoyed his style. Well, maybe not Iron Man 3. But this looks right up there with Kiss Kiss Bang Bang. Maybe even better. This is way up there for films I have to catch next year!”
  • Pete’s Trailer: Batman vs. Superman — “I was all ready to hate this trailer. But then I watched it with my daughter and the look on her face during the Wonder Woman reveal? That convinced me to give it a chance. You know what else? Batfleck looks damned good.”

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]]> Thu, 10 Dec 2015 18:10:00 -0800 The Next Reel The Next Reel 3623 Harold Ramis made his big screen debut acting in Ivan Reitman’s 1981 military comedy “Stripes,” which he also co-wrote for Reitman, having worked on “Animal House” and “Meatballs” with him a few years before. He’d go on to appear in a number of films throughout his career, and generally played the straight man to people like Bill Murray. Join us – Pete Wright and Andy Nelson – as we continue our Harold Ramis series with 1981’s “Stripes.” We talk about how this film may have worked in the past but how it didn’t really work well for us in the present. We chat about the comedy and why some of it works but why much of it falls flat, possibly due to the editing, or the writing, or the directing, or the performances, or the time period, or all of it. We discuss the structure of the script and why it really should have ended after the second act. And we go through the talent, from Murray and Ramis to the wonderful old timer Warren Oates and all of the first timers popping up here all babyfaced and eager to act. It’s not a film that we really clicked with while knowing that many hold it near and dear in their hearts. That being said, we still have a great time talking about it and spoiling it rotten. So check it out and tune in! Harold Ramis made his big screen debut acting in Ivan Reitman’s 1981 military comedy “Stripes,” which he also co-wrote for Reitman, having worked on “Animal House” and “Meatballs” with him a few years before. He’d go on to appear in a number of films thro film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Caddyshack • The Next Reel 5 5 25 25 Caddyshack • The Next Reel full 6aeb78e4-10d6-4397-9d74-1e01bc9e5dc3 https://share.transistor.fm/s/9c2473ea “So I got that going for me, which is nice.”

With a background at Second City and National Lampoon, comedy was right up Harold Ramis’ alley, and while he had early opportunities to write and perform comedy, it wasn’t until the third feature film on which he was involved that gave him the opportunity to direct. Luckily for him, that movie was “Caddyshack” and the rest, as they say, is history. Join us – Pete Wright and Andy Nelson – as we begin our Harold Ramis series with his directorial debut from 1980 – “Caddyshack.” We talk about Ramis and his co-writers, Brian Doyle-Murray and Douglas Kenney, how they came up with the idea for the script and how so much of what ended up on the screen was improvised. We discuss the older talent – Chevy Chase, Rodney Dangerfield, Ted Knight and Bill Murray – and how their performances really forced the filmmakers to diminish the story of the caddies, notably Michael O’Keefe, and what are thoughts are on this. We chat about the story of the kids as it compares with the story of the adults and what our thoughts are on these two stories. We talk about the gopher and how he figures into the story. And we chat about how endlessly quotable this movie is. It’s one of the best, if not the best, golf movies out there and certainly a fun movie to add to our list. So check it out then tune in!

Film Sundries


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]]> “So I got that going for me, which is nice.”

With a background at Second City and National Lampoon, comedy was right up Harold Ramis’ alley, and while he had early opportunities to write and perform comedy, it wasn’t until the third feature film on which he was involved that gave him the opportunity to direct. Luckily for him, that movie was “Caddyshack” and the rest, as they say, is history. Join us – Pete Wright and Andy Nelson – as we begin our Harold Ramis series with his directorial debut from 1980 – “Caddyshack.” We talk about Ramis and his co-writers, Brian Doyle-Murray and Douglas Kenney, how they came up with the idea for the script and how so much of what ended up on the screen was improvised. We discuss the older talent – Chevy Chase, Rodney Dangerfield, Ted Knight and Bill Murray – and how their performances really forced the filmmakers to diminish the story of the caddies, notably Michael O’Keefe, and what are thoughts are on this. We chat about the story of the kids as it compares with the story of the adults and what our thoughts are on these two stories. We talk about the gopher and how he figures into the story. And we chat about how endlessly quotable this movie is. It’s one of the best, if not the best, golf movies out there and certainly a fun movie to add to our list. So check it out then tune in!

Film Sundries


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]]> Thu, 03 Dec 2015 08:22:00 -0800 The Next Reel The Next Reel 4987 With a background at Second City and National Lampoon, comedy was right up Harold Ramis’ alley, and while he had early opportunities to write and perform comedy, it wasn’t until the third feature film on which he was involved that gave him the opportunity to direct. Luckily for him, that movie was “Caddyshack” and the rest, as they say, is history. Join us – Pete Wright and Andy Nelson – as we begin our Harold Ramis series with his directorial debut from 1980 – “Caddyshack.” We talk about Ramis and his co-writers, Brian Doyle-Murray and Douglas Kenney, how they came up with the idea for the script and how so much of what ended up on the screen was improvised. We discuss the older talent – Chevy Chase, Rodney Dangerfield, Ted Knight and Bill Murray – and how their performances really forced the filmmakers to diminish the story of the caddies, notably Michael O’Keefe, and what are thoughts are on this. We chat about the story of the kids as it compares with the story of the adults and what our thoughts are on these two stories. We talk about the gopher and how he figures into the story. And we chat about how endlessly quotable this movie is. It’s one of the best, if not the best, golf movies out there and certainly a fun movie to add to our list. So check it out then tune in! With a background at Second City and National Lampoon, comedy was right up Harold Ramis’ alley, and while he had early opportunities to write and perform comedy, it wasn’t until the third feature film on which he was involved that gave him the opportunity film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Boring Flickchart Re-Ranking • The Next Reel 5 5 The Boring Flickchart Re-Ranking • The Next Reel bonus 26187937-5fd3-4f5b-aeaa-4e675c367231 https://share.transistor.fm/s/098cc875 Since we started using Flickchart to rank movies, we realized we had a few old ones to add. Pete and Andy jump back in and go through everything to sort it all out. Yeah, it’s a right thrill.


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]]> Since we started using Flickchart to rank movies, we realized we had a few old ones to add. Pete and Andy jump back in and go through everything to sort it all out. Yeah, it’s a right thrill.


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]]> Mon, 30 Nov 2015 15:54:00 -0800 The Next Reel The Next Reel 10444 Pete and Andy go through the tedious... yet entertaining?... task of re-ranking our Flickchart feed. Pete and Andy go through the tedious... yet entertaining?... task of re-ranking our Flickchart feed. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Viridiana • The Next Reel 5 5 24 24 Viridiana • The Next Reel full ec7ec5e6-69b1-4f1f-a796-a672eeb4f26e https://share.transistor.fm/s/fd5e9ef1 “Don’t think badly of me. I only want her near me.”

It’s time for another Listener’s Choice episode, and boy, do we have a doozy this week. Listener Diego Luis Contreras López wanted us to talk about a film from Spain and settled on Luis Buñuel’s return to his home country (and immediate departure thereafter) with his 1961 film “Viridiana.” Join us – Pete Wright and Andy Nelson – as we delve into our sixth listener’s choice with “Viridiana.” We talk about our previous (and limited) experiences with Buñuel and what our expectations were with this film, contrasting that with how we ended up feeling about the film. We discuss the many things Buñuel was doing and saying with this film and how that ties into the actual story of Viridiana. We chat about the performances, notably Silvia Pinal, Fernando Rey, Francisco Rabal and Margarita Lozano, and how much we liked all of them. We debate the look of the film and José F. Aguayo’s cinematography and how it was affected by Buñuel’s desire to put the importance of coming in on time and under budget ahead of sloppy filmmaking sometimes. And we look at the film’s release, the reaction to it from the Catholic Church and its banishment from several countries leading to more of an underground screening history after its win at Cannes. It’s a film in which we found a lot of meat to discuss and are thrilled to add it to the films we’ve discussed. Tune in!

Film Sundries


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]]> “Don’t think badly of me. I only want her near me.”

It’s time for another Listener’s Choice episode, and boy, do we have a doozy this week. Listener Diego Luis Contreras López wanted us to talk about a film from Spain and settled on Luis Buñuel’s return to his home country (and immediate departure thereafter) with his 1961 film “Viridiana.” Join us – Pete Wright and Andy Nelson – as we delve into our sixth listener’s choice with “Viridiana.” We talk about our previous (and limited) experiences with Buñuel and what our expectations were with this film, contrasting that with how we ended up feeling about the film. We discuss the many things Buñuel was doing and saying with this film and how that ties into the actual story of Viridiana. We chat about the performances, notably Silvia Pinal, Fernando Rey, Francisco Rabal and Margarita Lozano, and how much we liked all of them. We debate the look of the film and José F. Aguayo’s cinematography and how it was affected by Buñuel’s desire to put the importance of coming in on time and under budget ahead of sloppy filmmaking sometimes. And we look at the film’s release, the reaction to it from the Catholic Church and its banishment from several countries leading to more of an underground screening history after its win at Cannes. It’s a film in which we found a lot of meat to discuss and are thrilled to add it to the films we’ve discussed. Tune in!

Film Sundries


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]]> Thu, 26 Nov 2015 21:29:00 -0800 The Next Reel The Next Reel 5251 It’s time for another Listener’s Choice episode, and boy, do we have a doozy this week. Listener Diego Luis Contreras López wanted us to talk about a film from Spain and settled on Luis Buñuel’s return to his home country (and immediate departure thereafter) with his 1961 film “Viridiana.” Join us – Pete Wright and Andy Nelson – as we delve into our sixth listener’s choice with “Viridiana.” We talk about our previous (and limited) experiences with Buñuel and what our expectations were with this film, contrasting that with how we ended up feeling about the film. We discuss the many things Buñuel was doing and saying with this film and how that ties into the actual story of Viridiana. We chat about the performances, notably Silvia Pinal, Fernando Rey, Francisco Rabal and Margarita Lozano, and how much we liked all of them. We debate the look of the film and José F. Aguayo’s cinematography and how it was affected by Buñuel’s desire to put the importance of coming in on time and under budget ahead of sloppy filmmaking sometimes. And we look at the film’s release, the reaction to it from the Catholic Church and its banishment from several countries leading to more of an underground screening history after its win at Cannes. It’s a film in which we found a lot of meat to discuss and are thrilled to add it to the films we’ve discussed. Tune in! It’s time for another Listener’s Choice episode, and boy, do we have a doozy this week. Listener Diego Luis Contreras López wanted us to talk about a film from Spain and settled on Luis Buñuel’s return to his home country (and immediate departure thereaft film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Wind Rises • The Next Reel 5 5 23 23 The Wind Rises • The Next Reel full c04f4c78-ad94-4d9d-bb00-58b52e0f0e4a https://share.transistor.fm/s/abb3a151 With the 2013 release of “The Wind Rises,” his eleventh feature film, Hayao Miyazaki retired from making his beautiful animated films. Animation fans worldwide were disappointed to hear this, yet thrilled to see him go out on such a high note. Join us – Pete Wright and Andy Nelson – as we close our Miyazaki series with his final film “The Wind Rises.” We talk about the direction of Miyazaki’s career and how it took him to this story as his final output. We chat about the nature of dreams and nature and how these elements become the key connections to Miyazaki’s touch that he’s had through his other films. We discuss the nature of biopics and how an animated biopic full of fictional elements ends up feeling to us when looking at how it connects with the real Jiro Horikoshi and his role as a Japanese airplane designer pre-WWII. We debate Miyazaki’s decision to tell this particular story and how it reflects on his pacifism. We touch on the voice casts in both the English and Japanese versions, commenting on who worked well for us. And we bring up Joe Hisaishi, the film’s composer, and the beautiful music he contributed here as well as in “My Neighbor Totoro,” which we forgot to bring up last week. It’s a great film that is certainly worth watching and discussing. Tune in!


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]]> With the 2013 release of “The Wind Rises,” his eleventh feature film, Hayao Miyazaki retired from making his beautiful animated films. Animation fans worldwide were disappointed to hear this, yet thrilled to see him go out on such a high note. Join us – Pete Wright and Andy Nelson – as we close our Miyazaki series with his final film “The Wind Rises.” We talk about the direction of Miyazaki’s career and how it took him to this story as his final output. We chat about the nature of dreams and nature and how these elements become the key connections to Miyazaki’s touch that he’s had through his other films. We discuss the nature of biopics and how an animated biopic full of fictional elements ends up feeling to us when looking at how it connects with the real Jiro Horikoshi and his role as a Japanese airplane designer pre-WWII. We debate Miyazaki’s decision to tell this particular story and how it reflects on his pacifism. We touch on the voice casts in both the English and Japanese versions, commenting on who worked well for us. And we bring up Joe Hisaishi, the film’s composer, and the beautiful music he contributed here as well as in “My Neighbor Totoro,” which we forgot to bring up last week. It’s a great film that is certainly worth watching and discussing. Tune in!


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]]> Thu, 19 Nov 2015 23:18:00 -0800 The Next Reel The Next Reel 4960 With the 2013 release of “The Wind Rises,” his eleventh feature film, Hayao Miyazaki retired from making his beautiful animated films. Animation fans worldwide were disappointed to hear this, yet thrilled to see him go out on such a high note. Join us – Pete Wright and Andy Nelson – as we close our Miyazaki series with his final film “The Wind Rises.” We talk about the direction of Miyazaki’s career and how it took him to this story as his final output. We chat about the nature of dreams and nature and how these elements become the key connections to Miyazaki’s touch that he’s had through his other films. We discuss the nature of biopics and how an animated biopic full of fictional elements ends up feeling to us when looking at how it connects with the real Jiro Horikoshi and his role as a Japanese airplane designer pre-WWII. We debate Miyazaki’s decision to tell this particular story and how it reflects on his pacifism. We touch on the voice casts in both the English and Japanese versions, commenting on who worked well for us. And we bring up Joe Hisaishi, the film’s composer, and the beautiful music he contributed here as well as in “My Neighbor Totoro,” which we forgot to bring up last week. It’s a great film that is certainly worth watching and discussing. Tune in! With the 2013 release of “The Wind Rises,” his eleventh feature film, Hayao Miyazaki retired from making his beautiful animated films. Animation fans worldwide were disappointed to hear this, yet thrilled to see him go out on such a high note. Join us – P film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright My Neighbor Totoro • The Next Reel 5 5 22 22 My Neighbor Totoro • The Next Reel full 09244707-296a-4f8d-a8e3-1fb1ea96a95e https://share.transistor.fm/s/b8a04411 With the creation of Studio Ghibli, Hayao Miyazaki and the other filmmakers involved had created a place where they could create the films they wanted to make. With “My Neighbor Totoro,” Miyazaki’s third feature film and second he directed under the Ghibli banner, it was crystal clear what Miyazaki wanted to bring forth from his films — the relationship between man and nature, the purity and innocence of youth and the imaginative look at characters who didn’t quite fit the world as we know it. Join us — Pete Wright and Andy Nelson — as we continue our brief Miyazaki series with his 1988 film, “My Neighbor Totoro.” We discuss the elements of this film that we like so much, particularly the pacing and whether one could call it boring or not (note: neither of us do). We talk about the simplicity of the story but how through that simplicity there are some large ideas being dealt with. We chat about the voice cast and how the current English dub works for us, commenting on the problems people on Amazon have with it (despite the fact that an animated film is ALWAYS going to be dubbed, even in its original language). And we talk about the nature of the forest spirits and how we them through the eyes of children. It’s a beautiful, touching, quirky film that we love and are thrilled to talk about on the show. Tune in!


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]]> With the creation of Studio Ghibli, Hayao Miyazaki and the other filmmakers involved had created a place where they could create the films they wanted to make. With “My Neighbor Totoro,” Miyazaki’s third feature film and second he directed under the Ghibli banner, it was crystal clear what Miyazaki wanted to bring forth from his films — the relationship between man and nature, the purity and innocence of youth and the imaginative look at characters who didn’t quite fit the world as we know it. Join us — Pete Wright and Andy Nelson — as we continue our brief Miyazaki series with his 1988 film, “My Neighbor Totoro.” We discuss the elements of this film that we like so much, particularly the pacing and whether one could call it boring or not (note: neither of us do). We talk about the simplicity of the story but how through that simplicity there are some large ideas being dealt with. We chat about the voice cast and how the current English dub works for us, commenting on the problems people on Amazon have with it (despite the fact that an animated film is ALWAYS going to be dubbed, even in its original language). And we talk about the nature of the forest spirits and how we them through the eyes of children. It’s a beautiful, touching, quirky film that we love and are thrilled to talk about on the show. Tune in!


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]]> Thu, 12 Nov 2015 21:26:00 -0800 The Next Reel The Next Reel 5325 With the creation of Studio Ghibli, Hayao Miyazaki and the other filmmakers involved had created a place where they could create the films they wanted to make. With “My Neighbor Totoro,” Miyazaki’s third feature film and second he directed under the Ghibli banner, it was crystal clear what Miyazaki wanted to bring forth from his films — the relationship between man and nature, the purity and innocence of youth and the imaginative look at characters who didn’t quite fit the world as we know it. Join us — Pete Wright and Andy Nelson — as we continue our brief Miyazaki series with his 1988 film, “My Neighbor Totoro.” We discuss the elements of this film that we like so much, particularly the pacing and whether one could call it boring or not (note: neither of us do). We talk about the simplicity of the story but how through that simplicity there are some large ideas being dealt with. We chat about the voice cast and how the current English dub works for us, commenting on the problems people on Amazon have with it (despite the fact that an animated film is ALWAYS going to be dubbed, even in its original language). And we talk about the nature of the forest spirits and how we them through the eyes of children. It’s a beautiful, touching, quirky film that we love and are thrilled to talk about on the show. Tune in! With the creation of Studio Ghibli, Hayao Miyazaki and the other filmmakers involved had created a place where they could create the films they wanted to make. With “My Neighbor Totoro,” Miyazaki’s third feature film and second he directed under the Ghibl film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Lupin the 3rd: The Castle of Cagliostro • The Next Reel 5 5 21 21 Lupin the 3rd: The Castle of Cagliostro • The Next Reel full 8a551ee0-3e79-4eda-b714-1cf88a1df8d3 https://share.transistor.fm/s/5e97721e Hayao Miyazaki began his career with television and it was the show “Lupin III” that gave him the chance to direct both for the small screen as well as for the big screen with the second story about Lupin the Third in 1979. Join us — Pete Wright and Andy Nelson — as we begin our short Hayao Miyazaki series with his first theatrical feature film, Lupin the Third: The Castle of Cagliostro. We talk about the history of the character of Lupin III in Monkey Punch’s original manga series, in the TV series and its films, as well as in the Arsène Lupin character he’s loosely based on (and related to) created by Maurice Leblanc. We discuss the elements within the film and what feels like Miyazaki touches, even at this early stage in his career. We compare the interesting world of manga and anime as compared to Disney films in particular. And we chat about the casts: the original Japanese, the 1992 English dub version and the 2000 dub. It’s a fun film, maybe not one of our favorites, but still something that’s got action, comedy and entertainment for the family. Check it out then tune in!

 


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]]> Hayao Miyazaki began his career with television and it was the show “Lupin III” that gave him the chance to direct both for the small screen as well as for the big screen with the second story about Lupin the Third in 1979. Join us — Pete Wright and Andy Nelson — as we begin our short Hayao Miyazaki series with his first theatrical feature film, Lupin the Third: The Castle of Cagliostro. We talk about the history of the character of Lupin III in Monkey Punch’s original manga series, in the TV series and its films, as well as in the Arsène Lupin character he’s loosely based on (and related to) created by Maurice Leblanc. We discuss the elements within the film and what feels like Miyazaki touches, even at this early stage in his career. We compare the interesting world of manga and anime as compared to Disney films in particular. And we chat about the casts: the original Japanese, the 1992 English dub version and the 2000 dub. It’s a fun film, maybe not one of our favorites, but still something that’s got action, comedy and entertainment for the family. Check it out then tune in!

 


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]]> Thu, 05 Nov 2015 21:09:00 -0800 The Next Reel The Next Reel 4823 Hayao Miyazaki began his career with television and it was the show “Lupin III” that gave him the chance to direct both for the small screen as well as for the big screen with the second story about Lupin the Third in 1979. Join us — Pete Wright and Andy Nelson — as we begin our short Hayao Miyazaki series with his first theatrical feature film, _Lupin the Third: The Castle of Cagliostro_. We talk about the history of the character of Lupin III in Monkey Punch’s original manga series, in the TV series and its films, as well as in the Arsène Lupin character he’s loosely based on (and related to) created by Maurice Leblanc. We discuss the elements within the film and what feels like Miyazaki touches, even at this early stage in his career. We compare the interesting world of manga and anime as compared to Disney films in particular. And we chat about the casts: the original Japanese, the 1992 English dub version and the 2000 dub. It’s a fun film, maybe not one of our favorites, but still something that’s got action, comedy and entertainment for the family. Check it out then tune in! Hayao Miyazaki began his career with television and it was the show “Lupin III” that gave him the chance to direct both for the small screen as well as for the big screen with the second story about Lupin the Third in 1979. Join us — Pete Wright and Andy film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Children of the Corn • The Next Reel 5 5 20 20 Children of the Corn • The Next Reel full 32e5f870-358b-4c6e-85fc-7a23eca7e55e https://share.transistor.fm/s/d4881560 “He wants you too, Malachai!"

Stephen King may not like the film version of ’Children of the Corn,’ but considering it spawned 7 sequels and a remake, we’d like to think that he’s at least making a decent profit on his short story from 1977. This movie started careers for Linda Hamilton, Courtney Gains, John Franklin and Peter Horton and has created quite the cult following, no matter what King — or we — think of it. Join us — Pete Wright and Andy Nelson — as we wrap up our Naughty Children series with this movie. We talk about why we don’t like it and really try to get to the bottom of what problems we feel the story has. We discuss the adaptation from King’s short story and how it changed, comparing the ’84 film with the ’09 Syfy Channel remake that was more faithful to the original King story. We chat about the effects and the overall look of the film, touching on how low budget production can lead to that (though doesn’t have to). And we have a first on the show — a Flickchart reranking! Check out the movie (or don’t) and tune in to the show. It’s arguably more enjoyable than the movie!

Film Sundries


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]]> “He wants you too, Malachai!"

Stephen King may not like the film version of ’Children of the Corn,’ but considering it spawned 7 sequels and a remake, we’d like to think that he’s at least making a decent profit on his short story from 1977. This movie started careers for Linda Hamilton, Courtney Gains, John Franklin and Peter Horton and has created quite the cult following, no matter what King — or we — think of it. Join us — Pete Wright and Andy Nelson — as we wrap up our Naughty Children series with this movie. We talk about why we don’t like it and really try to get to the bottom of what problems we feel the story has. We discuss the adaptation from King’s short story and how it changed, comparing the ’84 film with the ’09 Syfy Channel remake that was more faithful to the original King story. We chat about the effects and the overall look of the film, touching on how low budget production can lead to that (though doesn’t have to). And we have a first on the show — a Flickchart reranking! Check out the movie (or don’t) and tune in to the show. It’s arguably more enjoyable than the movie!

Film Sundries


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]]> Thu, 29 Oct 2015 08:00:00 -0700 The Next Reel The Next Reel 4788 Stephen King may not like the film version of ’Children of the Corn,’ but considering it spawned 7 sequels and a remake, we’d like to think that he’s at least making a decent profit on his short story from 1977. This movie started careers for Linda Hamilton, Courtney Gains, John Franklin and Peter Horton and has created quite the cult following, no matter what King — or we — think of it. Join us — Pete Wright and Andy Nelson — as we wrap up our Naughty Children series with this movie. We talk about why we don’t like it and really try to get to the bottom of what problems we feel the story has. We discuss the adaptation from King’s short story and how it changed, comparing the ’84 film with the ’09 Syfy Channel remake that was more faithful to the original King story. We chat about the effects and the overall look of the film, touching on how low budget production can lead to that (though doesn’t have to). And we have a first on the show — a Flickchart reranking! Check out the movie (or don’t) and tune in to the show. It’s arguably more enjoyable than the movie! Stephen King may not like the film version of ’Children of the Corn,’ but considering it spawned 7 sequels and a remake, we’d like to think that he’s at least making a decent profit on his short story from 1977. This movie started careers for Linda Hamilt stephenking, naughtychildren No Andy Nelson Pete Wright The Innocents • The Next Reel 5 5 19 19 The Innocents • The Next Reel full 8d0a00ed-460a-4190-9c18-c5eacceb6b0a https://share.transistor.fm/s/eb27e5e0 “Don’t be frightened. It was only the wind, my dear."

Thus far, our series to celebrate Halloween — the Naughty Children series — hasn’t really been that scary. “The Bad Seed” is labeled a crime/drama/horror but comes across a bit more as a comedy now with the over-the-top performances. “Village of the Damned” is labeled a horror/mystery/sci-fi but doesn’t have much in the way of horror. This week’s film, Jack Clayton’s 1961 film “The Innocents,” really feels like the first in the series that’s got real scares in it, and scares that still hold up today. Martin Scorsese even put it on his list of 11 most scary films. And a lot of that is because of the atmosphere Clayton and his screenwriters (mostly Truman Capote) created with this adaptation of Henry James’ “The Turn of the Screw.” Join us — Pete Wright and Andy Nelson — as we continue our Naughty Children series with “The Innocents.” We talk about how much each like this film — Andy as the veteran of the film and Pete as the newbie — any why it works so well. We chat about Deborah Kerr in a role that exemplifies the ambiguity in the story and how it works so well in context of the decaying nature Capote riddled throughout the screenplay. We talk about Jim Clark’s editing and Freddie Francis’ cinematography, as well as Georges Auric’s score, noting how well they each work to add to the atmosphere in this film. And we marvel at Martin Stephens’ performance here, vastly different (and superior) to his performance in “Village of the Damned.” It’s a brilliant film that we’re thrilled to add to our list, so check it out and then tune in!

Film Sundries

  • Original theatrical trailer
  • Original Material
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: He Never Died — “Damn. This looks wickedly funny. And violent. And fun. Henry Rollins as the Biblical Cain? Sure, give me some."
  • Pete’s Trailer: The Boy — “I’m not usually one for the horror, but this one cracks me up. Lauren Cohan is a treat to watch coming off of Walking Dead and though I forgot to mention it on the show, Stacey Miner’s screenplay looks great coming off his Black List entry Mixtape, also announced for production, and a really interesting read."

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]]> “Don’t be frightened. It was only the wind, my dear."

Thus far, our series to celebrate Halloween — the Naughty Children series — hasn’t really been that scary. “The Bad Seed” is labeled a crime/drama/horror but comes across a bit more as a comedy now with the over-the-top performances. “Village of the Damned” is labeled a horror/mystery/sci-fi but doesn’t have much in the way of horror. This week’s film, Jack Clayton’s 1961 film “The Innocents,” really feels like the first in the series that’s got real scares in it, and scares that still hold up today. Martin Scorsese even put it on his list of 11 most scary films. And a lot of that is because of the atmosphere Clayton and his screenwriters (mostly Truman Capote) created with this adaptation of Henry James’ “The Turn of the Screw.” Join us — Pete Wright and Andy Nelson — as we continue our Naughty Children series with “The Innocents.” We talk about how much each like this film — Andy as the veteran of the film and Pete as the newbie — any why it works so well. We chat about Deborah Kerr in a role that exemplifies the ambiguity in the story and how it works so well in context of the decaying nature Capote riddled throughout the screenplay. We talk about Jim Clark’s editing and Freddie Francis’ cinematography, as well as Georges Auric’s score, noting how well they each work to add to the atmosphere in this film. And we marvel at Martin Stephens’ performance here, vastly different (and superior) to his performance in “Village of the Damned.” It’s a brilliant film that we’re thrilled to add to our list, so check it out and then tune in!

Film Sundries

  • Original theatrical trailer
  • Original Material
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: He Never Died — “Damn. This looks wickedly funny. And violent. And fun. Henry Rollins as the Biblical Cain? Sure, give me some."
  • Pete’s Trailer: The Boy — “I’m not usually one for the horror, but this one cracks me up. Lauren Cohan is a treat to watch coming off of Walking Dead and though I forgot to mention it on the show, Stacey Miner’s screenplay looks great coming off his Black List entry Mixtape, also announced for production, and a really interesting read."

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]]> Thu, 22 Oct 2015 08:00:00 -0700 The Next Reel The Next Reel 4717 Thus far, our series to celebrate Halloween — the Naughty Children series — hasn’t really been that scary. “The Bad Seed” is labeled a crime/drama/horror but comes across a bit more as a comedy now with the over-the-top performances. “Village of the Damned” is labeled a horror/mystery/sci-fi but doesn’t have much in the way of horror. This week’s film, Jack Clayton’s 1961 film “The Innocents,” really feels like the first in the series that’s got real scares in it, and scares that still hold up today. Martin Scorsese even put it on his list of 11 most scary films. And a lot of that is because of the atmosphere Clayton and his screenwriters (mostly Truman Capote) created with this adaptation of Henry James’ “The Turn of the Screw.” Join us — Pete Wright and Andy Nelson — as we continue our Naughty Children series with “The Innocents.” We talk about how much each like this film — Andy as the veteran of the film and Pete as the newbie — any why it works so well. We chat about Deborah Kerr in a role that exemplifies the ambiguity in the story and how it works so well in context of the decaying nature Capote riddled throughout the screenplay. We talk about Jim Clark’s editing and Freddie Francis’ cinematography, as well as Georges Auric’s score, noting how well they each work to add to the atmosphere in this film. And we marvel at Martin Stephens’ performance here, vastly different (and superior) to his performance in “Village of the Damned.” It’s a brilliant film that we’re thrilled to add to our list, so check it out and then tune in! Thus far, our series to celebrate Halloween — the Naughty Children series — hasn’t really been that scary. “The Bad Seed” is labeled a crime/drama/horror but comes across a bit more as a comedy now with the over-the-top performances. “Village of the Damne naughtychildren No Andy Nelson Pete Wright Village of the Damned • The Next Reel 5 5 18 18 Village of the Damned • The Next Reel full 76e10e58-5e76-426c-aeb4-f4591e4a06ac https://share.transistor.fm/s/27d03e5d “Is there no limit to the power of these children?"

John Wyndham’s 1957 novel “The Midwich Cuckoos” is the foundation for Wolf Rilla’s 1960 film “Village of the Damned.” It’s hard to say which title may actually be worse, but the story in both seems to work for most people. It’s a decent sci-fi story that, while dated, creates an interesting scenario with all the women in a village being impregnated at the same time by some alien force. Even with that interesting scenario, however, for every element that works in favor of the film, there seems to be another working against it. At least with today’s eyes. Join us — Pete Wright and Andy Nelson — as we continue our Naughty Children series with Rilla’s 1960 film “Village of the Damned.” We talk about what works and what doesn’t, as well as why some of that matters more when it comes to actual enjoyment of the film (at least for Andy) and what they could have done to make it better. We chat about the performances, notably George Sanders, Barbara Shelley and Martin Stephens, and what they bring to the table. When it comes to Shelley, we also chat about the fact that her part is largely dismissed and why it bothers us so much. We discuss the look of the film with Rilla’s documentary approach as well as cinematographer Geoffrey Faithfull’s overall look, which worked nicely for us. And we look at MGM’s history with the film and touch on why they filmed it in England instead of Hollywood. It’s a fun film that, if you think too much about, you’ll find tons of problems; Pete sees the problems while Andy sees the fun. Check out the movie then tune in!

Film Sundries


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]]> “Is there no limit to the power of these children?"

John Wyndham’s 1957 novel “The Midwich Cuckoos” is the foundation for Wolf Rilla’s 1960 film “Village of the Damned.” It’s hard to say which title may actually be worse, but the story in both seems to work for most people. It’s a decent sci-fi story that, while dated, creates an interesting scenario with all the women in a village being impregnated at the same time by some alien force. Even with that interesting scenario, however, for every element that works in favor of the film, there seems to be another working against it. At least with today’s eyes. Join us — Pete Wright and Andy Nelson — as we continue our Naughty Children series with Rilla’s 1960 film “Village of the Damned.” We talk about what works and what doesn’t, as well as why some of that matters more when it comes to actual enjoyment of the film (at least for Andy) and what they could have done to make it better. We chat about the performances, notably George Sanders, Barbara Shelley and Martin Stephens, and what they bring to the table. When it comes to Shelley, we also chat about the fact that her part is largely dismissed and why it bothers us so much. We discuss the look of the film with Rilla’s documentary approach as well as cinematographer Geoffrey Faithfull’s overall look, which worked nicely for us. And we look at MGM’s history with the film and touch on why they filmed it in England instead of Hollywood. It’s a fun film that, if you think too much about, you’ll find tons of problems; Pete sees the problems while Andy sees the fun. Check out the movie then tune in!

Film Sundries


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]]> Thu, 15 Oct 2015 08:00:00 -0700 The Next Reel The Next Reel 4053 John Wyndham’s 1957 novel “The Midwich Cuckoos” is the foundation for Wolf Rilla’s 1960 film “Village of the Damned.” It’s hard to say which title may actually be worse, but the story in both seems to work for most people. It’s a decent sci-fi story that, while dated, creates an interesting scenario with all the women in a village being impregnated at the same time by some alien force. Even with that interesting scenario, however, for every element that works in favor of the film, there seems to be another working against it. At least with today’s eyes. Join us — Pete Wright and Andy Nelson — as we continue our Naughty Children series with Rilla’s 1960 film “Village of the Damned.” We talk about what works and what doesn’t, as well as why some of that matters more when it comes to actual enjoyment of the film (at least for Andy) and what they could have done to make it better. We chat about the performances, notably George Sanders, Barbara Shelley and Martin Stephens, and what they bring to the table. When it comes to Shelley, we also chat about the fact that her part is largely dismissed and why it bothers us so much. We discuss the look of the film with Rilla’s documentary approach as well as cinematographer Geoffrey Faithfull’s overall look, which worked nicely for us. And we look at MGM’s history with the film and touch on why they filmed it in England instead of Hollywood. It’s a fun film that, if you think too much about, you’ll find tons of problems; Pete sees the problems while Andy sees the fun. Check out the movie then tune in! John Wyndham’s 1957 novel “The Midwich Cuckoos” is the foundation for Wolf Rilla’s 1960 film “Village of the Damned.” It’s hard to say which title may actually be worse, but the story in both seems to work for most people. It’s a decent sci-fi story that, naughtychildren No Andy Nelson Pete Wright The Bad Seed • The Next Reel 5 5 17 17 The Bad Seed • The Next Reel full 501c931b-b892-4cab-ac97-9043afebe27a https://share.transistor.fm/s/593bb7e3 “I thought I seen some mean little gals in my time, but you’re the meanest."

It’s October, which means it’s time for some scares! This year, we’re celebrating with those lovable little children who just are downright bad. Our first film of the series gives us a young girl who turns out to be a malicious killer, but only because it’s her way to get the things that she wants. Join us — Pete Wright and Andy Nelson — as we kick off our Naughty Children series with Mervyn LeRoy’s 1956 classic “The Bad Seed.” We talk about why this film works for us in all of its campy, over-the-top theatrical glory and how those elements may actually help make it more enjoyable today. We chat about the performances, notably Patty McCormack, Nancy Kelly, Henry Jones, Eileen Heckart and Evelyn Varden, and how well they worked for us, particularly Kelly and McCormack as mother and her murderous offspring. We discuss the Hays Code and how it influenced the filmmakers to change the ending, even if the ending ends up being almost more censorable. We touch on the script and the amount of subtext in the characters’ dialogue, particularly the women who were always trying to live up to the 50s housewife standards. And we hit on the cinematography and music, noting how well the music works but how standard the cinematography feels. It’s a fun film that may not be the top of our lists but is a very easy watch. Check it out then tune in!

Film Sundries


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]]> “I thought I seen some mean little gals in my time, but you’re the meanest."

It’s October, which means it’s time for some scares! This year, we’re celebrating with those lovable little children who just are downright bad. Our first film of the series gives us a young girl who turns out to be a malicious killer, but only because it’s her way to get the things that she wants. Join us — Pete Wright and Andy Nelson — as we kick off our Naughty Children series with Mervyn LeRoy’s 1956 classic “The Bad Seed.” We talk about why this film works for us in all of its campy, over-the-top theatrical glory and how those elements may actually help make it more enjoyable today. We chat about the performances, notably Patty McCormack, Nancy Kelly, Henry Jones, Eileen Heckart and Evelyn Varden, and how well they worked for us, particularly Kelly and McCormack as mother and her murderous offspring. We discuss the Hays Code and how it influenced the filmmakers to change the ending, even if the ending ends up being almost more censorable. We touch on the script and the amount of subtext in the characters’ dialogue, particularly the women who were always trying to live up to the 50s housewife standards. And we hit on the cinematography and music, noting how well the music works but how standard the cinematography feels. It’s a fun film that may not be the top of our lists but is a very easy watch. Check it out then tune in!

Film Sundries


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]]> Thu, 08 Oct 2015 08:00:00 -0700 The Next Reel The Next Reel 4865 It’s October, which means it’s time for some scares! This year, we’re celebrating with those lovable little children who just are downright bad. Our first film of the series gives us a young girl who turns out to be a malicious killer, but only because it’s her way to get the things that she wants. Join us — Pete Wright and Andy Nelson — as we kick off our Naughty Children series with Mervyn LeRoy’s 1956 classic “The Bad Seed.” We talk about why this film works for us in all of its campy, over-the-top theatrical glory and how those elements may actually help make it more enjoyable today. We chat about the performances, notably Patty McCormack, Nancy Kelly, Henry Jones, Eileen Heckart and Evelyn Varden, and how well they worked for us, particularly Kelly and McCormack as mother and her murderous offspring. We discuss the Hays Code and how it influenced the filmmakers to change the ending, even if the ending ends up being almost more censorable. We touch on the script and the amount of subtext in the characters’ dialogue, particularly the women who were always trying to live up to the 50s housewife standards. And we hit on the cinematography and music, noting how well the music works but how standard the cinematography feels. It’s a fun film that may not be the top of our lists but is a very easy watch. Check it out then tune in! It’s October, which means it’s time for some scares! This year, we’re celebrating with those lovable little children who just are downright bad. Our first film of the series gives us a young girl who turns out to be a malicious killer, but only because it film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Snowpiercer • The Next Reel 5 5 16 16 Snowpiercer • The Next Reel full 6c68279a-0d1a-40c4-a49f-8d41f8c48e3a https://share.transistor.fm/s/68bf4321 “Know your place. Keep your place. Be a shoe."

Bong Joon-ho’s “Snowpiercer” made waves upon its US release because its distributor decided to give it a limited theatrical release the same day they released it digitally. It was a risky move — theatre owners rely on the window between theatrical release and subsequent releases to remain around six months roughly so as to ensure they get as much money out of the screenings as they can. By shutting this window, “Snowpiercer” could have left theatre owners in the cold and been deemed not worth watching because of the “straight to video” tarnish. But it found an audience in both formats and became a surprise hit. Join us — Pete Wright and Andy Nelson — as we finish our Bong Joon-ho series with his 2013 film “Snowpiercer.” We talk about how the film is a pretty straightforward allegory in a sci-fi post-apocalytic world that audience members need to buy into if the film is going to work, and what happens if people don’t buy into that concept. We chat about the performances, notably Chris Evans and Tilda Swinton, and how well everyone works in the film. We discuss the cinematography, costume design, production design and score and ruminate on how much they all bring to the table. And we touch on the original French source material for this film which, unfortunately, neither of us have read. It’s a wonderful science fiction film that works well for us — even though we know it can be divisive. Check out the movie then tune in!

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]]> “Know your place. Keep your place. Be a shoe."

Bong Joon-ho’s “Snowpiercer” made waves upon its US release because its distributor decided to give it a limited theatrical release the same day they released it digitally. It was a risky move — theatre owners rely on the window between theatrical release and subsequent releases to remain around six months roughly so as to ensure they get as much money out of the screenings as they can. By shutting this window, “Snowpiercer” could have left theatre owners in the cold and been deemed not worth watching because of the “straight to video” tarnish. But it found an audience in both formats and became a surprise hit. Join us — Pete Wright and Andy Nelson — as we finish our Bong Joon-ho series with his 2013 film “Snowpiercer.” We talk about how the film is a pretty straightforward allegory in a sci-fi post-apocalytic world that audience members need to buy into if the film is going to work, and what happens if people don’t buy into that concept. We chat about the performances, notably Chris Evans and Tilda Swinton, and how well everyone works in the film. We discuss the cinematography, costume design, production design and score and ruminate on how much they all bring to the table. And we touch on the original French source material for this film which, unfortunately, neither of us have read. It’s a wonderful science fiction film that works well for us — even though we know it can be divisive. Check out the movie then tune in!

Film Sundries


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]]> Thu, 01 Oct 2015 08:00:00 -0700 The Next Reel The Next Reel 5347 Bong Joon-ho’s “Snowpiercer” made waves upon its US release because its distributor decided to give it a limited theatrical release the same day they released it digitally. It was a risky move — theatre owners rely on the window between theatrical release and subsequent releases to remain around six months roughly so as to ensure they get as much money out of the screenings as they can. By shutting this window, “Snowpiercer” could have left theatre owners in the cold and been deemed not worth watching because of the “straight to video” tarnish. But it found an audience in both formats and became a surprise hit. Join us — Pete Wright and Andy Nelson — as we finish our Bong Joon-ho series with his 2013 film “Snowpiercer.” We talk about how the film is a pretty straightforward allegory in a sci-fi post-apocalytic world that audience members need to buy into if the film is going to work, and what happens if people don’t buy into that concept. We chat about the performances, notably Chris Evans and Tilda Swinton, and how well everyone works in the film. We discuss the cinematography, costume design, production design and score and ruminate on how much they all bring to the table. And we touch on the original French source material for this film which, unfortunately, neither of us have read. It’s a wonderful science fiction film that works well for us — even though we know it can be divisive. Check out the movie then tune in! Bong Joon-ho’s “Snowpiercer” made waves upon its US release because its distributor decided to give it a limited theatrical release the same day they released it digitally. It was a risky move — theatre owners rely on the window between theatrical release bongjoonho No Andy Nelson Pete Wright Mother • The Next Reel 5 5 15 15 Mother • The Next Reel full 1f7cbbe7-e9fc-40e6-a6c2-52e614cdd10a https://share.transistor.fm/s/89abc96b “You’re not even worth the dirt on my son’s toenail."

Bong Joon-ho’s follow-up feature to his massive success “The Host” was about a murder and the person trying to figure out what happened. To some people, it sounded awfully like his second film “Memories of Murder” and they were afraid he was returning to the safety of familiar territory. But 2009’s “Mother” ended up being a very different film and one which is hard to forget. Join us — Pete Wright and Andy Nelson — as we continue our Bong Joon-ho series with “Mother.” We talk about how much we like this film and why it works so well while also being a bit bonkers. We chat about the actors, notably Kim Hye-ja and Won Bin as the titular mother and her son, reveling in the powerful, honest and surprising performances they both give. We discuss the story and really try to analyze the way Bong plays with the layers of truths and what our take is on what actually happened in the story. And we chat about the cinematography by Hong Kyung-pyo, the production design by Ryu Song-hie and the music by Lee Byung-woo, all great technicians delivering solid work to this great film. It’s a wonderfully directed film that shows the hands of a filmmaker who knows his craft and we have a great time talking about it. Check it out then tune in!

Film Sundries

  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Ashby — “I love Mickey Rourke’s career comeback over the last few years and I want to see him succeed. Plus, I would have loved to have him as an ex-CIA assassin give me advice back when I was in high school."
  • Pete’s Trailer: Truth — “You know that thing you say with friends, that ‘if they ever make a movie of my life, I want Robert Redford to play me…’ that thing. I wonder if Dan Rather ever said that?"

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]]> “You’re not even worth the dirt on my son’s toenail."

Bong Joon-ho’s follow-up feature to his massive success “The Host” was about a murder and the person trying to figure out what happened. To some people, it sounded awfully like his second film “Memories of Murder” and they were afraid he was returning to the safety of familiar territory. But 2009’s “Mother” ended up being a very different film and one which is hard to forget. Join us — Pete Wright and Andy Nelson — as we continue our Bong Joon-ho series with “Mother.” We talk about how much we like this film and why it works so well while also being a bit bonkers. We chat about the actors, notably Kim Hye-ja and Won Bin as the titular mother and her son, reveling in the powerful, honest and surprising performances they both give. We discuss the story and really try to analyze the way Bong plays with the layers of truths and what our take is on what actually happened in the story. And we chat about the cinematography by Hong Kyung-pyo, the production design by Ryu Song-hie and the music by Lee Byung-woo, all great technicians delivering solid work to this great film. It’s a wonderfully directed film that shows the hands of a filmmaker who knows his craft and we have a great time talking about it. Check it out then tune in!

Film Sundries

  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Ashby — “I love Mickey Rourke’s career comeback over the last few years and I want to see him succeed. Plus, I would have loved to have him as an ex-CIA assassin give me advice back when I was in high school."
  • Pete’s Trailer: Truth — “You know that thing you say with friends, that ‘if they ever make a movie of my life, I want Robert Redford to play me…’ that thing. I wonder if Dan Rather ever said that?"

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]]> Thu, 24 Sep 2015 08:00:00 -0700 The Next Reel The Next Reel 4245 Bong Joon-ho’s follow-up feature to his massive success “The Host” was about a murder and the person trying to figure out what happened. To some people, it sounded awfully like his second film “Memories of Murder” and they were afraid he was returning to the safety of familiar territory. But 2009’s “Mother” ended up being a very different film and one which is hard to forget. Join us — Pete Wright and Andy Nelson — as we continue our Bong Joon-ho series with “Mother.” We talk about how much we like this film and why it works so well while also being a bit bonkers. We chat about the actors, notably Kim Hye-ja and Won Bin as the titular mother and her son, reveling in the powerful, honest and surprising performances they both give. We discuss the story and really try to analyze the way Bong plays with the layers of truths and what our take is on what actually happened in the story. And we chat about the cinematography by Hong Kyung-pyo, the production design by Ryu Song-hie and the music by Lee Byung-woo, all great technicians delivering solid work to this great film. It’s a wonderfully directed film that shows the hands of a filmmaker who knows his craft and we have a great time talking about it. Check it out then tune in! Bong Joon-ho’s follow-up feature to his massive success “The Host” was about a murder and the person trying to figure out what happened. To some people, it sounded awfully like his second film “Memories of Murder” and they were afraid he was returning to bongjoonho No Andy Nelson Pete Wright The Host • The Next Reel 5 5 14 14 The Host • The Next Reel full 892c87fe-335c-42e3-a842-9648f99196d1 https://share.transistor.fm/s/45c16372 “Is all of your family so dumb all the time?"

Bong Joon-ho’s third film, “The Host," ended up becoming the highest grossing South Korean film of all time straight out of the gate with it playing on a record number of screens in its home country — it made the South Korean record books with its box office performance during its opening weekend alone. Quentin Tarantino loves it. Harry Knowles loves it. But how do we feel about it? Join us — Pete Wright and Andy Nelson — as we start our Bong Joon-ho series with 2006’s “The Host.” We talk about how we feel about the movie — Andy doesn’t like it very much despite seeing the qualities that make it stand out for people whereas Pete finds it a fun watch and enjoys said qualities. We chat about the actors, notably Song Kang-ho, Byun Hee-bong, Park Hae-il and Bae Doo-na, touching on how well they work for us as members of this dysfunctional family of idiots. We talk about the monster and debate what works for us and what doesn’t. We discuss the Americans in the film as well as the English sequences, contemplating how well they work (if at all) in context with what Bong is trying to say. We cover the various messages Bong is hitting on with this film as well as touch on the various subplots that arise and how well they work. And we touch on the music and cinematography, noting what works and what doesn’t. It’s an interesting monster movie that certainly seems to have found its fans, even if Andy isn’t one of them. Check out the movie then tune in!

Film Sundries

  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Demolition — “I loved ‘Wild’ and ‘Dallas Buyers Club.’ Jake Gyllenhaal is on a genius streak right now. The story is right up my alley. Everything is lining up for me as far as being in tune with this film. Can’t wait!"
  • Pete’s Trailer: The Jungle Book — “So, I learned that this is a movie of terrifying photo-realistic jungle animals fighting over a young boy. And singing. So there’s that."

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

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]]> “Is all of your family so dumb all the time?"

Bong Joon-ho’s third film, “The Host," ended up becoming the highest grossing South Korean film of all time straight out of the gate with it playing on a record number of screens in its home country — it made the South Korean record books with its box office performance during its opening weekend alone. Quentin Tarantino loves it. Harry Knowles loves it. But how do we feel about it? Join us — Pete Wright and Andy Nelson — as we start our Bong Joon-ho series with 2006’s “The Host.” We talk about how we feel about the movie — Andy doesn’t like it very much despite seeing the qualities that make it stand out for people whereas Pete finds it a fun watch and enjoys said qualities. We chat about the actors, notably Song Kang-ho, Byun Hee-bong, Park Hae-il and Bae Doo-na, touching on how well they work for us as members of this dysfunctional family of idiots. We talk about the monster and debate what works for us and what doesn’t. We discuss the Americans in the film as well as the English sequences, contemplating how well they work (if at all) in context with what Bong is trying to say. We cover the various messages Bong is hitting on with this film as well as touch on the various subplots that arise and how well they work. And we touch on the music and cinematography, noting what works and what doesn’t. It’s an interesting monster movie that certainly seems to have found its fans, even if Andy isn’t one of them. Check out the movie then tune in!

Film Sundries

  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Demolition — “I loved ‘Wild’ and ‘Dallas Buyers Club.’ Jake Gyllenhaal is on a genius streak right now. The story is right up my alley. Everything is lining up for me as far as being in tune with this film. Can’t wait!"
  • Pete’s Trailer: The Jungle Book — “So, I learned that this is a movie of terrifying photo-realistic jungle animals fighting over a young boy. And singing. So there’s that."

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 17 Sep 2015 08:00:00 -0700 The Next Reel The Next Reel 4594 Bong Joon-ho’s third film, “The Host," ended up becoming the highest grossing South Korean film of all time straight out of the gate with it playing on a record number of screens in its home country — it made the South Korean record books with its box office performance during its opening weekend alone. Quentin Tarantino loves it. Harry Knowles loves it. But how do we feel about it? Join us — Pete Wright and Andy Nelson — as we start our Bong Joon-ho series with 2006’s “The Host.” We talk about how we feel about the movie — Andy doesn’t like it very much despite seeing the qualities that make it stand out for people whereas Pete finds it a fun watch and enjoys said qualities. We chat about the actors, notably Song Kang-ho, Byun Hee-bong, Park Hae-il and Bae Doo-na, touching on how well they work for us as members of this dysfunctional family of idiots. We talk about the monster and debate what works for us and what doesn’t. We discuss the Americans in the film as well as the English sequences, contemplating how well they work (if at all) in context with what Bong is trying to say. We cover the various messages Bong is hitting on with this film as well as touch on the various subplots that arise and how well they work. And we touch on the music and cinematography, noting what works and what doesn’t. It’s an interesting monster movie that certainly seems to have found its fans, even if Andy isn’t one of them. Check out the movie then tune in! Bong Joon-ho’s third film, “The Host," ended up becoming the highest grossing South Korean film of all time straight out of the gate with it playing on a record number of screens in its home country — it made the South Korean record books with its box off film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Sophie's Choice • The Next Reel 5 5 13 13 Sophie's Choice • The Next Reel full 65f1539e-ea8f-4af0-b072-947a041554e5 https://share.transistor.fm/s/fee4b221 “The truth does not make it easier to understand, you know."

When a choice is referred to as a “Sophie’s Choice” most people understand that the choice must be an impossibly difficult one between two unbearable options. But if it wasn’t for Meryl Streep’s performance in the 1982 film directed by Alan J. Pakula (and to a lesser extent William Styron’s novel upon which it was based), that phrase wouldn’t resonate the way it does. Join us — Pete Wright and Andy Nelson — as we conclude our Meryl Streep series with the film for which she received her fourth Oscar nomination and first win as Best Actress, “Sophie’s Choice.” We talk about Meryl, our undying admiration for her and what she brings to the screen; plus we chat about her two primary costars — Kevin Kline and Peter MacNichol — and what they bring to the table. We discuss our problems with the film which seem to stem from the adaptation and the focus on Stingo as the main character of the film. We chat about Nestor Almendros and his cinematography work, comparing his naturalistic approach with other films he’s done and how it works here. We touch on the haunting and arresting score by Marvin Hamlisch. And we discuss the horrors of the concentration camps, noting several fascinating scenes that work well to portray the dichotomy between the world of the Jewish prisoners and that of the Nazi guards. It’s a decent film buoyed by two knock-it-out-of-the-park performances that ultimately break your heat, and as hard as it is to watch, it’s great to discuss. So watch the film (but be prepared with tissues) then tune in!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Original Material
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Krampus — “I love ‘Trick ’r Treat’ and can’t wait to see what Michael Dougherty brings to the table with this Christmas horror movie. And clearly Krampus is in the zeitgeist these days as there are a lot of Krampus projects floating around."
  • Pete’s Trailer: Room — “A well-produced trailer of a potentially creepy boy-meets-world kidnap-escape thriller. Cute kid. Maybe Krampus’ll show up and really drive this one home.”

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “The truth does not make it easier to understand, you know."

When a choice is referred to as a “Sophie’s Choice” most people understand that the choice must be an impossibly difficult one between two unbearable options. But if it wasn’t for Meryl Streep’s performance in the 1982 film directed by Alan J. Pakula (and to a lesser extent William Styron’s novel upon which it was based), that phrase wouldn’t resonate the way it does. Join us — Pete Wright and Andy Nelson — as we conclude our Meryl Streep series with the film for which she received her fourth Oscar nomination and first win as Best Actress, “Sophie’s Choice.” We talk about Meryl, our undying admiration for her and what she brings to the screen; plus we chat about her two primary costars — Kevin Kline and Peter MacNichol — and what they bring to the table. We discuss our problems with the film which seem to stem from the adaptation and the focus on Stingo as the main character of the film. We chat about Nestor Almendros and his cinematography work, comparing his naturalistic approach with other films he’s done and how it works here. We touch on the haunting and arresting score by Marvin Hamlisch. And we discuss the horrors of the concentration camps, noting several fascinating scenes that work well to portray the dichotomy between the world of the Jewish prisoners and that of the Nazi guards. It’s a decent film buoyed by two knock-it-out-of-the-park performances that ultimately break your heat, and as hard as it is to watch, it’s great to discuss. So watch the film (but be prepared with tissues) then tune in!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Original Material
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Krampus — “I love ‘Trick ’r Treat’ and can’t wait to see what Michael Dougherty brings to the table with this Christmas horror movie. And clearly Krampus is in the zeitgeist these days as there are a lot of Krampus projects floating around."
  • Pete’s Trailer: Room — “A well-produced trailer of a potentially creepy boy-meets-world kidnap-escape thriller. Cute kid. Maybe Krampus’ll show up and really drive this one home.”

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

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]]> Thu, 10 Sep 2015 08:00:00 -0700 The Next Reel The Next Reel 4578 When a choice is referred to as a “Sophie’s Choice” most people understand that the choice must be an impossibly difficult one between two unbearable options. But if it wasn’t for Meryl Streep’s performance in the 1982 film directed by Alan J. Pakula (and to a lesser extent William Styron’s novel upon which it was based), that phrase wouldn’t resonate the way it does. Join us — Pete Wright and Andy Nelson — as we conclude our Meryl Streep series with the film for which she received her fourth Oscar nomination and first win as Best Actress, “Sophie’s Choice.” We talk about Meryl, our undying admiration for her and what she brings to the screen; plus we chat about her two primary costars — Kevin Kline and Peter MacNichol — and what they bring to the table. We discuss our problems with the film which seem to stem from the adaptation and the focus on Stingo as the main character of the film. We chat about Nestor Almendros and his cinematography work, comparing his naturalistic approach with other films he’s done and how it works here. We touch on the haunting and arresting score by Marvin Hamlisch. And we discuss the horrors of the concentration camps, noting several fascinating scenes that work well to portray the dichotomy between the world of the Jewish prisoners and that of the Nazi guards. It’s a decent film buoyed by two knock-it-out-of-the-park performances that ultimately break your heat, and as hard as it is to watch, it’s great to discuss. So watch the film (but be prepared with tissues) then tune in! When a choice is referred to as a “Sophie’s Choice” most people understand that the choice must be an impossibly difficult one between two unbearable options. But if it wasn’t for Meryl Streep’s performance in the 1982 film directed by Alan J. Pakula (and film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The French Lieutenant's Woman • The Next Reel 5 5 12 12 The French Lieutenant's Woman • The Next Reel full 006a95ee-48dc-4c63-ba55-714f3351d4bb https://share.transistor.fm/s/542dc88d “You have planted a dagger in me, and your damned freedom gives you license to twist it in my heart!"

Meryl Streep received her first nomination for Best Actress in a film that one would think had been lost in time if not for the recent Criterion Collection release — Karel Reisz’s 1981 film “The French Lieutenant’s Woman.” She lost to Katherine Hepburn in “On Golden Pond,” which makes sense, but Streep’s performance is still a fascinating one. Join us — Pete Wright and Andy Nelson — as we continue our Meryl Streep series with Reisz’s film. We talk about how the film worked for us — Pete found it painfully boring and Andy, while appreciating it, ultimately didn’t really connect with it. We discuss the intricacies of the script and how Harold Pinter adapted the ‘unfilmmable’ novel by John Fowles upon which it was based, enjoying the design of the screenplay structure quite a bit. We chat about the strengths in what is going on in the two parallel stories and what keeps us from completely connecting with it. We talk about the actors — notably Streep and Jeremy Irons — and what they bring to the table in these two roles. And we deliberate on the proper way to pronounce ‘lieutenant.’ It’s an interesting film that ultimately didn’t click with either of us, even if we could appreciate some of the work in it. And it brings our total number of films discussed on the regular show to 200! So check out the movie then tune in — we have a great chat about it!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Original Material
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Uncle John — “The trailer is haunting and creepy, and John Ashton seems to come out of left field to play the titular character. I have a hard time figuring out what this is about, but the trailer makes me want to see it. Now THAT’S what a good trailer should do."
  • Pete’s Trailer: The Lobster — “I love the cultural reflection here, that if you don’t find traditional love, you’re turned into an animal and sent into the woods. Perhaps the metaphor is too on the nose, but the mood and experience of this trailer bring me a big smile."

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> “You have planted a dagger in me, and your damned freedom gives you license to twist it in my heart!"

Meryl Streep received her first nomination for Best Actress in a film that one would think had been lost in time if not for the recent Criterion Collection release — Karel Reisz’s 1981 film “The French Lieutenant’s Woman.” She lost to Katherine Hepburn in “On Golden Pond,” which makes sense, but Streep’s performance is still a fascinating one. Join us — Pete Wright and Andy Nelson — as we continue our Meryl Streep series with Reisz’s film. We talk about how the film worked for us — Pete found it painfully boring and Andy, while appreciating it, ultimately didn’t really connect with it. We discuss the intricacies of the script and how Harold Pinter adapted the ‘unfilmmable’ novel by John Fowles upon which it was based, enjoying the design of the screenplay structure quite a bit. We chat about the strengths in what is going on in the two parallel stories and what keeps us from completely connecting with it. We talk about the actors — notably Streep and Jeremy Irons — and what they bring to the table in these two roles. And we deliberate on the proper way to pronounce ‘lieutenant.’ It’s an interesting film that ultimately didn’t click with either of us, even if we could appreciate some of the work in it. And it brings our total number of films discussed on the regular show to 200! So check out the movie then tune in — we have a great chat about it!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Original Material
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Uncle John — “The trailer is haunting and creepy, and John Ashton seems to come out of left field to play the titular character. I have a hard time figuring out what this is about, but the trailer makes me want to see it. Now THAT’S what a good trailer should do."
  • Pete’s Trailer: The Lobster — “I love the cultural reflection here, that if you don’t find traditional love, you’re turned into an animal and sent into the woods. Perhaps the metaphor is too on the nose, but the mood and experience of this trailer bring me a big smile."

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 03 Sep 2015 08:00:00 -0700 The Next Reel The Next Reel 5062 Meryl Streep received her first nomination for Best Actress in a film that one would think had been lost in time if not for the recent Criterion Collection release — Karel Reisz’s 1981 film “The French Lieutenant’s Woman.” She lost to Katherine Hepburn in “On Golden Pond,” which makes sense, but Streep’s performance is still a fascinating one. Join us — Pete Wright and Andy Nelson — as we continue our Meryl Streep series with Reisz’s film. We talk about how the film worked for us — Pete found it painfully boring and Andy, while appreciating it, ultimately didn’t really connect with it. We discuss the intricacies of the script and how Harold Pinter adapted the ‘unfilmmable’ novel by John Fowles upon which it was based, enjoying the design of the screenplay structure quite a bit. We chat about the strengths in what is going on in the two parallel stories and what keeps us from completely connecting with it. We talk about the actors — notably Streep and Jeremy Irons — and what they bring to the table in these two roles. And we deliberate on the proper way to pronounce ‘lieutenant.’ It’s an interesting film that ultimately didn’t click with either of us, even if we could appreciate some of the work in it. And it brings our total number of films discussed on the regular show to 200! So check out the movie then tune in — we have a great chat about it! Meryl Streep received her first nomination for Best Actress in a film that one would think had been lost in time if not for the recent Criterion Collection release — Karel Reisz’s 1981 film “The French Lieutenant’s Woman.” She lost to Katherine Hepburn in film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Kramer vs. Kramer • The Next Reel 5 5 11 11 Kramer vs. Kramer • The Next Reel full 31ff8335-1528-46ad-a93e-45914e4961f0 https://share.transistor.fm/s/77134983 “I didn’t know it’d happen to me."

Meryl Streep won the first of her three Oscars for her supporting role in Robert Benton’s 1979 film “Kramer vs. Kramer.” Of course, as of this episode, it’s the second nomination for her out of nineteen nominations — more nominations than any other actor. And when you watch “Kramer vs. Kramer,” it’s hard not to wonder why she won for supporting actress rather than actress. Sure, her screen time is much less than Dustin Hoffman, her co-star, but her role has an equal importance in the film (and if we’re using the Hannibal Lecter argument, she clearly should have been nominated for Best Actress). Join us — Pete Wright and Andy Nelson — as we continue our Meryl Streep series, looking at some early films for which she received Oscar nominations, and this week talking about Benton’s film. We chat about how this film hit us when we last saw it in college compared to how it hit us this go-around. Hint: much stronger now. We talk about the brilliant and honest performance from all of the actors, notably Streep, Hoffman, Justin Henry, Jane Alexander, Howard Duff and just a hint of JoBeth Williams. We discuss why this story works so well and what interesting topics it hits on. We chat about Benton and his career, and we touch on Néstor Almendros’ beautiful cinematography. And we talk about how the film did at a time when big blockbuster films were all the rage. It’s a film we love that also broke both of us. Watch it — everyone should see it — then tune in to this week’s show.

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> “I didn’t know it’d happen to me."

Meryl Streep won the first of her three Oscars for her supporting role in Robert Benton’s 1979 film “Kramer vs. Kramer.” Of course, as of this episode, it’s the second nomination for her out of nineteen nominations — more nominations than any other actor. And when you watch “Kramer vs. Kramer,” it’s hard not to wonder why she won for supporting actress rather than actress. Sure, her screen time is much less than Dustin Hoffman, her co-star, but her role has an equal importance in the film (and if we’re using the Hannibal Lecter argument, she clearly should have been nominated for Best Actress). Join us — Pete Wright and Andy Nelson — as we continue our Meryl Streep series, looking at some early films for which she received Oscar nominations, and this week talking about Benton’s film. We chat about how this film hit us when we last saw it in college compared to how it hit us this go-around. Hint: much stronger now. We talk about the brilliant and honest performance from all of the actors, notably Streep, Hoffman, Justin Henry, Jane Alexander, Howard Duff and just a hint of JoBeth Williams. We discuss why this story works so well and what interesting topics it hits on. We chat about Benton and his career, and we touch on Néstor Almendros’ beautiful cinematography. And we talk about how the film did at a time when big blockbuster films were all the rage. It’s a film we love that also broke both of us. Watch it — everyone should see it — then tune in to this week’s show.

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 27 Aug 2015 08:00:00 -0700 The Next Reel The Next Reel 4934 Meryl Streep won the first of her three Oscars for her supporting role in Robert Benton’s 1979 film “Kramer vs. Kramer.” Of course, as of this episode, it’s the second nomination for her out of nineteen nominations — more nominations than any other actor. And when you watch “Kramer vs. Kramer,” it’s hard not to wonder why she won for supporting actress rather than actress. Sure, her screen time is much less than Dustin Hoffman, her co-star, but her role has an equal importance in the film (and if we’re using the Hannibal Lecter argument, she clearly should have been nominated for Best Actress). Join us — Pete Wright and Andy Nelson — as we continue our Meryl Streep series, looking at some early films for which she received Oscar nominations, and this week talking about Benton’s film. We chat about how this film hit us when we last saw it in college compared to how it hit us this go-around. Hint: much stronger now. We talk about the brilliant and honest performance from all of the actors, notably Streep, Hoffman, Justin Henry, Jane Alexander, Howard Duff and just a hint of JoBeth Williams. We discuss why this story works so well and what interesting topics it hits on. We chat about Benton and his career, and we touch on Néstor Almendros’ beautiful cinematography. And we talk about how the film did at a time when big blockbuster films were all the rage. It’s a film we love that also broke both of us. Watch it — everyone should see it — then tune in to this week’s show. Meryl Streep won the first of her three Oscars for her supporting role in Robert Benton’s 1979 film “Kramer vs. Kramer.” Of course, as of this episode, it’s the second nomination for her out of nineteen nominations — more nominations than any other actor. dustinhoffman, merylstreep No Andy Nelson Pete Wright Writer Ken Levine on Guilty Pleasures, Volunteers, and TV Legacy • A Special Next Reel Interview • The Next Reel 5 5 10 10 Writer Ken Levine on Guilty Pleasures, Volunteers, and TV Legacy • A Special Next Reel Interview • The Next Reel full a015eb5e-c3e5-4fc0-ba2d-cc3bb90c875b https://share.transistor.fm/s/b2aaba05 “I’m happy to be able to defend Volunteers, and maybe you can have me back to defend Mannequin Two."

In 237 episodes of The Next Reel and nearly 200 movies as a part of the weekly show, we try to do solid service to the creators of the work that we talk about. Most of the time, we think we do a pretty good job. Sometimes, we drop the ball.

A few weeks back, as part of our guilty pleasure series, we did the movie Volunteers from 1985 directed by Nicholas Meyer, written by Ken Levine and David Isaacs. We did our usual thing and in the process of talking about the characters and story, we did particularly short shrift to the guys who wrote it.

Of course, we didn’t realize that we came up short until we were called out by Ken Levine himself on his blog, by Ken Levine.

Ken’s credits are one thing, but just wait… he and Isaacs are behind truly seminal television series, and that’s not hyperbolic: how about MASH? Mary? Wings? Cheers? Frasier? Yeah, all those, and many more… he even named a baseball team on The Simpsons. And that doesn’t even begin to touch his other career as a play-by-play baseball announcer.

So you can imagine how thrilled — and a touch embarrassed — we are to have the one and only Ken Levine with us on The Next Reel. We talk about his history in the field, from his first assignment on The Jeffersons to his latest plays. We talk about the craft of writing, doing so with a partner, and the growing writer’s room today. And of course, we talk all about Volunteers and what it took to bring cast and crew together for one of Andy’s favorite flicks!


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]]> “I’m happy to be able to defend Volunteers, and maybe you can have me back to defend Mannequin Two."

In 237 episodes of The Next Reel and nearly 200 movies as a part of the weekly show, we try to do solid service to the creators of the work that we talk about. Most of the time, we think we do a pretty good job. Sometimes, we drop the ball.

A few weeks back, as part of our guilty pleasure series, we did the movie Volunteers from 1985 directed by Nicholas Meyer, written by Ken Levine and David Isaacs. We did our usual thing and in the process of talking about the characters and story, we did particularly short shrift to the guys who wrote it.

Of course, we didn’t realize that we came up short until we were called out by Ken Levine himself on his blog, by Ken Levine.

Ken’s credits are one thing, but just wait… he and Isaacs are behind truly seminal television series, and that’s not hyperbolic: how about MASH? Mary? Wings? Cheers? Frasier? Yeah, all those, and many more… he even named a baseball team on The Simpsons. And that doesn’t even begin to touch his other career as a play-by-play baseball announcer.

So you can imagine how thrilled — and a touch embarrassed — we are to have the one and only Ken Levine with us on The Next Reel. We talk about his history in the field, from his first assignment on The Jeffersons to his latest plays. We talk about the craft of writing, doing so with a partner, and the growing writer’s room today. And of course, we talk all about Volunteers and what it took to bring cast and crew together for one of Andy’s favorite flicks!


Support The Next Reel Family of Film Shows:

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]]> Wed, 26 Aug 2015 23:11:00 -0700 The Next Reel The Next Reel 3730 “I’m happy to be able to defend Volunteers, and maybe you can have me back to defend Mannequin Two." Screenwriter Ken Levine joins us to discuss his career and to defend "Volunteers." “I’m happy to be able to defend Volunteers, and maybe you can have me back to defend Mannequin Two." Screenwriter Ken Levine joins us to discuss his career and to defend "Volunteers." mash, kenlevine, cheers, screenwriting, frasier No Andy Nelson Pete Wright The Deer Hunter • The Next Reel 5 5 9 9 The Deer Hunter • The Next Reel full e458a112-65f1-4530-993a-c3a682c252c7 https://share.transistor.fm/s/bd7aed2e “One shot."

Michael Cimino’s 1978 film “The Deer Hunter” is definitely a divisive film, one about which a LOT of people have found plenty of things to say and argue about. Aside from all of that, it’s also the film for which Meryl Streep received her first Oscar nomination. Join us — Pete Wright and Andy Nelson — as we begin our Meryl Streep series, specifically looking at films for which Streep received an Oscar nomination, with Cimino’s epic Vietnam War film. We talk about why this film was and still is so controversial — the Russian Roulette scenes and the fact that there’s no evidence they happened during the war. We discuss the nature of truth in film and analyze why this film still works effectively despite the Russian roulette scenes being fictional. We chat about the interminable wedding scene and try to figure out why we struggle with it so much. We chat about the brilliant actors, notably Robert De Niro, Christopher Walken, John Savage, Streep, George Dzundza and the wonderful John Cazale. We touch on Cimino and his career, notably how it nearly died after this film with “Heaven’s Gate.” And we debate the nature of Flickchart with some of Andy’s choices. It’s a fun-filled episode for a very strong film, albeit not easy to watch. Tune in!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Victor Frankenstein — “I enjoy Frankenstein films, though so often am disappointed by them. This one, told from Igor’s point of view (and a dashing Igor at that) looks to be pretty fun. At least I’m hoping so. The trailer gives me hope. Radcliffe and McAvoy could pull it off."
  • Pete’s Trailer: Spotlight — “The true story of the Boston Globe’s break of the child molestation cover up in the church. This seriously looks like everything I wanted The Paper to be. Blessed be the spiritual reboot.”

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “One shot."

Michael Cimino’s 1978 film “The Deer Hunter” is definitely a divisive film, one about which a LOT of people have found plenty of things to say and argue about. Aside from all of that, it’s also the film for which Meryl Streep received her first Oscar nomination. Join us — Pete Wright and Andy Nelson — as we begin our Meryl Streep series, specifically looking at films for which Streep received an Oscar nomination, with Cimino’s epic Vietnam War film. We talk about why this film was and still is so controversial — the Russian Roulette scenes and the fact that there’s no evidence they happened during the war. We discuss the nature of truth in film and analyze why this film still works effectively despite the Russian roulette scenes being fictional. We chat about the interminable wedding scene and try to figure out why we struggle with it so much. We chat about the brilliant actors, notably Robert De Niro, Christopher Walken, John Savage, Streep, George Dzundza and the wonderful John Cazale. We touch on Cimino and his career, notably how it nearly died after this film with “Heaven’s Gate.” And we debate the nature of Flickchart with some of Andy’s choices. It’s a fun-filled episode for a very strong film, albeit not easy to watch. Tune in!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Victor Frankenstein — “I enjoy Frankenstein films, though so often am disappointed by them. This one, told from Igor’s point of view (and a dashing Igor at that) looks to be pretty fun. At least I’m hoping so. The trailer gives me hope. Radcliffe and McAvoy could pull it off."
  • Pete’s Trailer: Spotlight — “The true story of the Boston Globe’s break of the child molestation cover up in the church. This seriously looks like everything I wanted The Paper to be. Blessed be the spiritual reboot.”

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 20 Aug 2015 08:00:00 -0700 The Next Reel The Next Reel 4929 Michael Cimino’s 1978 film “The Deer Hunter” is definitely a divisive film, one about which a LOT of people have found plenty of things to say and argue about. Aside from all of that, it’s also the film for which Meryl Streep received her first Oscar nomination. Join us — Pete Wright and Andy Nelson — as we begin our Meryl Streep series, specifically looking at films for which Streep received an Oscar nomination, with Cimino’s epic Vietnam War film. We talk about why this film was and still is so controversial — the Russian Roulette scenes and the fact that there’s no evidence they happened during the war. We discuss the nature of truth in film and analyze why this film still works effectively despite the Russian roulette scenes being fictional. We chat about the interminable wedding scene and try to figure out why we struggle with it so much. We chat about the brilliant actors, notably Robert De Niro, Christopher Walken, John Savage, Streep, George Dzundza and the wonderful John Cazale. We touch on Cimino and his career, notably how it nearly died after this film with “Heaven’s Gate.” And we debate the nature of Flickchart with some of Andy’s choices. It’s a fun-filled episode for a very strong film, albeit not easy to watch. Tune in! Michael Cimino’s 1978 film “The Deer Hunter” is definitely a divisive film, one about which a LOT of people have found plenty of things to say and argue about. Aside from all of that, it’s also the film for which Meryl Streep received her first Oscar nomi film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Force Majeure • The Next Reel 5 5 8 8 Force Majeure • The Next Reel full 984b61ba-184b-4b18-a3fd-fc52fe4884fb https://share.transistor.fm/s/c5cb2594 “The truth is when reality is staring you in the face and you’re afraid to die, very few of us are heroic."

It’s time for another Listener’s Choice episode, this time with our friends Per Johansson and Gustav Larsed from the Filmpodden podcast in Sweden. They selected something from the home country — Ruben Östlund’s 2014 film “Force Majeure.” Join us — Pete Wright and Andy Nelson — as we take on the icy slopes to discuss this avalanche of emotion. We talk with Per and Gustav about why they picked this film and what it means to them, as well as why they’re so divided on it. We discuss our own thoughts of this film, why we like it so much, and how much tension it created in us in the third act. We chat about the performances, notably Johannes Kuhnke, Lisa Loven Kongsli and Kristofer Hivju, and what they all bring to the film. We look at the cinematography of the film and how it portrays so brilliantly — and clinically — nature and man’s battle with it. And we try to figure out several strange and pivotal moments within the film. It’s a truly fascinating character piece that seems to divide viewers quite a bit. So check out the film then tune in!

Film Sundries


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]]> “The truth is when reality is staring you in the face and you’re afraid to die, very few of us are heroic."

It’s time for another Listener’s Choice episode, this time with our friends Per Johansson and Gustav Larsed from the Filmpodden podcast in Sweden. They selected something from the home country — Ruben Östlund’s 2014 film “Force Majeure.” Join us — Pete Wright and Andy Nelson — as we take on the icy slopes to discuss this avalanche of emotion. We talk with Per and Gustav about why they picked this film and what it means to them, as well as why they’re so divided on it. We discuss our own thoughts of this film, why we like it so much, and how much tension it created in us in the third act. We chat about the performances, notably Johannes Kuhnke, Lisa Loven Kongsli and Kristofer Hivju, and what they all bring to the film. We look at the cinematography of the film and how it portrays so brilliantly — and clinically — nature and man’s battle with it. And we try to figure out several strange and pivotal moments within the film. It’s a truly fascinating character piece that seems to divide viewers quite a bit. So check out the film then tune in!

Film Sundries


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]]> Thu, 13 Aug 2015 08:00:00 -0700 The Next Reel The Next Reel 5466 It’s time for another Listener’s Choice episode, this time with our friends Per Johansson and Gustav Larsed from the Filmpodden podcast in Sweden. They selected something from the home country — Ruben Östlund’s 2014 film “Force Majeure.” Join us — Pete Wright and Andy Nelson — as we take on the icy slopes to discuss this avalanche of emotion. We talk with Per and Gustav about why they picked this film and what it means to them, as well as why they’re so divided on it. We discuss our own thoughts of this film, why we like it so much, and how much tension it created in us in the third act. We chat about the performances, notably Johannes Kuhnke, Lisa Loven Kongsli and Kristofer Hivju, and what they all bring to the film. We look at the cinematography of the film and how it portrays so brilliantly — and clinically — nature and man’s battle with it. And we try to figure out several strange and pivotal moments within the film. It’s a truly fascinating character piece that seems to divide viewers quite a bit. So check out the film then tune in! It’s time for another Listener’s Choice episode, this time with our friends Per Johansson and Gustav Larsed from the Filmpodden podcast in Sweden. They selected something from the home country — Ruben Östlund’s 2014 film “Force Majeure.” Join us — Pete Wr film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Under the Cherry Moon • The Next Reel 5 5 7 7 Under the Cherry Moon • The Next Reel full 23b25cf2-6c58-4112-9d19-87db9fa58386 https://share.transistor.fm/s/b3302f8d “Yes, Christopher lived for all women, but he died for one."

Prince has always been a flamboyant and eclectic musician, and with the album and film “Purple Rain,” he found a new art form he enjoyed. And one he won an Oscar for — Best Original Song Score. With his next film, he had conflicts with the director so took over and directed it himself. Join us — Pete Wright and Andy Nelson — as we wrap up this year’s short guilty pleasure with Pete’s pick — Prince’s 1986 film “Under the Cherry Moon.” We talk about what’s in the film and why, despite its flaws, Pete still gets so much pleasure from this film. And we talk about its flaws and everything that doesn’t work in the film. We chat about the actors — Prince, Jerome Benton, Kristin Scott Thomas, Steven Berkoff, Francesca Annis and more — and look at what each of them brings to the table. We discuss the black-and-white look of the film and ponder the reasoning for it, wondering if perhaps cinematographer Michael Ballhaus may know why Prince opted to show it this way despite having filmed it in color. And we touch on the original director and what the circumstances were under which she left the film. It’s the guiltiest of guilty pleasures and Pete still loves it despite all its flaws. Regardless of what either of us thinks, we have a great conversation about it. Tune in!

Film Sundries

  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: People Places Things — “Jemaine Clement. Who needs another reason to watch this movie? Not me. This looks really sweet and touching, and of course he’s hilarious."
  • Pete’s Trailer: Mississippi Grind — “This is just the kind of road movie that lights me up: poker, bad luck, and the open road, baby. Ryan Reynolds and Ben Mendelssohn look great together — this is one I’m going to catch."

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> “Yes, Christopher lived for all women, but he died for one."

Prince has always been a flamboyant and eclectic musician, and with the album and film “Purple Rain,” he found a new art form he enjoyed. And one he won an Oscar for — Best Original Song Score. With his next film, he had conflicts with the director so took over and directed it himself. Join us — Pete Wright and Andy Nelson — as we wrap up this year’s short guilty pleasure with Pete’s pick — Prince’s 1986 film “Under the Cherry Moon.” We talk about what’s in the film and why, despite its flaws, Pete still gets so much pleasure from this film. And we talk about its flaws and everything that doesn’t work in the film. We chat about the actors — Prince, Jerome Benton, Kristin Scott Thomas, Steven Berkoff, Francesca Annis and more — and look at what each of them brings to the table. We discuss the black-and-white look of the film and ponder the reasoning for it, wondering if perhaps cinematographer Michael Ballhaus may know why Prince opted to show it this way despite having filmed it in color. And we touch on the original director and what the circumstances were under which she left the film. It’s the guiltiest of guilty pleasures and Pete still loves it despite all its flaws. Regardless of what either of us thinks, we have a great conversation about it. Tune in!

Film Sundries

  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: People Places Things — “Jemaine Clement. Who needs another reason to watch this movie? Not me. This looks really sweet and touching, and of course he’s hilarious."
  • Pete’s Trailer: Mississippi Grind — “This is just the kind of road movie that lights me up: poker, bad luck, and the open road, baby. Ryan Reynolds and Ben Mendelssohn look great together — this is one I’m going to catch."

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 06 Aug 2015 05:00:00 -0700 The Next Reel The Next Reel 4224 Prince has always been a flamboyant and eclectic musician, and with the album and film “Purple Rain,” he found a new art form he enjoyed. And one he won an Oscar for — Best Original Song Score. With his next film, he had conflicts with the director so took over and directed it himself. Join us — Pete Wright and Andy Nelson — as we wrap up this year’s short guilty pleasure with Pete’s pick — Prince’s 1986 film “Under the Cherry Moon.” We talk about what’s in the film and why, despite its flaws, Pete still gets so much pleasure from this film. And we talk about its flaws and everything that doesn’t work in the film. We chat about the actors — Prince, Jerome Benton, Kristin Scott Thomas, Steven Berkoff, Francesca Annis and more — and look at what each of them brings to the table. We discuss the black-and-white look of the film and ponder the reasoning for it, wondering if perhaps cinematographer Michael Ballhaus may know why Prince opted to show it this way despite having filmed it in color. And we touch on the original director and what the circumstances were under which she left the film. It’s the guiltiest of guilty pleasures and Pete still loves it despite all its flaws. Regardless of what either of us thinks, we have a great conversation about it. Tune in! Prince has always been a flamboyant and eclectic musician, and with the album and film “Purple Rain,” he found a new art form he enjoyed. And one he won an Oscar for — Best Original Song Score. With his next film, he had conflicts with the director so too prince No Andy Nelson Pete Wright Volunteers • The Next Reel 5 5 6 6 Volunteers • The Next Reel full c3d26a1b-f405-485f-bd54-6a64a02ae957 https://share.transistor.fm/s/8b73cc3c “It’s not that I can’t help these people, it’s just that I don’t want to."

It’s time for some guilty pleasures! Yes, the two of us — Pete Wright and Andy Nelson — dig up some films that we love but are generally not considered the greatest of movies. This week, it’s Andy’s turn with his guilty pleasure — Nicholas Meyer’s 1985 Peace Corps comedy “Volunteers.” That’s right, more Tom Hanks action from Andy, proving he’s just about ready to go Annie Wilkes on ol’ Tom. In this week’s episode, we talk about what Andy loves in this movie while also looking at it through serious eyes, analyzing what in the film really is causing it to be generally considered a bad film. In this particular case, most of the burden falls on Hanks in his performance of the pompous rich boy Lawrence Bourne III. We compare that with what works well in the film, most notably John Candy in yet another hilarious turn from the 80s. We also look at the other actors in the film — Rita Wilson, Tim Thomerson, Gedde Watanabe, George Plimpton and more — and talk about what they bring to the table. We touch on comments Ken Levine, one of the writers, wrote on his 2009 blog about the scene that ruined the movie, and Andy takes the writer to task for possibly thinking too highly of his own script. And we chat about a few people behind the camera — Meyer at the helm and James Horner composing a wonderful score. It’s a fun romp, albeit problem laden, that is high on Andy’s list of fun movies to watch but not likely one Pete will be returning to, even if he did find a few things to enjoy in the movie. So check it out then tune in!

And if you'd like to hear us defend ourselves with screenwriter Ken Levine, tune in right here!

Film Sundries

  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Goosebumps — “I love that they’re stepping out of the world of R.L. Stine’s books for this and instead are making R.L. Stine a character who has to battle his ‘demons’ with a group of kids. What a fun concept! This is definitely one I’ll be seeing with my daughter come October."
  • Pete’s Trailer: Spectre Trailer 2 — “I’m frustrated by this trailer. It makes me think they’re slipping into Roger Moore territory and as I think you all know, Daniel Craig is no Roger Moore. Wait… switch that. There you go."

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> “It’s not that I can’t help these people, it’s just that I don’t want to."

It’s time for some guilty pleasures! Yes, the two of us — Pete Wright and Andy Nelson — dig up some films that we love but are generally not considered the greatest of movies. This week, it’s Andy’s turn with his guilty pleasure — Nicholas Meyer’s 1985 Peace Corps comedy “Volunteers.” That’s right, more Tom Hanks action from Andy, proving he’s just about ready to go Annie Wilkes on ol’ Tom. In this week’s episode, we talk about what Andy loves in this movie while also looking at it through serious eyes, analyzing what in the film really is causing it to be generally considered a bad film. In this particular case, most of the burden falls on Hanks in his performance of the pompous rich boy Lawrence Bourne III. We compare that with what works well in the film, most notably John Candy in yet another hilarious turn from the 80s. We also look at the other actors in the film — Rita Wilson, Tim Thomerson, Gedde Watanabe, George Plimpton and more — and talk about what they bring to the table. We touch on comments Ken Levine, one of the writers, wrote on his 2009 blog about the scene that ruined the movie, and Andy takes the writer to task for possibly thinking too highly of his own script. And we chat about a few people behind the camera — Meyer at the helm and James Horner composing a wonderful score. It’s a fun romp, albeit problem laden, that is high on Andy’s list of fun movies to watch but not likely one Pete will be returning to, even if he did find a few things to enjoy in the movie. So check it out then tune in!

And if you'd like to hear us defend ourselves with screenwriter Ken Levine, tune in right here!

Film Sundries

  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Goosebumps — “I love that they’re stepping out of the world of R.L. Stine’s books for this and instead are making R.L. Stine a character who has to battle his ‘demons’ with a group of kids. What a fun concept! This is definitely one I’ll be seeing with my daughter come October."
  • Pete’s Trailer: Spectre Trailer 2 — “I’m frustrated by this trailer. It makes me think they’re slipping into Roger Moore territory and as I think you all know, Daniel Craig is no Roger Moore. Wait… switch that. There you go."

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 30 Jul 2015 05:00:00 -0700 The Next Reel The Next Reel 4056 It’s time for some guilty pleasures! Yes, the two of us — Pete Wright and Andy Nelson — dig up some films that we love but are generally not considered the greatest of movies. This week, it’s Andy’s turn with his guilty pleasure — Nicholas Meyer’s 1985 Peace Corps comedy “Volunteers.” That’s right, more Tom Hanks action from Andy, proving he’s just about ready to go Annie Wilkes on ol’ Tom. In this week’s episode, we talk about what Andy loves in this movie while also looking at it through serious eyes, analyzing what in the film really is causing it to be generally considered a bad film. In this particular case, most of the burden falls on Hanks in his performance of the pompous rich boy Lawrence Bourne III. We compare that with what works well in the film, most notably John Candy in yet another hilarious turn from the 80s. We also look at the other actors in the film — Rita Wilson, Tim Thomerson, Gedde Watanabe, George Plimpton and more — and talk about what they bring to the table. We touch on comments Ken Levine, one of the writers, wrote on his 2009 blog about the scene that ruined the movie, and Andy takes the writer to task for possibly thinking too highly of his own script. And we chat about a few people behind the camera — Meyer at the helm and James Horner composing a wonderful score. It’s a fun romp, albeit problem laden, that is high on Andy’s list of fun movies to watch but not likely one Pete will be returning to, even if he did find a few things to enjoy in the movie. So check it out then tune in! It’s time for some guilty pleasures! Yes, the two of us — Pete Wright and Andy Nelson — dig up some films that we love but are generally not considered the greatest of movies. This week, it’s Andy’s turn with his guilty pleasure — Nicholas Meyer’s 1985 Pe tomhanks No Andy Nelson Pete Wright Only Angels Have Wings • The Next Reel 5 5 5 5 Only Angels Have Wings • The Next Reel full f33aebe5-e0b3-4d8a-8e43-b6283b966ecc https://share.transistor.fm/s/88c8d54f “I thought you had enough of flyers?"

Howard Hawks and Cary Grant had already given the world the hilarious “Bringing Up Baby” in 1938, and lucky for us, they liked working together. They’d work on four more films together, including their very next one — “Only Angels Have Wings.” Join us — Pete Wright and Andy Nelson — as we finish our series on films from 1939 with Hawks’ and Grant’s second collaboration. We talk about how this film fared for us upon initial viewing, and how it sat with us. We chat about our love for Jean Arthur and how wonderful she is here. We talk about the rest of the cast — Grant, Richard Barthelmess, Rita Hayworth, Thomas Mitchell, Sig Ruman and more — and what they each bring to the table. We discuss the flying effects in the film and how well they work for us, paired especially with Joseph Walker’s great black-and-white cinematography. And we chat about Hawks and why we like him so much. It’s a film that ranks good, not great, on our lists, but still a film that really got us talking and thinking. It’s well worth checking out, so do so then come back here and tune in to the show!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Secret in their Eyes — “As a parent, this looks like a brutal film to watch. But it looks damn good to. Julie Roberts looks like she’s found a strong project, which she’s needed, and Nicole Kidman and Chiwetel Ejiofor both look awesome. I can’t wait for this one.”
  • Pete’s Trailer: Joy — “Love the tone of this trailer from David O. Russell. Looks to be a great follow-up to American Hustle and as always, great to see J-Law in something that isn’t Hunger Games.”

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]]> “I thought you had enough of flyers?"

Howard Hawks and Cary Grant had already given the world the hilarious “Bringing Up Baby” in 1938, and lucky for us, they liked working together. They’d work on four more films together, including their very next one — “Only Angels Have Wings.” Join us — Pete Wright and Andy Nelson — as we finish our series on films from 1939 with Hawks’ and Grant’s second collaboration. We talk about how this film fared for us upon initial viewing, and how it sat with us. We chat about our love for Jean Arthur and how wonderful she is here. We talk about the rest of the cast — Grant, Richard Barthelmess, Rita Hayworth, Thomas Mitchell, Sig Ruman and more — and what they each bring to the table. We discuss the flying effects in the film and how well they work for us, paired especially with Joseph Walker’s great black-and-white cinematography. And we chat about Hawks and why we like him so much. It’s a film that ranks good, not great, on our lists, but still a film that really got us talking and thinking. It’s well worth checking out, so do so then come back here and tune in to the show!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Secret in their Eyes — “As a parent, this looks like a brutal film to watch. But it looks damn good to. Julie Roberts looks like she’s found a strong project, which she’s needed, and Nicole Kidman and Chiwetel Ejiofor both look awesome. I can’t wait for this one.”
  • Pete’s Trailer: Joy — “Love the tone of this trailer from David O. Russell. Looks to be a great follow-up to American Hustle and as always, great to see J-Law in something that isn’t Hunger Games.”

Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 23 Jul 2015 10:52:00 -0700 The Next Reel The Next Reel 4244 Howard Hawks and Cary Grant had already given the world the hilarious “Bringing Up Baby” in 1938, and lucky for us, they liked working together. They’d work on four more films together, including their very next one — “Only Angels Have Wings. Howard Hawks and Cary Grant had already given the world the hilarious “Bringing Up Baby” in 1938, and lucky for us, they liked working together. They’d work on four more films together, including their very next one — “Only Angels Have Wings. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Roaring Twenties • The Next Reel 5 5 4 4 The Roaring Twenties • The Next Reel full b7e5a776-01ae-42f2-9b0b-954d57748f58 https://share.transistor.fm/s/bb600fb2 “He used to be a big shot."

James Cagney was getting tired of making gangster films for Warner Bros. by the time he starred in Raoul Walsh’s 1939 film “The Roaring Twenties. After all, he really loved comedy and the song-and-dance too. But he clearly was great as a gangster. Look at him in “The Public Enemy” or “White Heat.” He carried a dark energy that really came across in those films as well as this one. Join us — Pete Wright and Andy Nelson — as we continue our series on films from 1939 with Walsh’s “The Roaring Twenties.” We talk about our general impressions of this film, one which we both watched for the first time, and how it was enjoyable but fairly middle-of-the-road. We chat about the talent involved on screen — Cagney, Humphrey Bogart, Gladys George, Priscilla Lane, Frank McHugh, Jeffrey Lynn, and Paul Kelly, to name a few — and how we felt about each of them. We get into the gangster genre and what really made these gangster films from the 30s work, comparing this one with “Little Caesar” and more to figure out if this one is better or worse than some of those that are considered more classic. And we talk about how well this film and its news reel-esque approach to the decade really give us a great perspective on what was going on then and how it created this environment for criminal behavior. It’s a good film, maybe not something we’d rewatch day in and day out but one worth watching at least once, and we have a great time talking about it on this week’s show. Tune in!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Into the Badlands — “Okay, so it’s a trailer for a TV show, but DAMN. Looks like a pretty kick-ass TV show to me. Post apocalyptic. Martial arts. A new feudal society. A mysterious kid in a box. I don’t really know what the show’s about, but damn if I don’t want to start watching it right now.”
  • Pete’s Trailer: Suicide Squad — “I like David Ayer. I think he’s a pretty darned good action director and now that I’ve seen the trailer for this film and the characters they’re introducing, I think they might just be onto something. This might just turn into a cool DC Universe after all."

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> “He used to be a big shot."

James Cagney was getting tired of making gangster films for Warner Bros. by the time he starred in Raoul Walsh’s 1939 film “The Roaring Twenties. After all, he really loved comedy and the song-and-dance too. But he clearly was great as a gangster. Look at him in “The Public Enemy” or “White Heat.” He carried a dark energy that really came across in those films as well as this one. Join us — Pete Wright and Andy Nelson — as we continue our series on films from 1939 with Walsh’s “The Roaring Twenties.” We talk about our general impressions of this film, one which we both watched for the first time, and how it was enjoyable but fairly middle-of-the-road. We chat about the talent involved on screen — Cagney, Humphrey Bogart, Gladys George, Priscilla Lane, Frank McHugh, Jeffrey Lynn, and Paul Kelly, to name a few — and how we felt about each of them. We get into the gangster genre and what really made these gangster films from the 30s work, comparing this one with “Little Caesar” and more to figure out if this one is better or worse than some of those that are considered more classic. And we talk about how well this film and its news reel-esque approach to the decade really give us a great perspective on what was going on then and how it created this environment for criminal behavior. It’s a good film, maybe not something we’d rewatch day in and day out but one worth watching at least once, and we have a great time talking about it on this week’s show. Tune in!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: Into the Badlands — “Okay, so it’s a trailer for a TV show, but DAMN. Looks like a pretty kick-ass TV show to me. Post apocalyptic. Martial arts. A new feudal society. A mysterious kid in a box. I don’t really know what the show’s about, but damn if I don’t want to start watching it right now.”
  • Pete’s Trailer: Suicide Squad — “I like David Ayer. I think he’s a pretty darned good action director and now that I’ve seen the trailer for this film and the characters they’re introducing, I think they might just be onto something. This might just turn into a cool DC Universe after all."

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 16 Jul 2015 08:00:00 -0700 The Next Reel The Next Reel 4569 James Cagney was getting tired of making gangster films for Warner Bros. by the time he starred in Raoul Walsh’s 1939 film “The Roaring Twenties. After all, he really loved comedy and the song-and-dance too. But he clearly was great as a gangster. Look at him in “The Public Enemy” or “White Heat.” He carried a dark energy that really came across in those films as well as this one. Join us — Pete Wright and Andy Nelson — as we continue our series on films from 1939 with Walsh’s “The Roaring Twenties.” We talk about our general impressions of this film, one which we both watched for the first time, and how it was enjoyable but fairly middle-of-the-road. We chat about the talent involved on screen — Cagney, Humphrey Bogart, Gladys George, Priscilla Lane, Frank McHugh, Jeffrey Lynn, and Paul Kelly, to name a few — and how we felt about each of them. We get into the gangster genre and what really made these gangster films from the 30s work, comparing this one with “Little Caesar” and more to figure out if this one is better or worse than some of those that are considered more classic. And we talk about how well this film and its news reel-esque approach to the decade really give us a great perspective on what was going on then and how it created this environment for criminal behavior. It’s a good film, maybe not something we’d rewatch day in and day out but one worth watching at least once, and we have a great time talking about it on this week’s show. Tune in! James Cagney was getting tired of making gangster films for Warner Bros. by the time he starred in Raoul Walsh’s 1939 film “The Roaring Twenties. After all, he really loved comedy and the song-and-dance too. But he clearly was great as a gangster. Look at film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Mr. Smith Goes to Washington • The Next Reel 5 5 3 3 Mr. Smith Goes to Washington • The Next Reel full 1a1e3d1a-ed0d-4057-a9fe-ce44ad037be1 https://share.transistor.fm/s/96d3fb18 “You’re not a Senator, you’re an honorary stooge."

It’s rare to find a film from 75 years ago that feels relevant still in today’s world, but Frank Capra’s 1939 “Mr. Smith Goes to Washington” is one of those films. Corruption in the Senate? Check. Corporate interests secretly working their own machinations behind the scenes to get their political puppets to do their bidding? Check. Cynical office staff who are only interested in making a buck? Check. Sad to say that the only thing that doesn’t feel modern is that a politician like James Stewart’s titular character could actually exist. Or at least survive in today’s political world. Join us — Pete Wright and Andy Nelson — as we continue with our great films from 1939 series with Capra’s fantastic film “Mr. Smith Goes to Washington.” We talk about how much we love this film and why, highlighting everything aforementioned. We chat about Stewart and Jean Arthur as the perfect leads for this film, aided by the wonderful supporting cast including Edward Arnold, Harry Carey, Claude Rains, Thomas Mitchell and more. We discuss how the Washington, D.C. press and the real Senators received the film compared with the general public. And we discuss the people behind the cameras with Capra and what they bring to the table — Joseph Walker, Lionel Banks, Dimitri Tiomkin, Sidney Buchman, Lewis R. Foster and more. It’s a top notch film that still speaks to its audiences, all while avoiding being cheesy while full of honesty. We love it. Make sure you watch this one and then tune in!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: The Finest Hours — “It looks like thrilling but safe true story Disney fare, but everything about it draws me in. The disaster at sea. Chris Pine. Casey Affleck. Even Abraham Benrubi. Even though it’s a January release, count me in!"
  • Pete’s Trailer: Creed — “This may just be the sequel to Rocky that we need. I’m a fan of Ryan Cooler. I’m a fan of Michael B. Jordan. I’m a fan of Rocky. In the words of General George Armstrong Custer, what could possibly go wrong?"

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> “You’re not a Senator, you’re an honorary stooge."

It’s rare to find a film from 75 years ago that feels relevant still in today’s world, but Frank Capra’s 1939 “Mr. Smith Goes to Washington” is one of those films. Corruption in the Senate? Check. Corporate interests secretly working their own machinations behind the scenes to get their political puppets to do their bidding? Check. Cynical office staff who are only interested in making a buck? Check. Sad to say that the only thing that doesn’t feel modern is that a politician like James Stewart’s titular character could actually exist. Or at least survive in today’s political world. Join us — Pete Wright and Andy Nelson — as we continue with our great films from 1939 series with Capra’s fantastic film “Mr. Smith Goes to Washington.” We talk about how much we love this film and why, highlighting everything aforementioned. We chat about Stewart and Jean Arthur as the perfect leads for this film, aided by the wonderful supporting cast including Edward Arnold, Harry Carey, Claude Rains, Thomas Mitchell and more. We discuss how the Washington, D.C. press and the real Senators received the film compared with the general public. And we discuss the people behind the cameras with Capra and what they bring to the table — Joseph Walker, Lionel Banks, Dimitri Tiomkin, Sidney Buchman, Lewis R. Foster and more. It’s a top notch film that still speaks to its audiences, all while avoiding being cheesy while full of honesty. We love it. Make sure you watch this one and then tune in!

Film Sundries

  • Script Transcript
  • Original theatrical trailer
  • Original poster artwork
  • Flickchart
    Trailers of the Week
  • Andy’s Trailer: The Finest Hours — “It looks like thrilling but safe true story Disney fare, but everything about it draws me in. The disaster at sea. Chris Pine. Casey Affleck. Even Abraham Benrubi. Even though it’s a January release, count me in!"
  • Pete’s Trailer: Creed — “This may just be the sequel to Rocky that we need. I’m a fan of Ryan Cooler. I’m a fan of Michael B. Jordan. I’m a fan of Rocky. In the words of General George Armstrong Custer, what could possibly go wrong?"

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Thu, 09 Jul 2015 08:00:00 -0700 The Next Reel The Next Reel 5225 It’s rare to find a film from 75 years ago that feels relevant still in today’s world, but Frank Capra’s 1939 “Mr. Smith Goes to Washington” is one of those films. Corruption in the Senate? Check. Corporate interests secretly working their own machinations behind the scenes to get their political puppets to do their bidding? Check. Cynical office staff who are only interested in making a buck? Check. Sad to say that the only thing that doesn’t feel modern is that a politician like James Stewart’s titular character could actually exist. Or at least survive in today’s political world. Join us — Pete Wright and Andy Nelson — as we continue with our great films from 1939 series with Capra’s fantastic film “Mr. Smith Goes to Washington.” We talk about how much we love this film and why, highlighting everything aforementioned. We chat about Stewart and Jean Arthur as the perfect leads for this film, aided by the wonderful supporting cast including Edward Arnold, Harry Carey, Claude Rains, Thomas Mitchell and more. We discuss how the Washington, D.C. press and the real Senators received the film compared with the general public. And we discuss the people behind the cameras with Capra and what they bring to the table — Joseph Walker, Lionel Banks, Dimitri Tiomkin, Sidney Buchman, Lewis R. Foster and more. It’s a top notch film that still speaks to its audiences, all while avoiding being cheesy while full of honesty. We love it. Make sure you watch this one and then tune in! 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 machination film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Ninotchka • The Next Reel 5 5 2 2 Ninotchka • The Next Reel full 6df4bdda-81de-43b6-8891-4a40cd345463 https://share.transistor.fm/s/6e8817a6 "I should hate to see our country endangered by my underwear."

Taking a completely different turn from last week's Civil War epic, "Ninotchka" is a very light comedy by Ernst Lubitch dealing with Russians in their post-Revolution society. Join us - Pete Wright and Andy Nelson - as we continue our film about the great films of 1939 with Lubitch's "Ninotchka." We talk about the wonderfully funny script by Charles Brackett, Billy Wilder and Walter Reisch based on the original story by Melchior Lengyel, and look at why the comedy works so well in a film like this. We chat about Greta Garbo as the titular character and how wonderful she is, and we look at the rest of the brilliant cast - Melvyn Douglas, Ina Claire, Bela Lugosi, Sig Ruman, Felis Bressart, Alexander Granach and others - as we discuss what they bring to the table. We also touch on Garbo and her retirement from the business. And we chat about Lubitsch and his "Lubitsch Touch" and what that means in context of this film. It's a fun film that's very easy to watch. Check it out then tune in!

Film Sundries


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]]> "I should hate to see our country endangered by my underwear."

Taking a completely different turn from last week's Civil War epic, "Ninotchka" is a very light comedy by Ernst Lubitch dealing with Russians in their post-Revolution society. Join us - Pete Wright and Andy Nelson - as we continue our film about the great films of 1939 with Lubitch's "Ninotchka." We talk about the wonderfully funny script by Charles Brackett, Billy Wilder and Walter Reisch based on the original story by Melchior Lengyel, and look at why the comedy works so well in a film like this. We chat about Greta Garbo as the titular character and how wonderful she is, and we look at the rest of the brilliant cast - Melvyn Douglas, Ina Claire, Bela Lugosi, Sig Ruman, Felis Bressart, Alexander Granach and others - as we discuss what they bring to the table. We also touch on Garbo and her retirement from the business. And we chat about Lubitsch and his "Lubitsch Touch" and what that means in context of this film. It's a fun film that's very easy to watch. Check it out then tune in!

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]]> Thu, 02 Jul 2015 23:24:00 -0700 The Next Reel The Next Reel 4128 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. 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. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Gone With The Wind • The Next Reel 5 5 1 1 Gone With The Wind • The Next Reel full 193272c1-8bf0-46af-8c21-0fca811a6dbc https://share.transistor.fm/s/3ac24c18 “Frankly, my dear, I don’t give a damn."

Considering the racially-charged climate of the US right now, it’s oddly perfect timing that we’re starting our 1939 series with “Gone With The Wind,” a film as technically brilliant to look at as it is hard to watch because of it’s portrayal of slavery and the ‘lost cause’ Southern view of the Civil War. It certainly gives us a lot to talk about in this episode! Join us — Pete Wright and Andy Nelson — as we dive into Victor Fleming’s “Gone With The Wind.” We talk at length about the position of the film in cinematic history and how that contrasts with what it’s portraying and how we feel about that, noting that perhaps this film is one that should be considered in the same camp as ‘Song of the South.’ And we look at what problems we have with the story and why it makes us feel uncomfortable, even if the story itself can be enjoyed when taken out of historical context. Focusing more on the film itself, we look at the actors — Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, Thomas Mitchell, Hattie McDaniel and more — how they got their parts and how well they work for us. We look at lots of bit players and talk about where they’ve since popped up. We talk about the context of 1939 and how the studio system worked. We talk about the three directors who contributed to this film — George Cukor, Victor Fleming and Sam Wood — as well as the producing kingpin who really is the one responsible for getting this film made the way he wanted: David O. Selznick. We chat about other key crew who helped bring this film to life, including Max Steiner, Yakima Canutt, William Cameron Menzies and Walter Plunkett. And we marvel at how much money this film has taken in over its lifetime and deliberate over whether it should still be able to make money or if it should be locked away now due to its painful portrayal of the period. It’s a long film but a film well worth discussing because of these factors. Tune in!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> “Frankly, my dear, I don’t give a damn."

Considering the racially-charged climate of the US right now, it’s oddly perfect timing that we’re starting our 1939 series with “Gone With The Wind,” a film as technically brilliant to look at as it is hard to watch because of it’s portrayal of slavery and the ‘lost cause’ Southern view of the Civil War. It certainly gives us a lot to talk about in this episode! Join us — Pete Wright and Andy Nelson — as we dive into Victor Fleming’s “Gone With The Wind.” We talk at length about the position of the film in cinematic history and how that contrasts with what it’s portraying and how we feel about that, noting that perhaps this film is one that should be considered in the same camp as ‘Song of the South.’ And we look at what problems we have with the story and why it makes us feel uncomfortable, even if the story itself can be enjoyed when taken out of historical context. Focusing more on the film itself, we look at the actors — Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, Thomas Mitchell, Hattie McDaniel and more — how they got their parts and how well they work for us. We look at lots of bit players and talk about where they’ve since popped up. We talk about the context of 1939 and how the studio system worked. We talk about the three directors who contributed to this film — George Cukor, Victor Fleming and Sam Wood — as well as the producing kingpin who really is the one responsible for getting this film made the way he wanted: David O. Selznick. We chat about other key crew who helped bring this film to life, including Max Steiner, Yakima Canutt, William Cameron Menzies and Walter Plunkett. And we marvel at how much money this film has taken in over its lifetime and deliberate over whether it should still be able to make money or if it should be locked away now due to its painful portrayal of the period. It’s a long film but a film well worth discussing because of these factors. Tune in!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 25 Jun 2015 02:00:00 -0700 The Next Reel The Next Reel 5762 Considering the racially-charged climate of the US right now, it’s oddly perfect timing that we’re starting our 1939 series with “Gone With The Wind,” a film as technically brilliant to look at as it is hard to watch because of it’s portrayal of slavery and the ‘lost cause’ Southern view of the Civil War. It certainly gives us a lot to talk about in this episode! Join us — Pete Wright and Andy Nelson — as we dive into Victor Fleming’s “Gone With The Wind.” We talk at length about the position of the film in cinematic history and how that contrasts with what it’s portraying and how we feel about that, noting that perhaps this film is one that should be considered in the same camp as ‘Song of the South.’ And we look at what problems we have with the story and why it makes us feel uncomfortable, even if the story itself can be enjoyed when taken out of historical context. Focusing more on the film itself, we look at the actors — Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, Thomas Mitchell, Hattie McDaniel and more — how they got their parts and how well they work for us. We look at lots of bit players and talk about where they’ve since popped up. We talk about the context of 1939 and how the studio system worked. We talk about the three directors who contributed to this film — George Cukor, Victor Fleming and Sam Wood — as well as the producing kingpin who really is the one responsible for getting this film made the way he wanted: David O. Selznick. We chat about other key crew who helped bring this film to life, including Max Steiner, Yakima Canutt, William Cameron Menzies and Walter Plunkett. And we marvel at how much money this film has taken in over its lifetime and deliberate over whether it should still be able to make money or if it should be locked away now due to its painful portrayal of the period. It’s a long film but a film well worth discussing because of these factors. Tune in! 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 a film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Seconds • The Next Reel 4 4 50 50 Seconds • The Next Reel full e6d63765-95e5-4f5e-a112-8b3e0894b8ed https://share.transistor.fm/s/fe7c619f “Time for a change."

James Wong Howe shot color films very well, but it was his black-and-white cinematography that he was really known for. He won two Oscars for his B&W cinematography and played with many techniques that influenced filmmakers and cinematographers long after he was gone. The camera work on John Frankenheimer’s 1966 film “Seconds” is no exception. It fits the tone of the film perfectly, creating a sense of unease and discomfort quite often. Join us — Pete Wright and Andy Nelson — as we finish our B&W cinematography of James Wong Howe with Frankenheimer’s “Seconds.” We talk about the camerawork (paired with the editing) and how it works — or doesn’t work — for us in this thriller. We chat about the talent, notably Rock Hudson, John Randolph, Salome Jens, Will Geer, Murray Hamilton and Jeff Corey, and what they bring to the table. We discuss what works and what doesn’t work for us in this unique sci-fi story. And we touch on Jerry Goldsmith’s music and how much we love — or hate — it in this film. It’s a bit of a divisive conversation this week, but a very fun one. Tune in!

Film Sundries

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]]> “Time for a change."

James Wong Howe shot color films very well, but it was his black-and-white cinematography that he was really known for. He won two Oscars for his B&W cinematography and played with many techniques that influenced filmmakers and cinematographers long after he was gone. The camera work on John Frankenheimer’s 1966 film “Seconds” is no exception. It fits the tone of the film perfectly, creating a sense of unease and discomfort quite often. Join us — Pete Wright and Andy Nelson — as we finish our B&W cinematography of James Wong Howe with Frankenheimer’s “Seconds.” We talk about the camerawork (paired with the editing) and how it works — or doesn’t work — for us in this thriller. We chat about the talent, notably Rock Hudson, John Randolph, Salome Jens, Will Geer, Murray Hamilton and Jeff Corey, and what they bring to the table. We discuss what works and what doesn’t work for us in this unique sci-fi story. And we touch on Jerry Goldsmith’s music and how much we love — or hate — it in this film. It’s a bit of a divisive conversation this week, but a very fun one. Tune in!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 18 Jun 2015 00:00:00 -0700 The Next Reel The Next Reel 4127 James Wong Howe shot color films very well, but it was his black-and-white cinematography that he was really known for. He won two Oscars for his B&W cinematography and played with many techniques that influenced filmmakers and cinematographers long after he was gone. The camera work on John Frankenheimer’s 1966 film “Seconds” is no exception. It fits the tone of the film perfectly, creating a sense of unease and discomfort quite often. Join us — Pete Wright and Andy Nelson — as we finish our B&W cinematography of James Wong Howe with Frankenheimer’s “Seconds.” We talk about the camerawork (paired with the editing) and how it works — or doesn’t work — for us in this thriller. We chat about the talent, notably Rock Hudson, John Randolph, Salome Jens, Will Geer, Murray Hamilton and Jeff Corey, and what they bring to the table. We discuss what works and what doesn’t work for us in this unique sci-fi story. And we touch on Jerry Goldsmith’s music and how much we love — or hate — it in this film. It’s a bit of a divisive conversation this week, but a very fun one. Tune in! James Wong Howe shot color films very well, but it was his black-and-white cinematography that he was really known for. He won two Oscars for his B&W cinematography and played with many techniques that influenced filmmakers and cinematographers long a film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Sweet Smell of Success • The Next Reel 4 4 49 49 Sweet Smell of Success • The Next Reel full 2768d321-377d-4ca1-9bd5-5d8aefd707f4 https://share.transistor.fm/s/3ffc06a3 “Match me, Sidney."

James Wong Howe had just won his Oscar for his black-and-white cinematography for “The Rose Tattoo” when the star of the film, Burt Lancaster, hired him to shoot his next picture, “Sweet Smell of Success.” Howe and director Alexander Mackendrick knew right away that to tell this story properly, they really needed to film on the streets of New York City at night. So they did, and in the process created a stunningly gorgeous and dark film noir that feels like it truly lives in the city, not on some Hollywood soundstage. Join us — Pete Wright and Andy Nelson — as we continue our Black-and-White Cinematography of James Wong Howe series with Mackendrick’s wonderful 1956 film, “Sweet Smell of Success.” We talk about the chiaroscuro look that Howe captured in this film, and also look at the deep focus and camera movement and how it all helps tell the story. We chat about Ernest Lehman and Clifford Odets, the writers, looking at what they each contributed to the wickedly brilliant dialogue. We discuss the cast — notably Lancaster, Tony Curtis, Susan Harrison, Marty Milner, Barbara Nichols and Emile Meyer — and what they bring to the table. We touch on Walter Winchell, the figure on whom Lancaster’s character was based. And we talk about how the film was received at the time — poorly — as well as how opinion of it changed over time. It’s a film that feels biting and dangerous, and it’s one we enjoy quite a bit. Tune in!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> “Match me, Sidney."

James Wong Howe had just won his Oscar for his black-and-white cinematography for “The Rose Tattoo” when the star of the film, Burt Lancaster, hired him to shoot his next picture, “Sweet Smell of Success.” Howe and director Alexander Mackendrick knew right away that to tell this story properly, they really needed to film on the streets of New York City at night. So they did, and in the process created a stunningly gorgeous and dark film noir that feels like it truly lives in the city, not on some Hollywood soundstage. Join us — Pete Wright and Andy Nelson — as we continue our Black-and-White Cinematography of James Wong Howe series with Mackendrick’s wonderful 1956 film, “Sweet Smell of Success.” We talk about the chiaroscuro look that Howe captured in this film, and also look at the deep focus and camera movement and how it all helps tell the story. We chat about Ernest Lehman and Clifford Odets, the writers, looking at what they each contributed to the wickedly brilliant dialogue. We discuss the cast — notably Lancaster, Tony Curtis, Susan Harrison, Marty Milner, Barbara Nichols and Emile Meyer — and what they bring to the table. We touch on Walter Winchell, the figure on whom Lancaster’s character was based. And we talk about how the film was received at the time — poorly — as well as how opinion of it changed over time. It’s a film that feels biting and dangerous, and it’s one we enjoy quite a bit. Tune in!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 11 Jun 2015 08:00:00 -0700 The Next Reel The Next Reel 4291 James Wong Howe had just won his Oscar for his black-and-white cinematography for “The Rose Tattoo” when the star of the film, Burt Lancaster, hired him to shoot his next picture, “Sweet Smell of Success.” Howe and director Alexander Mackendrick knew right away that to tell this story properly, they really needed to film on the streets of New York City at night. So they did, and in the process created a stunningly gorgeous and dark film noir that feels like it truly lives in the city, not on some Hollywood soundstage. Join us — Pete Wright and Andy Nelson — as we continue our Black-and-White Cinematography of James Wong Howe series with Mackendrick’s wonderful 1956 film, “Sweet Smell of Success.” We talk about the chiaroscuro look that Howe captured in this film, and also look at the deep focus and camera movement and how it all helps tell the story. We chat about Ernest Lehman and Clifford Odets, the writers, looking at what they each contributed to the wickedly brilliant dialogue. We discuss the cast — notably Lancaster, Tony Curtis, Susan Harrison, Marty Milner, Barbara Nichols and Emile Meyer — and what they bring to the table. We touch on Walter Winchell, the figure on whom Lancaster’s character was based. And we talk about how the film was received at the time — poorly — as well as how opinion of it changed over time. It’s a film that feels biting and dangerous, and it’s one we enjoy quite a bit. Tune in! James Wong Howe had just won his Oscar for his black-and-white cinematography for “The Rose Tattoo” when the star of the film, Burt Lancaster, hired him to shoot his next picture, “Sweet Smell of Success.” Howe and director Alexander Mackendrick knew righ film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Kings Row • The Next Reel 4 4 48 48 Kings Row • The Next Reel full 18c4edb7-ceab-4c79-9668-5fc259589caf https://share.transistor.fm/s/65459830 “Where’s the REST of me?!?!"

“Kings Row” was adapted from a much racier novel from 1940 and had to be sanitized quite a bit because of the Hays Code. They had to leave some pretty big elements out — homosexuality, mercy killings, incest, nymphomania — but even with that, the film still is very dark because of the issues it does deal with. Join us — Pete Wright and Andy Nelson — as we continue our Black and White Cinematography of James Wong Howe series with Sam Wood’s 1942 film “Kings Row.” We talk about the adaptation and what had to change in order for the producers to be given the green light, but what those changes meant for the film and how the added subtext really aids the film through today’s eyes. We chat about the cast — Robert Cummings, Ann Sheridan, Claude Rains and Ronald Reagan in particular — and what each of them bring to the table (notably Reagan in what many call his best performance). We talk about Howe’s great cinematography and what he adds to this dark story with a midwestern gothic style of shooting, giving this seemingly idyllic town at the turn of the last century a touch of noir. And we talk about Wood and his body of work, noting what we’d seen of his without realizing they were his films. It’s a film that really took us both by surprise but one that worked well for us, particularly as a film from the 40s. Tune in!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> “Where’s the REST of me?!?!"

“Kings Row” was adapted from a much racier novel from 1940 and had to be sanitized quite a bit because of the Hays Code. They had to leave some pretty big elements out — homosexuality, mercy killings, incest, nymphomania — but even with that, the film still is very dark because of the issues it does deal with. Join us — Pete Wright and Andy Nelson — as we continue our Black and White Cinematography of James Wong Howe series with Sam Wood’s 1942 film “Kings Row.” We talk about the adaptation and what had to change in order for the producers to be given the green light, but what those changes meant for the film and how the added subtext really aids the film through today’s eyes. We chat about the cast — Robert Cummings, Ann Sheridan, Claude Rains and Ronald Reagan in particular — and what each of them bring to the table (notably Reagan in what many call his best performance). We talk about Howe’s great cinematography and what he adds to this dark story with a midwestern gothic style of shooting, giving this seemingly idyllic town at the turn of the last century a touch of noir. And we talk about Wood and his body of work, noting what we’d seen of his without realizing they were his films. It’s a film that really took us both by surprise but one that worked well for us, particularly as a film from the 40s. Tune in!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 04 Jun 2015 08:00:00 -0700 The Next Reel The Next Reel 4199 “Kings Row” was adapted from a much racier novel from 1940 and had to be sanitized quite a bit because of the Hays Code. They had to leave some pretty big elements out — homosexuality, mercy killings, incest, nymphomania — but even with that, the film still is very dark because of the issues it does deal with. Join us — Pete Wright and Andy Nelson — as we continue our Black and White Cinematography of James Wong Howe series with Sam Wood’s 1942 film “Kings Row.” We talk about the adaptation and what had to change in order for the producers to be given the green light, but what those changes meant for the film and how the added subtext really aids the film through today’s eyes. We chat about the cast — Robert Cummings, Ann Sheridan, Claude Rains and Ronald Reagan in particular — and what each of them bring to the table (notably Reagan in what many call his best performance). We talk about Howe’s great cinematography and what he adds to this dark story with a midwestern gothic style of shooting, giving this seemingly idyllic town at the turn of the last century a touch of noir. And we talk about Wood and his body of work, noting what we’d seen of his without realizing they were his films. It’s a film that really took us both by surprise but one that worked well for us, particularly as a film from the 40s. Tune in! “Kings Row” was adapted from a much racier novel from 1940 and had to be sanitized quite a bit because of the Hays Code. They had to leave some pretty big elements out — homosexuality, mercy killings, incest, nymphomania — but even with that, the film sti film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Thin Man • The Next Reel 4 4 47 47 The Thin Man • The Next Reel full dcf6b189-2316-4747-afe7-b47d0b493c0e https://share.transistor.fm/s/c158dd8f James Wong Howe is often cited as one of the most influential cinematographers there have been. He worked in film from the early days of the silents to the mid-70s when he received his last Oscar nomination for his color work on “Funny Lady.” But his black-and-white cinematography is what he’s primarily known for. Join us — Pete Wright and Andy Nelson — as we start up our Black and White Cinematography of James Wong Howe series with W.S. Van Dyke’s 1934 film “The Thin Man.” We talk about the joy of watching this film, and how it really doesn’t come from the mystery so much as the fantastic relationship between Nick and Norah Charles, probably the most famous sleuthing pair to ever grace the silver screen. We talk about Howe and what he brought to the table in this studio production. We chat about William Powell and Myrna Loy and how their chemistry on and off the screen is some of the best, which must be why they starred in 14 films together. We chat about the rest of the cast as well as Van Dyke and his directing style. And we discuss why a film like this works even if its story isn’t that interesting. It’s a fun film to start our new series and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> James Wong Howe is often cited as one of the most influential cinematographers there have been. He worked in film from the early days of the silents to the mid-70s when he received his last Oscar nomination for his color work on “Funny Lady.” But his black-and-white cinematography is what he’s primarily known for. Join us — Pete Wright and Andy Nelson — as we start up our Black and White Cinematography of James Wong Howe series with W.S. Van Dyke’s 1934 film “The Thin Man.” We talk about the joy of watching this film, and how it really doesn’t come from the mystery so much as the fantastic relationship between Nick and Norah Charles, probably the most famous sleuthing pair to ever grace the silver screen. We talk about Howe and what he brought to the table in this studio production. We chat about William Powell and Myrna Loy and how their chemistry on and off the screen is some of the best, which must be why they starred in 14 films together. We chat about the rest of the cast as well as Van Dyke and his directing style. And we discuss why a film like this works even if its story isn’t that interesting. It’s a fun film to start our new series and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 28 May 2015 08:00:00 -0700 The Next Reel The Next Reel 4081 James Wong Howe is often cited as one of the most influential cinematographers there have been. He worked in film from the early days of the silents to the mid-70s when he received his last Oscar nomination for his color work on “Funny Lady.” But his black-and-white cinematography is what he’s primarily known for. Join us — Pete Wright and Andy Nelson — as we start up our Black and White Cinematography of James Wong Howe series with W.S. Van Dyke’s 1934 film “The Thin Man.” We talk about the joy of watching this film, and how it really doesn’t come from the mystery so much as the fantastic relationship between Nick and Norah Charles, probably the most famous sleuthing pair to ever grace the silver screen. We talk about Howe and what he brought to the table in this studio production. We chat about William Powell and Myrna Loy and how their chemistry on and off the screen is some of the best, which must be why they starred in 14 films together. We chat about the rest of the cast as well as Van Dyke and his directing style. And we discuss why a film like this works even if its story isn’t that interesting. It’s a fun film to start our new series and we have a great time talking about it. Tune in! James Wong Howe is often cited as one of the most influential cinematographers there have been. He worked in film from the early days of the silents to the mid-70s when he received his last Oscar nomination for his color work on “Funny Lady.” But his blac film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Mad Max Fury Road • The Next Reel 4 4 46 46 Mad Max Fury Road • The Next Reel full ea633d11-875c-4cd5-8a60-98080154943a https://share.transistor.fm/s/21793148 In case you haven’t heard, everybody seems to be talking about “Mad Max: Fury Road.” Whether they’re talking about the silly fan theories about who Tom Hardy really is playing in this film, or the ‘meninist’ groups telling people to avoid it because of its feminist agenda, or everyone else talking about the amazing action film that George Miller gave us, it certainly seems to be on people’s minds. Join us — Pete Wright and Andy Nelson — as we finish up our Mad Max series with Miller’s latest entry, and our favorite, “Mad Max: Fury Road.” Andy gets to brag about seeing it in D-Box, while both discuss how the 3D worked overall. We talk about the world building that Miller does in this film and why it works so well. We chat about Charlize Theron as Imperator Furiosa and Tom Hardy as Max, discussing what works — and may not work — in their roles. We discuss some of the people behind the scenes and what they bring to the table — John Seale the DP, production designer Colin Gibson, Guy Norris the action unit director and supervising stunt coordinator and Margaret Sixel, the editor. And we stew on how this fits into the storyline with the first three films. It’s a fantastic action film, likely one that will be oft repeated, and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> In case you haven’t heard, everybody seems to be talking about “Mad Max: Fury Road.” Whether they’re talking about the silly fan theories about who Tom Hardy really is playing in this film, or the ‘meninist’ groups telling people to avoid it because of its feminist agenda, or everyone else talking about the amazing action film that George Miller gave us, it certainly seems to be on people’s minds. Join us — Pete Wright and Andy Nelson — as we finish up our Mad Max series with Miller’s latest entry, and our favorite, “Mad Max: Fury Road.” Andy gets to brag about seeing it in D-Box, while both discuss how the 3D worked overall. We talk about the world building that Miller does in this film and why it works so well. We chat about Charlize Theron as Imperator Furiosa and Tom Hardy as Max, discussing what works — and may not work — in their roles. We discuss some of the people behind the scenes and what they bring to the table — John Seale the DP, production designer Colin Gibson, Guy Norris the action unit director and supervising stunt coordinator and Margaret Sixel, the editor. And we stew on how this fits into the storyline with the first three films. It’s a fantastic action film, likely one that will be oft repeated, and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 21 May 2015 08:00:00 -0700 The Next Reel The Next Reel 4497 In case you haven’t heard, everybody seems to be talking about “Mad Max: Fury Road.” Whether they’re talking about the silly fan theories about who Tom Hardy really is playing in this film, or the ‘meninist’ groups telling people to avoid it because of its feminist agenda, or everyone else talking about the amazing action film that George Miller gave us, it certainly seems to be on people’s minds. Join us — Pete Wright and Andy Nelson — as we finish up our Mad Max series with Miller’s latest entry, and our favorite, “Mad Max: Fury Road.” Andy gets to brag about seeing it in D-Box, while both discuss how the 3D worked overall. We talk about the world building that Miller does in this film and why it works so well. We chat about Charlize Theron as Imperator Furiosa and Tom Hardy as Max, discussing what works — and may not work — in their roles. We discuss some of the people behind the scenes and what they bring to the table — John Seale the DP, production designer Colin Gibson, Guy Norris the action unit director and supervising stunt coordinator and Margaret Sixel, the editor. And we stew on how this fits into the storyline with the first three films. It’s a fantastic action film, likely one that will be oft repeated, and we have a great time talking about it. Tune in! In case you haven’t heard, everybody seems to be talking about “Mad Max: Fury Road.” Whether they’re talking about the silly fan theories about who Tom Hardy really is playing in this film, or the ‘meninist’ groups telling people to avoid it because of it charlizetheron, madmax, georgemiller, tomhardy No Andy Nelson Pete Wright Mad Max Beyond Thunderdome • The Next Reel 4 4 45 45 Mad Max Beyond Thunderdome • The Next Reel full 5acca773-5d15-4e95-a456-38696fe318cd https://share.transistor.fm/s/89a2136a While the first two Mad Max films had so much going for them, it sure seemed like a stumble with the third of the trilogy. But that’s looking at it through today’s eyes because some critics like Roger Ebert sure loved it — he put it on his ’10 Best’ list of 1985! Okay, so George Miller had lost his producing partner, Byron Kennedy, and let George Ogilvie co-direct it with him. Maybe that’s why “Mad Max Beyond Thunderdome” seems to be a bit of a stumble. Maybe it was the American financing that made it feel less gritty and more… Hollywood. Whatever it was, it’s definitely the lesser of the three films. Join us — Pete Wright and Andy Nelson — as we go beyond Thunderdome with Mel Gibson and Tina Turner, continuing our Mad Max series with Miller’s 1985 film. We talk about all of the problems it has, and how Andy still finds it a guilty pleasure while Pete downright hates it. We talk about the great concepts Miller and co-writer Terry Hayes had in putting this story together, but how poorly executed they were — every one of them. We chat about the joy of working with 400 pigs on set and what they had to do to make that work. We discuss the car chase — way too late in the movie for our tastes — and how it works in comparison with those we’ve seen come before. And we deliberate on where we think “Fury Road” will fit chronologically with these first three films. It’s a very problematic film on which we find ourselves split, but it’s a very fun film to talk about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> While the first two Mad Max films had so much going for them, it sure seemed like a stumble with the third of the trilogy. But that’s looking at it through today’s eyes because some critics like Roger Ebert sure loved it — he put it on his ’10 Best’ list of 1985! Okay, so George Miller had lost his producing partner, Byron Kennedy, and let George Ogilvie co-direct it with him. Maybe that’s why “Mad Max Beyond Thunderdome” seems to be a bit of a stumble. Maybe it was the American financing that made it feel less gritty and more… Hollywood. Whatever it was, it’s definitely the lesser of the three films. Join us — Pete Wright and Andy Nelson — as we go beyond Thunderdome with Mel Gibson and Tina Turner, continuing our Mad Max series with Miller’s 1985 film. We talk about all of the problems it has, and how Andy still finds it a guilty pleasure while Pete downright hates it. We talk about the great concepts Miller and co-writer Terry Hayes had in putting this story together, but how poorly executed they were — every one of them. We chat about the joy of working with 400 pigs on set and what they had to do to make that work. We discuss the car chase — way too late in the movie for our tastes — and how it works in comparison with those we’ve seen come before. And we deliberate on where we think “Fury Road” will fit chronologically with these first three films. It’s a very problematic film on which we find ourselves split, but it’s a very fun film to talk about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 14 May 2015 19:12:00 -0700 The Next Reel The Next Reel 4853 While the first two Mad Max films had so much going for them, it sure seemed like a stumble with the third of the trilogy. But that’s looking at it through today’s eyes because some critics like Roger Ebert sure loved it — he put it on his ’10 Best’ list of 1985! Okay, so George Miller had lost his producing partner, Byron Kennedy, and let George Ogilvie co-direct it with him. Maybe that’s why “Mad Max Beyond Thunderdome” seems to be a bit of a stumble. Maybe it was the American financing that made it feel less gritty and more… Hollywood. Whatever it was, it’s definitely the lesser of the three films. Join us — Pete Wright and Andy Nelson — as we go beyond Thunderdome with Mel Gibson and Tina Turner, continuing our Mad Max series with Miller’s 1985 film. We talk about all of the problems it has, and how Andy still finds it a guilty pleasure while Pete downright hates it. We talk about the great concepts Miller and co-writer Terry Hayes had in putting this story together, but how poorly executed they were — every one of them. We chat about the joy of working with 400 pigs on set and what they had to do to make that work. We discuss the car chase — way too late in the movie for our tastes — and how it works in comparison with those we’ve seen come before. And we deliberate on where we think “Fury Road” will fit chronologically with these first three films. It’s a very problematic film on which we find ourselves split, but it’s a very fun film to talk about. Tune in! While the first two Mad Max films had so much going for them, it sure seemed like a stumble with the third of the trilogy. But that’s looking at it through today’s eyes because some critics like Roger Ebert sure loved it — he put it on his ’10 Best’ list melgibson, madmax, tinaturner, georgemiller No Andy Nelson Pete Wright Mad Max 2: The Road Warrior • The Next Reel 4 4 44 44 Mad Max 2: The Road Warrior • The Next Reel full fd6fd07c-41c5-448e-89f0-3923eecda876 https://share.transistor.fm/s/0a0eac61 With the international popularity of “Mad Max,” George Miller was excited to get back into the driver’s seat and continue with his hero as he wandered the dystopian wastes of Australia looking for fuel. It was a smart move as “Mad Max 2,” or “The Road Warrior” as it was released in the States, not only did well at the box office but helped build the cult following of this franchise. Join us — Pete Wright and Andy Nelson — as we continue our Mad Max series with 1981’s “Mad Max 2: The Road Warrior.” We talk about the fundamental differences in the types of story between the first and second film, and how Pete gravitates toward the familial connections in the former while Andy gravitates toward the redemption in the latter. We chat about the great cast — Bruce Spence, Michael Preston, Max Phipps, Vernon Wells, Kjell Nilsson, Virginia Hey and of course Mel Gibson — and how they fit in mess of a future. We talk stunts and car chases — of course — and how Miller really stepped it up for this film, culminating in a 13-minute tanker chase at the end. And we look at the costume design and how it’s evolved from the first film to this. We love the film, despite our differences about which is better, and have a great talk about it this week. Tune in!


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]]> With the international popularity of “Mad Max,” George Miller was excited to get back into the driver’s seat and continue with his hero as he wandered the dystopian wastes of Australia looking for fuel. It was a smart move as “Mad Max 2,” or “The Road Warrior” as it was released in the States, not only did well at the box office but helped build the cult following of this franchise. Join us — Pete Wright and Andy Nelson — as we continue our Mad Max series with 1981’s “Mad Max 2: The Road Warrior.” We talk about the fundamental differences in the types of story between the first and second film, and how Pete gravitates toward the familial connections in the former while Andy gravitates toward the redemption in the latter. We chat about the great cast — Bruce Spence, Michael Preston, Max Phipps, Vernon Wells, Kjell Nilsson, Virginia Hey and of course Mel Gibson — and how they fit in mess of a future. We talk stunts and car chases — of course — and how Miller really stepped it up for this film, culminating in a 13-minute tanker chase at the end. And we look at the costume design and how it’s evolved from the first film to this. We love the film, despite our differences about which is better, and have a great talk about it this week. Tune in!


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]]> Thu, 07 May 2015 08:00:00 -0700 The Next Reel The Next Reel 3889 With the international popularity of “Mad Max,” George Miller was excited to get back into the driver’s seat and continue with his hero as he wandered the dystopian wastes of Australia looking for fuel. It was a smart move as “Mad Max 2,” or “The Road Warrior” as it was released in the States, not only did well at the box office but helped build the cult following of this franchise. Join us — Pete Wright and Andy Nelson — as we continue our Mad Max series with 1981’s “Mad Max 2: The Road Warrior.” We talk about the fundamental differences in the types of story between the first and second film, and how Pete gravitates toward the familial connections in the former while Andy gravitates toward the redemption in the latter. We chat about the great cast — Bruce Spence, Michael Preston, Max Phipps, Vernon Wells, Kjell Nilsson, Virginia Hey and of course Mel Gibson — and how they fit in mess of a future. We talk stunts and car chases — of course — and how Miller really stepped it up for this film, culminating in a 13-minute tanker chase at the end. And we look at the costume design and how it’s evolved from the first film to this. We love the film, despite our differences about which is better, and have a great talk about it this week. Tune in! With the international popularity of “Mad Max,” George Miller was excited to get back into the driver’s seat and continue with his hero as he wandered the dystopian wastes of Australia looking for fuel. It was a smart move as “Mad Max 2,” or “The Road War melgibson, madmax, georgemiller No Andy Nelson Pete Wright Mad Max • The Next Reel 4 4 43 43 Mad Max • The Next Reel full 7102e3fb-74b6-45fe-af2b-deecc1e1cd95 https://share.transistor.fm/s/918f9ef9 “They say people don’t believe in heroes anymore. Well, damn them! You and me, Max, we’re going to give them back their heroes!"

George Miller’s film “Mad Max” came out in 1979 in Australia and became a huge success, going on to become the most profitable film ever until it was unseated from its throne by one Blair Witch. It went on to spur two sequels and, soon, a fourth. Join us — Pete Wright and Andy Nelson — as we gear up for one of our most anticipated movies this summer by kicking off our Mad Max series with the start of it all — “Mad Max.“ Join us as we talk about why we love this film so much and how much Miller gets out of this dystopian world he’s created, despite his limited funds. We discuss the nature of this world and where it falls as far as post-acopalytic versus a near future that’s just messed up. We chat about Mel Gibson in one of his first starring roles and what he brings to the table, along with the other actors (including Hugh Keays-Byrne as Toecutter, who will be turning up on ”Fury Road" as well). We go into the amazing stunt work at length, really digging into some of the wild things they did while marveling that so few people got seriously hurt. And we look at the cinematography, art direction, costume design and composing and how each element really worked perfectly to bring this world to life. It’s a fantastic film and we’re both big fans. Tune in!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> “They say people don’t believe in heroes anymore. Well, damn them! You and me, Max, we’re going to give them back their heroes!"

George Miller’s film “Mad Max” came out in 1979 in Australia and became a huge success, going on to become the most profitable film ever until it was unseated from its throne by one Blair Witch. It went on to spur two sequels and, soon, a fourth. Join us — Pete Wright and Andy Nelson — as we gear up for one of our most anticipated movies this summer by kicking off our Mad Max series with the start of it all — “Mad Max.“ Join us as we talk about why we love this film so much and how much Miller gets out of this dystopian world he’s created, despite his limited funds. We discuss the nature of this world and where it falls as far as post-acopalytic versus a near future that’s just messed up. We chat about Mel Gibson in one of his first starring roles and what he brings to the table, along with the other actors (including Hugh Keays-Byrne as Toecutter, who will be turning up on ”Fury Road" as well). We go into the amazing stunt work at length, really digging into some of the wild things they did while marveling that so few people got seriously hurt. And we look at the cinematography, art direction, costume design and composing and how each element really worked perfectly to bring this world to life. It’s a fantastic film and we’re both big fans. Tune in!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 30 Apr 2015 08:00:00 -0700 The Next Reel The Next Reel 4394 George Miller’s film “Mad Max” came out in 1979 in Australia and became a huge success, going on to become the most profitable film ever until it was unseated from its throne by one Blair Witch. It went on to spur two sequels and, soon, a fourth. Join us — Pete Wright and Andy Nelson — as we gear up for one of our most anticipated movies this summer by kicking off our Mad Max series with the start of it all — “Mad Max.“ Join us as we talk about why we love this film so much and how much Miller gets out of this dystopian world he’s created, despite his limited funds. We discuss the nature of this world and where it falls as far as post-acopalytic versus a near future that’s just messed up. We chat about Mel Gibson in one of his first starring roles and what he brings to the table, along with the other actors (including Hugh Keays-Byrne as Toecutter, who will be turning up on ”Fury Road" as well). We go into the amazing stunt work at length, really digging into some of the wild things they did while marveling that so few people got seriously hurt. And we look at the cinematography, art direction, costume design and composing and how each element really worked perfectly to bring this world to life. It’s a fantastic film and we’re both big fans. Tune in! George Miller’s film “Mad Max” came out in 1979 in Australia and became a huge success, going on to become the most profitable film ever until it was unseated from its throne by one Blair Witch. It went on to spur two sequels and, soon, a fourth. Join us madmax No Andy Nelson Pete Wright Touch of Evil • The Next Reel 4 4 42 42 Touch of Evil • The Next Reel full 2e2ca9d3-5f2d-4417-bae3-d15b478a239a https://share.transistor.fm/s/f26015f4 Orson Welles never was one who could direct in the Hollywood studio system without a hitch, and his last studio picture he directed, 1958’s “Touch of Evil,” stands testament to that fact. While the shoot itself went well, the film ran into its issues in post, leaving a truncated version that Welles wasn’t a part of (nor happy with) released on the bottom of a double bill. Luckily, through the plucky determination of producer Rick Schmidlin and editor Walter Murch, an extended version of the film, largely re-edited to Welles’ own notes to the studio, was cut together and released in ’98. The two iterations are night and day, and the film now stands as not only one of the great films noirs but also as one of Welles’ finest cinematic achievements. Join us — Pete Wright and Andy Nelson — as we finish our film noir series with this magnificent, and dark, film. We talk about the problems Welles had with the post on this film and what some of the changes he wanted were, along with how they worked in the extended edition. We ruminate on the idea of Charlton Heston playing a Mexican, but pass that off as an unfortunate sign of the time and a decision needed in order to get the picture off the ground. We also talk about Janet Leigh, Joseph Calleia, Akim Tamiroff, Dennis Weaver, Marlene Dietrich, Joseph Cotten and more. And we spend a while discussing the brilliant camerawork Welles put together with his DP, Russell Metty, along with Welles’ sense of storytelling with a camera and how he was able to create amazing dances between the camera and the actors. It’s a brilliant film — one of our favorites — so go check it out then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Orson Welles never was one who could direct in the Hollywood studio system without a hitch, and his last studio picture he directed, 1958’s “Touch of Evil,” stands testament to that fact. While the shoot itself went well, the film ran into its issues in post, leaving a truncated version that Welles wasn’t a part of (nor happy with) released on the bottom of a double bill. Luckily, through the plucky determination of producer Rick Schmidlin and editor Walter Murch, an extended version of the film, largely re-edited to Welles’ own notes to the studio, was cut together and released in ’98. The two iterations are night and day, and the film now stands as not only one of the great films noirs but also as one of Welles’ finest cinematic achievements. Join us — Pete Wright and Andy Nelson — as we finish our film noir series with this magnificent, and dark, film. We talk about the problems Welles had with the post on this film and what some of the changes he wanted were, along with how they worked in the extended edition. We ruminate on the idea of Charlton Heston playing a Mexican, but pass that off as an unfortunate sign of the time and a decision needed in order to get the picture off the ground. We also talk about Janet Leigh, Joseph Calleia, Akim Tamiroff, Dennis Weaver, Marlene Dietrich, Joseph Cotten and more. And we spend a while discussing the brilliant camerawork Welles put together with his DP, Russell Metty, along with Welles’ sense of storytelling with a camera and how he was able to create amazing dances between the camera and the actors. It’s a brilliant film — one of our favorites — so go check it out then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 23 Apr 2015 08:00:00 -0700 The Next Reel The Next Reel 4395 Orson Welles never was one who could direct in the Hollywood studio system without a hitch, and his last studio picture he directed, 1958’s “Touch of Evil,” stands testament to that fact. While the shoot itself went well, the film ran into its issues in post, leaving a truncated version that Welles wasn’t a part of (nor happy with) released on the bottom of a double bill. Luckily, through the plucky determination of producer Rick Schmidlin and editor Walter Murch, an extended version of the film, largely re-edited to Welles’ own notes to the studio, was cut together and released in ’98. The two iterations are night and day, and the film now stands as not only one of the great films noirs but also as one of Welles’ finest cinematic achievements. Join us — Pete Wright and Andy Nelson — as we finish our film noir series with this magnificent, and dark, film. We talk about the problems Welles had with the post on this film and what some of the changes he wanted were, along with how they worked in the extended edition. We ruminate on the idea of Charlton Heston playing a Mexican, but pass that off as an unfortunate sign of the time and a decision needed in order to get the picture off the ground. We also talk about Janet Leigh, Joseph Calleia, Akim Tamiroff, Dennis Weaver, Marlene Dietrich, Joseph Cotten and more. And we spend a while discussing the brilliant camerawork Welles put together with his DP, Russell Metty, along with Welles’ sense of storytelling with a camera and how he was able to create amazing dances between the camera and the actors. It’s a brilliant film — one of our favorites — so go check it out then tune in! Orson Welles never was one who could direct in the Hollywood studio system without a hitch, and his last studio picture he directed, 1958’s “Touch of Evil,” stands testament to that fact. While the shoot itself went well, the film ran into its issues in p filmnoir, orsonwelles, janetleigh, charltonheston No Andy Nelson Pete Wright Ace in the Hole • The Next Reel 4 4 41 41 Ace in the Hole • The Next Reel full d86e5ec4-623e-4f9b-bd75-c356fecf4660 https://share.transistor.fm/s/310e0b49 “Bad news sells best, because good news is no news."

From “Double Indemnity” in 1944 through “The Apartment” in 1960 (maybe even “One, Two, Three” in ’61), Billy Wilder really hit his stride. His films were all over the map genre-wise, yet he showed how great a director he was because they’re all incredibly memorable. With his successes, however, he certainly didn’t shy away from making dark pictures from time to time, and “Ace in the Hole” is arguably his darkest. Released in 1951, it came out a time when neither the public nor the critics were ready for something like it and it flopped. Hard. But with time, it’s found a new audience and has been canonized as one of his greatest achievements. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with “Ace in the Hole.” We dig deep into our personal opinions about how well the film works — Andy loves is while Pete had problems with it. We delve into what the story is trying to say and debate about how well it’s actually doing what it sets out to do. We chat about the cast — Kirk Douglas, Jan Sterling, Robert Arthur, Porter Hall and more — and look at what they bring to the table. We talk about Wilder and his directing here, along with Charles Lang’s cinematography and Hugo Friedhofer’s brilliant score. And we debate over the placement of the film on our Flickchart, wondering if the rock/paper/scissors battles will ever work better in Pete’s favor. It’s a great week talking about a divisive film. Tune in!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> “Bad news sells best, because good news is no news."

From “Double Indemnity” in 1944 through “The Apartment” in 1960 (maybe even “One, Two, Three” in ’61), Billy Wilder really hit his stride. His films were all over the map genre-wise, yet he showed how great a director he was because they’re all incredibly memorable. With his successes, however, he certainly didn’t shy away from making dark pictures from time to time, and “Ace in the Hole” is arguably his darkest. Released in 1951, it came out a time when neither the public nor the critics were ready for something like it and it flopped. Hard. But with time, it’s found a new audience and has been canonized as one of his greatest achievements. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with “Ace in the Hole.” We dig deep into our personal opinions about how well the film works — Andy loves is while Pete had problems with it. We delve into what the story is trying to say and debate about how well it’s actually doing what it sets out to do. We chat about the cast — Kirk Douglas, Jan Sterling, Robert Arthur, Porter Hall and more — and look at what they bring to the table. We talk about Wilder and his directing here, along with Charles Lang’s cinematography and Hugo Friedhofer’s brilliant score. And we debate over the placement of the film on our Flickchart, wondering if the rock/paper/scissors battles will ever work better in Pete’s favor. It’s a great week talking about a divisive film. Tune in!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 16 Apr 2015 08:00:00 -0700 The Next Reel The Next Reel 5282 From “Double Indemnity” in 1944 through “The Apartment” in 1960 (maybe even “One, Two, Three” in ’61), Billy Wilder really hit his stride. His films were all over the map genre-wise, yet he showed how great a director he was because they’re all incredibly memorable. With his successes, however, he certainly didn’t shy away from making dark pictures from time to time, and “Ace in the Hole” is arguably his darkest. Released in 1951, it came out a time when neither the public nor the critics were ready for something like it and it flopped. Hard. But with time, it’s found a new audience and has been canonized as one of his greatest achievements. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with “Ace in the Hole.” We dig deep into our personal opinions about how well the film works — Andy loves is while Pete had problems with it. We delve into what the story is trying to say and debate about how well it’s actually doing what it sets out to do. We chat about the cast — Kirk Douglas, Jan Sterling, Robert Arthur, Porter Hall and more — and look at what they bring to the table. We talk about Wilder and his directing here, along with Charles Lang’s cinematography and Hugo Friedhofer’s brilliant score. And we debate over the placement of the film on our Flickchart, wondering if the rock/paper/scissors battles will ever work better in Pete’s favor. It’s a great week talking about a divisive film. Tune in! From “Double Indemnity” in 1944 through “The Apartment” in 1960 (maybe even “One, Two, Three” in ’61), Billy Wilder really hit his stride. His films were all over the map genre-wise, yet he showed how great a director he was because they’re all incredibly film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Out of the Past • The Next Reel 4 4 40 40 Out of the Past • The Next Reel full 6ef60798-d14e-41ba-b841-591b3e0b7c63 https://share.transistor.fm/s/821594a9 “You’re like a leaf that the wind blows from one gutter to another."

The two films most often cited as the ultimate representations of film noir are Billy Wilder’s 1944 film “Double Indemnity” and Jacques Tourneur’s 1947 film “Out of the Past.” Tourneur’s film gives us Robert Mitchum at his laconic best, Jane Greer at her sexiest and Kirk Douglas in one of his earliest roles but already defined by his machismo. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir seåries with “Out of the Past.” We talk about what we love about it and how well it represents film noir, as well as the convoluted plot which certainly seems to get more complicated as it progresses. We look at that plot and question how much it affects the viewing of the film or if the noirish nature of the story allows for one to look past the plot and just focus on the mood. We chat about the talent, like Mitchum, Greer and Douglas as well as others, and what they bring to the table with each of their well-written characters. We discuss the crew, including Tourneur, and how their work helps shape this film. And we pine for the 1987 SNL skit with Mitchum and Greer in which they did a spoof of this classic called ‘Out of Gas.’ It’s a brilliant film noir and just a brilliant film — one of our favorites. We have a great time talking about it. Tune in!

Film Sundries

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]]> “You’re like a leaf that the wind blows from one gutter to another."

The two films most often cited as the ultimate representations of film noir are Billy Wilder’s 1944 film “Double Indemnity” and Jacques Tourneur’s 1947 film “Out of the Past.” Tourneur’s film gives us Robert Mitchum at his laconic best, Jane Greer at her sexiest and Kirk Douglas in one of his earliest roles but already defined by his machismo. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir seåries with “Out of the Past.” We talk about what we love about it and how well it represents film noir, as well as the convoluted plot which certainly seems to get more complicated as it progresses. We look at that plot and question how much it affects the viewing of the film or if the noirish nature of the story allows for one to look past the plot and just focus on the mood. We chat about the talent, like Mitchum, Greer and Douglas as well as others, and what they bring to the table with each of their well-written characters. We discuss the crew, including Tourneur, and how their work helps shape this film. And we pine for the 1987 SNL skit with Mitchum and Greer in which they did a spoof of this classic called ‘Out of Gas.’ It’s a brilliant film noir and just a brilliant film — one of our favorites. We have a great time talking about it. Tune in!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 09 Apr 2015 08:00:00 -0700 The Next Reel The Next Reel 4382 The two films most often cited as the ultimate representations of film noir are Billy Wilder’s 1944 film “Double Indemnity” and Jacques Tourneur’s 1947 film “Out of the Past.” Tourneur’s film gives us Robert Mitchum at his laconic best, Jane Greer at her sexiest and Kirk Douglas in one of his earliest roles but already defined by his machismo. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir seåries with “Out of the Past.” We talk about what we love about it and how well it represents film noir, as well as the convoluted plot which certainly seems to get more complicated as it progresses. We look at that plot and question how much it affects the viewing of the film or if the noirish nature of the story allows for one to look past the plot and just focus on the mood. We chat about the talent, like Mitchum, Greer and Douglas as well as others, and what they bring to the table with each of their well-written characters. We discuss the crew, including Tourneur, and how their work helps shape this film. And we pine for the 1987 SNL skit with Mitchum and Greer in which they did a spoof of this classic called ‘Out of Gas.’ It’s a brilliant film noir and just a brilliant film — one of our favorites. We have a great time talking about it. Tune in! The two films most often cited as the ultimate representations of film noir are Billy Wilder’s 1944 film “Double Indemnity” and Jacques Tourneur’s 1947 film “Out of the Past.” Tourneur’s film gives us Robert Mitchum at his laconic best, Jane Greer at her film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Scarlet Street • The Next Reel 4 4 39 39 Scarlet Street • The Next Reel full 400a463b-816e-4d65-bb22-666d1ff78ad3 https://share.transistor.fm/s/ca5dbcf3 “I’ve wanted to laugh in your face ever since I first met you. You’re old and ugly and I’m sick of you! Sick! Sick! Sick!"

Fritz Lang may have often had conflicts with his producers, but when he turned out a great film, he made so great that it’s easy to look past his argumentative nature and just focus on the end product. Well, perhaps more so now than at the time. Sure, he had his stinkers, but looking at a magnificent film like “Scarlet Street,” it’s easy to forgive any battles he started and just relish the brilliance of the story. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Lang’s 1945 masterpiece, “Scarlet Street.” We delve into the murky depths of the theme of the story — is it one more of guilt or one more of jealousy? We wallow in the emasculated character of Christopher Cross, played by Edward G. Robinson, and his nemeses Kitty and Johnny, played by Joan Bennett and Dan Duryea. We dig in the shadows of Fritz Lang’s history and the cinematic tools he uses to tell his story here along with his cinematographer, his editor, and his composer. And we lose ourselves in the haunting paintings of John Decker, wondering if he really lacks perspective just like Cross does. It’s a fabulous film and a very strong representation of film noir. Definitely check this one out — there’s a gorgeous print of it out there which makes the film look brand new — then tune in to the show!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> “I’ve wanted to laugh in your face ever since I first met you. You’re old and ugly and I’m sick of you! Sick! Sick! Sick!"

Fritz Lang may have often had conflicts with his producers, but when he turned out a great film, he made so great that it’s easy to look past his argumentative nature and just focus on the end product. Well, perhaps more so now than at the time. Sure, he had his stinkers, but looking at a magnificent film like “Scarlet Street,” it’s easy to forgive any battles he started and just relish the brilliance of the story. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Lang’s 1945 masterpiece, “Scarlet Street.” We delve into the murky depths of the theme of the story — is it one more of guilt or one more of jealousy? We wallow in the emasculated character of Christopher Cross, played by Edward G. Robinson, and his nemeses Kitty and Johnny, played by Joan Bennett and Dan Duryea. We dig in the shadows of Fritz Lang’s history and the cinematic tools he uses to tell his story here along with his cinematographer, his editor, and his composer. And we lose ourselves in the haunting paintings of John Decker, wondering if he really lacks perspective just like Cross does. It’s a fabulous film and a very strong representation of film noir. Definitely check this one out — there’s a gorgeous print of it out there which makes the film look brand new — then tune in to the show!

Film Sundries

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 02 Apr 2015 08:00:00 -0700 The Next Reel The Next Reel 4391 Fritz Lang may have often had conflicts with his producers, but when he turned out a great film, he made so great that it’s easy to look past his argumentative nature and just focus on the end product. Well, perhaps more so now than at the time. Sure, he had his stinkers, but looking at a magnificent film like “Scarlet Street,” it’s easy to forgive any battles he started and just relish the brilliance of the story. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Lang’s 1945 masterpiece, “Scarlet Street.” We delve into the murky depths of the theme of the story — is it one more of guilt or one more of jealousy? We wallow in the emasculated character of Christopher Cross, played by Edward G. Robinson, and his nemeses Kitty and Johnny, played by Joan Bennett and Dan Duryea. We dig in the shadows of Fritz Lang’s history and the cinematic tools he uses to tell his story here along with his cinematographer, his editor, and his composer. And we lose ourselves in the haunting paintings of John Decker, wondering if he really lacks perspective just like Cross does. It’s a fabulous film and a very strong representation of film noir. Definitely check this one out — there’s a gorgeous print of it out there which makes the film look brand new — then tune in to the show! Fritz Lang may have often had conflicts with his producers, but when he turned out a great film, he made so great that it’s easy to look past his argumentative nature and just focus on the end product. Well, perhaps more so now than at the time. Sure, he film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Detour • The Next Reel 4 4 38 38 Detour • The Next Reel full a28f2b44-bf37-48d5-81d6-7ee75a25198a https://share.transistor.fm/s/41338d3f “That’s life. Whichever way you turn, fate sticks out a foot to trip you."

There are good films noir and there are bad films noir. But rarely do you have a case like 1945’s “Detour,” directed by Edgar G. Ulmer, where the poor quality that would make it a bad film could actually be construed as elements that make it a good film. In fact, this is arguably the only case where that happened. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Ulmer’s “Detour.” We talk about the origins of the film on poverty row and what that meant at the time, as well as talk about some of the films that Ulmer made under this umbrella. We really dig into the quality — or lack thereof — of this film and debate if it really helps lend to the noir aesthetic or if it just makes it reek of a cheap film. We deliberate over the quality of the performances provided by Tom Neal and Ann Savage and decide we love her but are split on Neal. And we look at it in context of the world of noir, touching on the femme fatale, the poor sap of a hero, the black and white cinematography, the tone, etc. It’s a film that, if viewed without any look into the history or without a conversation about it, likely could be seen as just a bad film, but when really digging into it, there’s something more to it and it certainly is worth talking about. So check it out and tune in!

Film Sundries


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]]> “That’s life. Whichever way you turn, fate sticks out a foot to trip you."

There are good films noir and there are bad films noir. But rarely do you have a case like 1945’s “Detour,” directed by Edgar G. Ulmer, where the poor quality that would make it a bad film could actually be construed as elements that make it a good film. In fact, this is arguably the only case where that happened. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Ulmer’s “Detour.” We talk about the origins of the film on poverty row and what that meant at the time, as well as talk about some of the films that Ulmer made under this umbrella. We really dig into the quality — or lack thereof — of this film and debate if it really helps lend to the noir aesthetic or if it just makes it reek of a cheap film. We deliberate over the quality of the performances provided by Tom Neal and Ann Savage and decide we love her but are split on Neal. And we look at it in context of the world of noir, touching on the femme fatale, the poor sap of a hero, the black and white cinematography, the tone, etc. It’s a film that, if viewed without any look into the history or without a conversation about it, likely could be seen as just a bad film, but when really digging into it, there’s something more to it and it certainly is worth talking about. So check it out and tune in!

Film Sundries


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]]> Thu, 26 Mar 2015 08:00:00 -0700 The Next Reel The Next Reel 4470 There are good films noir and there are bad films noir. But rarely do you have a case like 1945’s “Detour,” directed by Edgar G. Ulmer, where the poor quality that would make it a bad film could actually be construed as elements that make it a good film. In fact, this is arguably the only case where that happened. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Ulmer’s “Detour.” We talk about the origins of the film on poverty row and what that meant at the time, as well as talk about some of the films that Ulmer made under this umbrella. We really dig into the quality — or lack thereof — of this film and debate if it really helps lend to the noir aesthetic or if it just makes it reek of a cheap film. We deliberate over the quality of the performances provided by Tom Neal and Ann Savage and decide we love her but are split on Neal. And we look at it in context of the world of noir, touching on the femme fatale, the poor sap of a hero, the black and white cinematography, the tone, etc. It’s a film that, if viewed without any look into the history or without a conversation about it, likely could be seen as just a bad film, but when really digging into it, there’s something more to it and it certainly is worth talking about. So check it out and tune in! There are good films noir and there are bad films noir. But rarely do you have a case like 1945’s “Detour,” directed by Edgar G. Ulmer, where the poor quality that would make it a bad film could actually be construed as elements that make it a good film. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Double Indemnity • The Next Reel 4 4 37 37 Double Indemnity • The Next Reel full b46507a4-74a1-4289-bd2b-a54bb61a737e https://share.transistor.fm/s/905f423f Nobody knew they were making films noir when the genre started in the 40s — it wasn’t until much later when the French dubbed this new run of American films that had a darker bent with snappy dialogue, lots of shadows and femme fatales film noir. Billy Wilder was setting out to make a crime thriller; he didn’t realize at the time that his film “Double Indemnity” would be considered the first real film noir. Join us — Pete Wright and Andy Nelson — as we begin our Film Noir series with Wilder’s brilliant film from 1944. We talk about the genre and what it means to be called a ‘film noir,’ particularly in relationship to the Hays Code. We chat about the brilliant trio of actors who bring this film to life — Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. We look at the brilliant directing by Wilder and his co-writing with none other than Raymond Chandler. We investigate the dark and shadowy lighting by cinematographer John F. Seitz as well as the moody, driving score by Miklos Rozsa. And we touch on the real life crime that inspired James M. Cain to write the novella upon which this was based. It’s one of our favorite films and certainly the perfect way to kick off this series. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

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]]> Nobody knew they were making films noir when the genre started in the 40s — it wasn’t until much later when the French dubbed this new run of American films that had a darker bent with snappy dialogue, lots of shadows and femme fatales film noir. Billy Wilder was setting out to make a crime thriller; he didn’t realize at the time that his film “Double Indemnity” would be considered the first real film noir. Join us — Pete Wright and Andy Nelson — as we begin our Film Noir series with Wilder’s brilliant film from 1944. We talk about the genre and what it means to be called a ‘film noir,’ particularly in relationship to the Hays Code. We chat about the brilliant trio of actors who bring this film to life — Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. We look at the brilliant directing by Wilder and his co-writing with none other than Raymond Chandler. We investigate the dark and shadowy lighting by cinematographer John F. Seitz as well as the moody, driving score by Miklos Rozsa. And we touch on the real life crime that inspired James M. Cain to write the novella upon which this was based. It’s one of our favorite films and certainly the perfect way to kick off this series. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 19 Mar 2015 09:13:00 -0700 The Next Reel The Next Reel 4251 Nobody knew they were making films noir when the genre started in the 40s — it wasn’t until much later when the French dubbed this new run of American films that had a darker bent with snappy dialogue, lots of shadows and femme fatales film noir. Billy Wilder was setting out to make a crime thriller; he didn’t realize at the time that his film “Double Indemnity” would be considered the first real film noir. Join us — Pete Wright and Andy Nelson — as we begin our Film Noir series with Wilder’s brilliant film from 1944. We talk about the genre and what it means to be called a ‘film noir,’ particularly in relationship to the Hays Code. We chat about the brilliant trio of actors who bring this film to life — Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. We look at the brilliant directing by Wilder and his co-writing with none other than Raymond Chandler. We investigate the dark and shadowy lighting by cinematographer John F. Seitz as well as the moody, driving score by Miklos Rozsa. And we touch on the real life crime that inspired James M. Cain to write the novella upon which this was based. It’s one of our favorite films and certainly the perfect way to kick off this series. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Nobody knew they were making films noir when the genre started in the 40s — it wasn’t until much later when the French dubbed this new run of American films that had a darker bent with snappy dialogue, lots of shadows and femme fatales film noir. Billy Wi film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright La Vie en Rose • The Next Reel 4 4 36 36 La Vie en Rose • The Next Reel full aff14ac8-30ec-4d1c-96bb-8ca875322b7c https://share.transistor.fm/s/b44e4cbe Biopics come in a variety of shapes and sizes. Olivier Dahan’s film “La Vie en Rose” detailing the life of Edith Piaf, one of France’s greatest singers and international stars, is a whirlwind of a film. Unlike biopics that tell the story linearly, this one wraps its audience in and proceeds to take them on a wild ride all through Piaf’s sadly short life, not so much focused on chronology as much as an emotional journey. It’s a brazen way to tell the story but one that mostly works. Join us — Pete Wright and Andy Nelson — as we conclude our 4-part Guess the Connection series with Dahan’s 2007 Oscar-winning film “La Vie en Rose.” We talk about Marion Cotillard’s performance, which drives this film and is, in our minds, the reason to watch it. We touch on the other performers, notably Gerard Depardieu and Emmanuelle Seigner, but how all of them are truly dwarfed by Cotillard’s performance. We discuss the nature of biopics and how this story structure works in the world of this subgenre, then debate which type of biopic we find more successful. We chat about the cinematography by Tetsuo Nagata and how great it looks, along with several specific scenes that unfold in very creative ways. And we talk about Piaf’s songs and Christopher Gunning’s score, looking at the balance between the two and how the film doesn’t feel the need to overwhelm us with every Piaf song out there. It’s a strong story because of Piaf’s life and Cotillard’s performance and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Biopics come in a variety of shapes and sizes. Olivier Dahan’s film “La Vie en Rose” detailing the life of Edith Piaf, one of France’s greatest singers and international stars, is a whirlwind of a film. Unlike biopics that tell the story linearly, this one wraps its audience in and proceeds to take them on a wild ride all through Piaf’s sadly short life, not so much focused on chronology as much as an emotional journey. It’s a brazen way to tell the story but one that mostly works. Join us — Pete Wright and Andy Nelson — as we conclude our 4-part Guess the Connection series with Dahan’s 2007 Oscar-winning film “La Vie en Rose.” We talk about Marion Cotillard’s performance, which drives this film and is, in our minds, the reason to watch it. We touch on the other performers, notably Gerard Depardieu and Emmanuelle Seigner, but how all of them are truly dwarfed by Cotillard’s performance. We discuss the nature of biopics and how this story structure works in the world of this subgenre, then debate which type of biopic we find more successful. We chat about the cinematography by Tetsuo Nagata and how great it looks, along with several specific scenes that unfold in very creative ways. And we talk about Piaf’s songs and Christopher Gunning’s score, looking at the balance between the two and how the film doesn’t feel the need to overwhelm us with every Piaf song out there. It’s a strong story because of Piaf’s life and Cotillard’s performance and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 12 Mar 2015 08:00:00 -0700 The Next Reel The Next Reel 4751 Biopics come in a variety of shapes and sizes. Olivier Dahan’s film “La Vie en Rose” detailing the life of Edith Piaf, one of France’s greatest singers and international stars, is a whirlwind of a film. Unlike biopics that tell the story linearly, this one wraps its audience in and proceeds to take them on a wild ride all through Piaf’s sadly short life, not so much focused on chronology as much as an emotional journey. It’s a brazen way to tell the story but one that mostly works. Join us — Pete Wright and Andy Nelson — as we conclude our 4-part Guess the Connection series with Dahan’s 2007 Oscar-winning film “La Vie en Rose.” We talk about Marion Cotillard’s performance, which drives this film and is, in our minds, the reason to watch it. We touch on the other performers, notably Gerard Depardieu and Emmanuelle Seigner, but how all of them are truly dwarfed by Cotillard’s performance. We discuss the nature of biopics and how this story structure works in the world of this subgenre, then debate which type of biopic we find more successful. We chat about the cinematography by Tetsuo Nagata and how great it looks, along with several specific scenes that unfold in very creative ways. And we talk about Piaf’s songs and Christopher Gunning’s score, looking at the balance between the two and how the film doesn’t feel the need to overwhelm us with every Piaf song out there. It’s a strong story because of Piaf’s life and Cotillard’s performance and we have a great time talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Biopics come in a variety of shapes and sizes. Olivier Dahan’s film “La Vie en Rose” detailing the life of Edith Piaf, one of France’s greatest singers and international stars, is a whirlwind of a film. Unlike biopics that tell the story linearly, this on film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright L.A. Confidential • The Next Reel 4 4 35 35 L.A. Confidential • The Next Reel full a87303f3-42c2-4502-808e-e50102ca7266 https://share.transistor.fm/s/f609bbd7 1997 was a big year for movies, and perhaps that’s because one of the biggest box office sensations — James Cameron’s “Titanic” — was released that year. And while it went on to make a gajillion dollars (okay, just $2.2 billion worldwide), many argue that it’s not actually the best movie of the year, but instead give that title to Curtis Hanson’s crime thriller “L.A. Confidential.” Join us — Pete Wright and Andy Nelson — as we continue our Guess the Connection series with this fantastic film. We talk about the nature of the story as a crime thriller and as, possibly, a neo-noir, and look into what the genre implications mean for what the film should have been working to achieve in its look. We discuss the look, as well as the editing, the score, the production design, and of course the writing and directing, and what all the individuals bring to the table. We dig into the actors — primarily Guy Pearce, Russell Crowe, Kevin Spacey, James Cromwell and Kim Basinger — and chat about their individual performances. And we go back to the original source material by James Ellroy and compare it with Brian Helgeland’s wonderful script, looking at how he (and Hanson) honed it down to focus it and make the screenplay and movie their own take on the take, equal in power to the novel. It’s a wonderful film that stands high in our estimation. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> 1997 was a big year for movies, and perhaps that’s because one of the biggest box office sensations — James Cameron’s “Titanic” — was released that year. And while it went on to make a gajillion dollars (okay, just $2.2 billion worldwide), many argue that it’s not actually the best movie of the year, but instead give that title to Curtis Hanson’s crime thriller “L.A. Confidential.” Join us — Pete Wright and Andy Nelson — as we continue our Guess the Connection series with this fantastic film. We talk about the nature of the story as a crime thriller and as, possibly, a neo-noir, and look into what the genre implications mean for what the film should have been working to achieve in its look. We discuss the look, as well as the editing, the score, the production design, and of course the writing and directing, and what all the individuals bring to the table. We dig into the actors — primarily Guy Pearce, Russell Crowe, Kevin Spacey, James Cromwell and Kim Basinger — and chat about their individual performances. And we go back to the original source material by James Ellroy and compare it with Brian Helgeland’s wonderful script, looking at how he (and Hanson) honed it down to focus it and make the screenplay and movie their own take on the take, equal in power to the novel. It’s a wonderful film that stands high in our estimation. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 05 Mar 2015 07:49:00 -0800 The Next Reel The Next Reel 4821 1997 was a big year for movies, and perhaps that’s because one of the biggest box office sensations — James Cameron’s “Titanic” — was released that year. And while it went on to make a gajillion dollars (okay, just $2.2 billion worldwide), many argue that it’s not actually the best movie of the year, but instead give that title to Curtis Hanson’s crime thriller “L.A. Confidential.” Join us — Pete Wright and Andy Nelson — as we continue our Guess the Connection series with this fantastic film. We talk about the nature of the story as a crime thriller and as, possibly, a neo-noir, and look into what the genre implications mean for what the film should have been working to achieve in its look. We discuss the look, as well as the editing, the score, the production design, and of course the writing and directing, and what all the individuals bring to the table. We dig into the actors — primarily Guy Pearce, Russell Crowe, Kevin Spacey, James Cromwell and Kim Basinger — and chat about their individual performances. And we go back to the original source material by James Ellroy and compare it with Brian Helgeland’s wonderful script, looking at how he (and Hanson) honed it down to focus it and make the screenplay and movie their own take on the take, equal in power to the novel. It’s a wonderful film that stands high in our estimation. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) 1997 was a big year for movies, and perhaps that’s because one of the biggest box office sensations — James Cameron’s “Titanic” — was released that year. And while it went on to make a gajillion dollars (okay, just $2.2 billion worldwide), many argue that film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Million Dollar Baby • The Next Reel 4 4 34 34 Million Dollar Baby • The Next Reel full 6418afe5-1cb4-4411-a655-0437cb18b38b https://share.transistor.fm/s/f15bf2e4 Next up in our Guess the Connection series: Clint Eastwood’s 2004 boxing drama “Million Dollar Baby."

For those of you who have yet to see “Million Dollar Baby,” you probably should just stop reading this and go watch the movie. Even though the movie is nearly 11 years old now, it’s still hard to talk about without going into detail about the change in story direction in the third act. That was a divisive problem at the time of the movie’s release, and while it shouldn’t be a problem now, it feels like it is. But we jump into all kinds of spoilers in our show this week. Join us — Pete Wright and Andy Nelson — as we continue our mysterious Guess the Connection series with Eastwood’s 2004 film “Million Dollar Baby.” First off, it’s not a boxing movie like “Rocky” is a boxing movie, and we talk at length about that, really looking at the direction this screenplay takes you. This is a boxing drama — a story about characters who happen to inhabit the world of boxing. We chat about the ninja-level script by Paul Haggis based on F.X. Toole’s book and how it works outside of the confines of the standard structure expected in Hollywood screenplays. We discuss the brilliant performances all the way through from Eastwood to Hilary Swank and Morgan Freeman, as well as the supporting players like Jay Baruchel, Anthony Mackie and Margo Martingale. It’s a powerful film that hits its mark every time, so watch the movie then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Next up in our Guess the Connection series: Clint Eastwood’s 2004 boxing drama “Million Dollar Baby."

For those of you who have yet to see “Million Dollar Baby,” you probably should just stop reading this and go watch the movie. Even though the movie is nearly 11 years old now, it’s still hard to talk about without going into detail about the change in story direction in the third act. That was a divisive problem at the time of the movie’s release, and while it shouldn’t be a problem now, it feels like it is. But we jump into all kinds of spoilers in our show this week. Join us — Pete Wright and Andy Nelson — as we continue our mysterious Guess the Connection series with Eastwood’s 2004 film “Million Dollar Baby.” First off, it’s not a boxing movie like “Rocky” is a boxing movie, and we talk at length about that, really looking at the direction this screenplay takes you. This is a boxing drama — a story about characters who happen to inhabit the world of boxing. We chat about the ninja-level script by Paul Haggis based on F.X. Toole’s book and how it works outside of the confines of the standard structure expected in Hollywood screenplays. We discuss the brilliant performances all the way through from Eastwood to Hilary Swank and Morgan Freeman, as well as the supporting players like Jay Baruchel, Anthony Mackie and Margo Martingale. It’s a powerful film that hits its mark every time, so watch the movie then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 26 Feb 2015 08:00:00 -0800 The Next Reel The Next Reel 4802 Next up in our Guess the Connection series: Clint Eastwood’s 2004 boxing drama “Million Dollar Baby." For those of you who have yet to see “Million Dollar Baby,” you probably should just stop reading this and go watch the movie. Even though the movie is nearly 11 years old now, it’s still hard to talk about without going into detail about the change in story direction in the third act. That was a divisive problem at the time of the movie’s release, and while it shouldn’t be a problem now, it feels like it is. But we jump into all kinds of spoilers in our show this week. Join us — Pete Wright and Andy Nelson — as we continue our mysterious Guess the Connection series with Eastwood’s 2004 film “Million Dollar Baby.” First off, it’s not a boxing movie like “Rocky” is a boxing movie, and we talk at length about that, really looking at the direction this screenplay takes you. This is a boxing drama — a story about characters who happen to inhabit the world of boxing. We chat about the ninja-level script by Paul Haggis based on F.X. Toole’s book and how it works outside of the confines of the standard structure expected in Hollywood screenplays. We discuss the brilliant performances all the way through from Eastwood to Hilary Swank and Morgan Freeman, as well as the supporting players like Jay Baruchel, Anthony Mackie and Margo Martingale. It’s a powerful film that hits its mark every time, so watch the movie then tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Next up in our Guess the Connection series: Clint Eastwood’s 2004 boxing drama “Million Dollar Baby." For those of you who have yet to see “Million Dollar Baby,” you probably should just stop reading this and go watch the movie. Even though the movie is film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Syriana • The Next Reel 4 4 33 33 Syriana • The Next Reel full ead912d3-3089-40ca-b581-40f7674781b9 https://share.transistor.fm/s/effdcf38 It’s game time, folks! This current series consists of four films that for all intents and purposes are not related, except for one connection they all have. And that’s the game — guess the connection. We won’t be announcing the films ahead of time — you’ll have to wait until they’re released to see what the films are. And when the podcast about the fourth film in our series is released on Friday, March 13th, the first person to post the correct connection on Facebook or Twitter will win a Next Reel T-shirt! Think you’ve got what it takes? Then tune in for clues and play along! First up, “Syriana."

After Stephen Gaghan wrote “Traffic” for Steven Soderbergh, Soderbergh introduced him to Robert Baer’s book “See No Evil,” and Gaghan knew the next complex multi-story film he wanted to write. After years of researching around the world, he brought “Syriana” to the world and, while well received, both critics and audiences alike found it very complicated and confusing. Join us — Pete Wright and Andy Nelson — as we begin our Mystery series with Gaghan’s 2005 film “Syriana.” We talk about why Andy likes it so much — loves it in fact — and what he gets out of it, as well as why Pete finds it to be 20 minutes of a brilliant ending preceded by tedium. We chat about the countless famous faces gracing the screen in this film and how they each do, particularly Matt Damon, George Clooney, Jeffrey Wright and Alexander Siddig. We discuss the roles each of them play and how their stories connect, as well as the fascinating element of fathers and sons in the story. We discuss the politics within the film as well as the terrorism and the corporate greed. And we cover some of the technical elements, like the editing, the camera work and the score. It’s a film that even we find divisive but one that is definitely saying something. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> It’s game time, folks! This current series consists of four films that for all intents and purposes are not related, except for one connection they all have. And that’s the game — guess the connection. We won’t be announcing the films ahead of time — you’ll have to wait until they’re released to see what the films are. And when the podcast about the fourth film in our series is released on Friday, March 13th, the first person to post the correct connection on Facebook or Twitter will win a Next Reel T-shirt! Think you’ve got what it takes? Then tune in for clues and play along! First up, “Syriana."

After Stephen Gaghan wrote “Traffic” for Steven Soderbergh, Soderbergh introduced him to Robert Baer’s book “See No Evil,” and Gaghan knew the next complex multi-story film he wanted to write. After years of researching around the world, he brought “Syriana” to the world and, while well received, both critics and audiences alike found it very complicated and confusing. Join us — Pete Wright and Andy Nelson — as we begin our Mystery series with Gaghan’s 2005 film “Syriana.” We talk about why Andy likes it so much — loves it in fact — and what he gets out of it, as well as why Pete finds it to be 20 minutes of a brilliant ending preceded by tedium. We chat about the countless famous faces gracing the screen in this film and how they each do, particularly Matt Damon, George Clooney, Jeffrey Wright and Alexander Siddig. We discuss the roles each of them play and how their stories connect, as well as the fascinating element of fathers and sons in the story. We discuss the politics within the film as well as the terrorism and the corporate greed. And we cover some of the technical elements, like the editing, the camera work and the score. It’s a film that even we find divisive but one that is definitely saying something. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 19 Feb 2015 08:00:00 -0800 The Next Reel The Next Reel 4483 It’s game time, folks! This current series consists of four films that for all intents and purposes are not related, except for one connection they all have. And that’s the game — guess the connection. We won’t be announcing the films ahead of time — you’ll have to wait until they’re released to see what the films are. And when the podcast about the fourth film in our series is released on Friday, March 13th, the first person to post the correct connection on Facebook or Twitter will win a Next Reel T-shirt! Think you’ve got what it takes? Then tune in for clues and play along! First up, “Syriana." After Stephen Gaghan wrote “Traffic” for Steven Soderbergh, Soderbergh introduced him to Robert Baer’s book “See No Evil,” and Gaghan knew the next complex multi-story film he wanted to write. After years of researching around the world, he brought “Syriana” to the world and, while well received, both critics and audiences alike found it very complicated and confusing. Join us — Pete Wright and Andy Nelson — as we begin our Mystery series with Gaghan’s 2005 film “Syriana.” We talk about why Andy likes it so much — loves it in fact — and what he gets out of it, as well as why Pete finds it to be 20 minutes of a brilliant ending preceded by tedium. We chat about the countless famous faces gracing the screen in this film and how they each do, particularly Matt Damon, George Clooney, Jeffrey Wright and Alexander Siddig. We discuss the roles each of them play and how their stories connect, as well as the fascinating element of fathers and sons in the story. We discuss the politics within the film as well as the terrorism and the corporate greed. And we cover some of the technical elements, like the editing, the camera work and the score. It’s a film that even we find divisive but one that is definitely saying something. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) It’s game time, folks! This current series consists of four films that for all intents and purposes are not related, except for one connection they all have. And that’s the game — guess the connection. We won’t be announcing the films ahead of time — you’ film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Delicatessen • The Next Reel 4 4 32 32 Delicatessen • The Next Reel full ae50f1b7-6f6f-4b2c-84ca-b0cc181f8963 https://share.transistor.fm/s/d278d3f1 We love doing our Listener’s Choice episodes — it’s a great way for our listeners to get us to finally talk about movies about which conversations are long overdue. Cameron Ryan, our 2014 Pony Prize winner, got to pick the movie this time, and ended up picking the fantastic black comedy “Delicatessen,” a movie that we both love but for whatever reason just hadn’t gotten around to discussing yet. So now finally, join us — Pete Wright and Andy Nelson — as we enjoy another Listener’s Choice episode with one of our faves, the Jean-Pierre Jeunet & Marc Caro 1991 film “Delicatessen.” We talk with Cameron about why she chose this film and what it means to her, as well as the joy of winning the Pony Prize. We discuss the look of the movie — Jeunet and Caro each come from graphical backgrounds and, when paired with Darius Khondji’s beautiful cinematography, as well as the amazing production and costume design, created an unforgettable post-apocalyptic world. We chat about the indelible performances, starting with Dominique Pinon, a perfect choice for someone who was a former circus performer. And we talk about the nature of the story, a very upside down world with hell on earth and underground saviors. It’s a marvelous film that deserves to be talked about, so tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> We love doing our Listener’s Choice episodes — it’s a great way for our listeners to get us to finally talk about movies about which conversations are long overdue. Cameron Ryan, our 2014 Pony Prize winner, got to pick the movie this time, and ended up picking the fantastic black comedy “Delicatessen,” a movie that we both love but for whatever reason just hadn’t gotten around to discussing yet. So now finally, join us — Pete Wright and Andy Nelson — as we enjoy another Listener’s Choice episode with one of our faves, the Jean-Pierre Jeunet & Marc Caro 1991 film “Delicatessen.” We talk with Cameron about why she chose this film and what it means to her, as well as the joy of winning the Pony Prize. We discuss the look of the movie — Jeunet and Caro each come from graphical backgrounds and, when paired with Darius Khondji’s beautiful cinematography, as well as the amazing production and costume design, created an unforgettable post-apocalyptic world. We chat about the indelible performances, starting with Dominique Pinon, a perfect choice for someone who was a former circus performer. And we talk about the nature of the story, a very upside down world with hell on earth and underground saviors. It’s a marvelous film that deserves to be talked about, so tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 12 Feb 2015 08:00:00 -0800 The Next Reel The Next Reel 4927 We love doing our Listener’s Choice episodes — it’s a great way for our listeners to get us to finally talk about movies about which conversations are long overdue. Cameron Ryan, our 2014 Pony Prize winner, got to pick the movie this time, and ended up picking the fantastic black comedy “Delicatessen,” a movie that we both love but for whatever reason just hadn’t gotten around to discussing yet. So now finally, join us — Pete Wright and Andy Nelson — as we enjoy another Listener’s Choice episode with one of our faves, the Jean-Pierre Jeunet & Marc Caro 1991 film “Delicatessen.” We talk with Cameron about why she chose this film and what it means to her, as well as the joy of winning the Pony Prize. We discuss the look of the movie — Jeunet and Caro each come from graphical backgrounds and, when paired with Darius Khondji’s beautiful cinematography, as well as the amazing production and costume design, created an unforgettable post-apocalyptic world. We chat about the indelible performances, starting with Dominique Pinon, a perfect choice for someone who was a former circus performer. And we talk about the nature of the story, a very upside down world with hell on earth and underground saviors. It’s a marvelous film that deserves to be talked about, so tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) We love doing our Listener’s Choice episodes — it’s a great way for our listeners to get us to finally talk about movies about which conversations are long overdue. Cameron Ryan, our 2014 Pony Prize winner, got to pick the movie this time, and ended up pi film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Murder By Death • The Next Reel 4 4 31 31 Murder By Death • The Next Reel full 16be1436-c3b2-4532-99c7-43bcf0b544f2 https://share.transistor.fm/s/32d2ae5a Neil Simon saw Alec Guinness reading the script for “Star Wars” on the set of “Murder By Death,” and very soon after that, Guinness would be known as Obi Wan Kenobi to the world. But there is so much more to Guinness before that series of films, and in this particular series, so much humor. Join us — Pete Wright and Andy Nelson — as we close out our Sir Alec Guinness series with Robert Moore’s 1976 film “Murder By Death.” We talk about Neil Simon’s comedy writing here, how it worked for us now, and, for Pete, how it’s changed since he first saw it when he was young — the story definitely has aged. We chat about Guinness’s performance as Jamesir Bensonmum, the blind butler, and how much we love what he brings to the table here. We discuss the other actors — the detectives played by Peter Falk, Peter Sellers, James Coco, David Niven, Elsa Lanchester; their seconds including Maggie Smith, Eileen Brennan and a very young James Cromwell; and in a surprising turn, Truman Capote as the mysterious host. We touch on Dave Grusin and what he brings to the table as the composer. And we can’t help but compare the movie to “Clue,” the one that we both hold in our hearts as a guilty pleasure. It’s a light and inconsequential film to talk about, despite its story problems. It’s worth a watch. Then tune in once you have!


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Neil Simon saw Alec Guinness reading the script for “Star Wars” on the set of “Murder By Death,” and very soon after that, Guinness would be known as Obi Wan Kenobi to the world. But there is so much more to Guinness before that series of films, and in this particular series, so much humor. Join us — Pete Wright and Andy Nelson — as we close out our Sir Alec Guinness series with Robert Moore’s 1976 film “Murder By Death.” We talk about Neil Simon’s comedy writing here, how it worked for us now, and, for Pete, how it’s changed since he first saw it when he was young — the story definitely has aged. We chat about Guinness’s performance as Jamesir Bensonmum, the blind butler, and how much we love what he brings to the table here. We discuss the other actors — the detectives played by Peter Falk, Peter Sellers, James Coco, David Niven, Elsa Lanchester; their seconds including Maggie Smith, Eileen Brennan and a very young James Cromwell; and in a surprising turn, Truman Capote as the mysterious host. We touch on Dave Grusin and what he brings to the table as the composer. And we can’t help but compare the movie to “Clue,” the one that we both hold in our hearts as a guilty pleasure. It’s a light and inconsequential film to talk about, despite its story problems. It’s worth a watch. Then tune in once you have!


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 05 Feb 2015 08:00:00 -0800 The Next Reel The Next Reel 4136 Neil Simon saw Alec Guinness reading the script for “Star Wars” on the set of “Murder By Death,” and very soon after that, Guinness would be known as Obi Wan Kenobi to the world. But there is so much more to Guinness before that series of films, and in this particular series, so much humor. Join us — Pete Wright and Andy Nelson — as we close out our Sir Alec Guinness series with Robert Moore’s 1976 film “Murder By Death.” We talk about Neil Simon’s comedy writing here, how it worked for us now, and, for Pete, how it’s changed since he first saw it when he was young — the story definitely has aged. We chat about Guinness’s performance as Jamesir Bensonmum, the blind butler, and how much we love what he brings to the table here. We discuss the other actors — the detectives played by Peter Falk, Peter Sellers, James Coco, David Niven, Elsa Lanchester; their seconds including Maggie Smith, Eileen Brennan and a very young James Cromwell; and in a surprising turn, Truman Capote as the mysterious host. We touch on Dave Grusin and what he brings to the table as the composer. And we can’t help but compare the movie to “Clue,” the one that we both hold in our hearts as a guilty pleasure. It’s a light and inconsequential film to talk about, despite its story problems. It’s worth a watch. Then tune in once you have! Neil Simon saw Alec Guinness reading the script for “Star Wars” on the set of “Murder By Death,” and very soon after that, Guinness would be known as Obi Wan Kenobi to the world. But there is so much more to Guinness before that series of films, and in th film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Ladykillers • The Next Reel 4 4 30 30 The Ladykillers • The Next Reel full 0911f765-95ab-417b-90f8-2b5f1e4eceef https://share.transistor.fm/s/c074ca95 Alec Guinness's Professor Marcus really meets his match with Katie Johnson's Mrs. Wilberforce in Alexander Mackendrick's 1955 Ealing Studios comedy "The Ladykillers," what some call the last great comedy from the studio. Where he plots and schemes to rob a bank truck, she makes tea and makes sure her guests act like gentlemen -- even when those men are thieves. It's a great premise for this film, and one that makes at least half of us on the show laugh. Join us -- Pete Wright and Andy Nelson -- as we continue our Sir Alec Guinness series with "The Ladykillers." We talk about why it worked so well for Andy and why it didn't for Pete, looking at everything from the characters to the situations to the overall story. We chat about the performances from the actors playing the five criminals -- Guinness, Peter Sellers, Herbert Lom, Cecil Parker and Danny Green -- as well as the very well mannered Mrs. Wilberforce played by the brilliant Johnson. We discuss the look of the film and the cinematography by Otto Heller, the great score by Tristram Cary and the Oscar-nominated writing by William Rose. We touch on the Coen remake and Tom Hanks playing the Guinness role. And we chat about how great Guinness really is in this film and how we're thrilled to be doing a series on him right now. So check it out -- let us know what you think about the movie. Love it? Hate it? We want to know!


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]]> Alec Guinness's Professor Marcus really meets his match with Katie Johnson's Mrs. Wilberforce in Alexander Mackendrick's 1955 Ealing Studios comedy "The Ladykillers," what some call the last great comedy from the studio. Where he plots and schemes to rob a bank truck, she makes tea and makes sure her guests act like gentlemen -- even when those men are thieves. It's a great premise for this film, and one that makes at least half of us on the show laugh. Join us -- Pete Wright and Andy Nelson -- as we continue our Sir Alec Guinness series with "The Ladykillers." We talk about why it worked so well for Andy and why it didn't for Pete, looking at everything from the characters to the situations to the overall story. We chat about the performances from the actors playing the five criminals -- Guinness, Peter Sellers, Herbert Lom, Cecil Parker and Danny Green -- as well as the very well mannered Mrs. Wilberforce played by the brilliant Johnson. We discuss the look of the film and the cinematography by Otto Heller, the great score by Tristram Cary and the Oscar-nominated writing by William Rose. We touch on the Coen remake and Tom Hanks playing the Guinness role. And we chat about how great Guinness really is in this film and how we're thrilled to be doing a series on him right now. So check it out -- let us know what you think about the movie. Love it? Hate it? We want to know!


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]]> Thu, 29 Jan 2015 21:26:00 -0800 The Next Reel The Next Reel 3881 Alec Guinness's Professor Marcus really meets his match with Katie Johnson's Mrs. Wilberforce in Alexander Mackendrick's 1955 Ealing Studios comedy "The Ladykillers," what some call the last great comedy from the studio. Where he plots and schemes to rob a bank truck, she makes tea and makes sure her guests act like gentlemen -- even when those men are thieves. It's a great premise for this film, and one that makes at least half of us on the show laugh. Join us -- Pete Wright and Andy Nelson -- as we continue our Sir Alec Guinness series with "The Ladykillers." We talk about why it worked so well for Andy and why it didn't for Pete, looking at everything from the characters to the situations to the overall story. We chat about the performances from the actors playing the five criminals -- Guinness, Peter Sellers, Herbert Lom, Cecil Parker and Danny Green -- as well as the very well mannered Mrs. Wilberforce played by the brilliant Johnson. We discuss the look of the film and the cinematography by Otto Heller, the great score by Tristram Cary and the Oscar-nominated writing by William Rose. We touch on the Coen remake and Tom Hanks playing the Guinness role. And we chat about how great Guinness really is in this film and how we're thrilled to be doing a series on him right now. So check it out -- let us know what you think about the movie. Love it? Hate it? We want to know! Alec Guinness's Professor Marcus really meets his match with Katie Johnson's Mrs. Wilberforce in Alexander Mackendrick's 1955 Ealing Studios comedy "The Ladykillers," what some call the last great comedy from the studio. Where he plots and schemes to rob film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Man in the White Suit • The Next Reel 4 4 29 29 The Man in the White Suit • The Next Reel full ed4699c4-dc4f-47ef-9c26-45ddd0ddb0e4 https://share.transistor.fm/s/a6f3a73d Ealing Studios comedies, particularly the ones we’ve been talking about, have all had a bit of an anti-establishment feel to them but “The Man in the White Suit” feels like they were trying to something a bit more with it. The film is fascinating satirical comedy looking at the relationship between the factory owners and the union laborers in England back in the 50s that doesn’t just focus on their differences but also finds a way to bring the two groups together. The reason for their coming together is, of course, the titular character, played wonderfully by Sir Alec Guinness. Join us — Pete Wright and Andy Nelson — as we talk about this great Alexander Mackendrick film from 1951 as the next in our Guinness series. We talk about why we find this film so fascinating, and how this film is really the foundation for our podcast. We chat about Guinness and the way he plays his character, as well as many of the other wonderful actors who do so well here, namely Joan Greenwood, Cecil Parker and Michael Gough. We discuss the wonderful cinematography by Douglas Slocombe, working with more shadows than we’ve seen before, as well as Mackendrick and what he brings to the table. And we chat about some of the effects, from the luminescent suit to the stunt of Guinness scaling the side of the house to escape. It’s a brilliant film, one which we both love, and one which more people should really see. So check it out then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Ealing Studios comedies, particularly the ones we’ve been talking about, have all had a bit of an anti-establishment feel to them but “The Man in the White Suit” feels like they were trying to something a bit more with it. The film is fascinating satirical comedy looking at the relationship between the factory owners and the union laborers in England back in the 50s that doesn’t just focus on their differences but also finds a way to bring the two groups together. The reason for their coming together is, of course, the titular character, played wonderfully by Sir Alec Guinness. Join us — Pete Wright and Andy Nelson — as we talk about this great Alexander Mackendrick film from 1951 as the next in our Guinness series. We talk about why we find this film so fascinating, and how this film is really the foundation for our podcast. We chat about Guinness and the way he plays his character, as well as many of the other wonderful actors who do so well here, namely Joan Greenwood, Cecil Parker and Michael Gough. We discuss the wonderful cinematography by Douglas Slocombe, working with more shadows than we’ve seen before, as well as Mackendrick and what he brings to the table. And we chat about some of the effects, from the luminescent suit to the stunt of Guinness scaling the side of the house to escape. It’s a brilliant film, one which we both love, and one which more people should really see. So check it out then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 22 Jan 2015 08:00:00 -0800 The Next Reel The Next Reel 4029 Ealing Studios comedies, particularly the ones we’ve been talking about, have all had a bit of an anti-establishment feel to them but “The Man in the White Suit” feels like they were trying to something a bit more with it. The film is fascinating satirical comedy looking at the relationship between the factory owners and the union laborers in England back in the 50s that doesn’t just focus on their differences but also finds a way to bring the two groups together. The reason for their coming together is, of course, the titular character, played wonderfully by Sir Alec Guinness. Join us — Pete Wright and Andy Nelson — as we talk about this great Alexander Mackendrick film from 1951 as the next in our Guinness series. We talk about why we find this film so fascinating, and how this film is really the foundation for our podcast. We chat about Guinness and the way he plays his character, as well as many of the other wonderful actors who do so well here, namely Joan Greenwood, Cecil Parker and Michael Gough. We discuss the wonderful cinematography by Douglas Slocombe, working with more shadows than we’ve seen before, as well as Mackendrick and what he brings to the table. And we chat about some of the effects, from the luminescent suit to the stunt of Guinness scaling the side of the house to escape. It’s a brilliant film, one which we both love, and one which more people should really see. So check it out then tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Ealing Studios comedies, particularly the ones we’ve been talking about, have all had a bit of an anti-establishment feel to them but “The Man in the White Suit” feels like they were trying to something a bit more with it. The film is fascinating satirica film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Lavender Hill Mob • The Next Reel 4 4 28 28 The Lavender Hill Mob • The Next Reel full e526473c-62a3-4f64-b7d7-a0666605f3d2 https://share.transistor.fm/s/62a41e23 Sir Alec Guinness had already proven both his comedic and dramatic prowess by the time he came to Ealing Studios’ “The Lavender Hill Mob” in 1951, a point in his career when he was making two films a year. He’d continue working in both comedy and drama throughout his career, but we’re lucky to still be talking about his comedies because “The Lavender Hill Mob” is an absolute delight. Join us — Pete Wright and Andy Nelson — as we continue our Sir Alec Guinness series with a conversation about his seventh film, directed by Charles Crichton. We talk about the comedy in this film and why it still works so well six and a half decades later. We chat about Crichton and his wonderful directing, and compare this film with his last film, 1988’s “A Fish Called Wanda,” which he directed and co-wrote. We discuss Guinness and the other actors making up the titular mob — Stanley Holloway, Sidney James and Alfie Bass — and look at what they each brought to the table. We chat about our favorite moments of the film and why, even with its problems, it’s still an utterly enjoyable caper film. And we point out several familiar faces that you may miss scattered throughout the film — see if you can catch them! It’s an absolute delight of a crime caper film, one which we have a great time talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Sir Alec Guinness had already proven both his comedic and dramatic prowess by the time he came to Ealing Studios’ “The Lavender Hill Mob” in 1951, a point in his career when he was making two films a year. He’d continue working in both comedy and drama throughout his career, but we’re lucky to still be talking about his comedies because “The Lavender Hill Mob” is an absolute delight. Join us — Pete Wright and Andy Nelson — as we continue our Sir Alec Guinness series with a conversation about his seventh film, directed by Charles Crichton. We talk about the comedy in this film and why it still works so well six and a half decades later. We chat about Crichton and his wonderful directing, and compare this film with his last film, 1988’s “A Fish Called Wanda,” which he directed and co-wrote. We discuss Guinness and the other actors making up the titular mob — Stanley Holloway, Sidney James and Alfie Bass — and look at what they each brought to the table. We chat about our favorite moments of the film and why, even with its problems, it’s still an utterly enjoyable caper film. And we point out several familiar faces that you may miss scattered throughout the film — see if you can catch them! It’s an absolute delight of a crime caper film, one which we have a great time talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 15 Jan 2015 08:00:00 -0800 The Next Reel The Next Reel 4051 Sir Alec Guinness had already proven both his comedic and dramatic prowess by the time he came to Ealing Studios’ “The Lavender Hill Mob” in 1951, a point in his career when he was making two films a year. He’d continue working in both comedy and drama throughout his career, but we’re lucky to still be talking about his comedies because “The Lavender Hill Mob” is an absolute delight. Join us — Pete Wright and Andy Nelson — as we continue our Sir Alec Guinness series with a conversation about his seventh film, directed by Charles Crichton. We talk about the comedy in this film and why it still works so well six and a half decades later. We chat about Crichton and his wonderful directing, and compare this film with his last film, 1988’s “A Fish Called Wanda,” which he directed and co-wrote. We discuss Guinness and the other actors making up the titular mob — Stanley Holloway, Sidney James and Alfie Bass — and look at what they each brought to the table. We chat about our favorite moments of the film and why, even with its problems, it’s still an utterly enjoyable caper film. And we point out several familiar faces that you may miss scattered throughout the film — see if you can catch them! It’s an absolute delight of a crime caper film, one which we have a great time talking about. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Sir Alec Guinness had already proven both his comedic and dramatic prowess by the time he came to Ealing Studios’ “The Lavender Hill Mob” in 1951, a point in his career when he was making two films a year. He’d continue working in both comedy and drama th alecguinness No Andy Nelson Pete Wright Kind Hearts and Coronets • The Next Reel 4 4 27 27 Kind Hearts and Coronets • The Next Reel full 6fcaa0a4-289c-4f89-b59b-8e1f4fd30ff0 https://share.transistor.fm/s/ab3fbc03 Sir Alec Guinness may always be remembered as Obi Wan Kenobi, but his career goes far beyond those three little science fiction films he did late in his career. He worked many times with David Lean. He gave life to the spy George Smiley long before Gary Oldman. And he starred in a number of the great Ealing comedies, his first of which is “Kind Hearts and Coronets,” where he pulls a Peter Sellers by playing 8 of the characters in the film. Join us — Pete Wright and Andy Nelson — as we begin our Sir Alec Guinness series by talking about Robert Hamer’s 1949 comedy “Kind Hearts and Coronets.” We talk about the comedy in this film, and how clever it is to write a script in which the audience roots for the protagonist even though he’s planning on committing a number of murders. We discuss the brilliant performances, from Dennis Price and Valerie Hobson to Joan Greenwood and, of course, Guinness. Not to mention a memorable turn from Miles Malleson. We chat about the cinematography by Douglas Slocombe, who we last discussed way back at the beginning of our run with the Indiana Jones series. And we talk about a recent script on the 2014 Black List, “Rothchild,” written by John Patton Ford, that takes this story and updates it. We even bring Ford on to discuss it with us. It’s a great way to kick off our Guinness series and we have a great conversation about this brilliantly funny film. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Sir Alec Guinness may always be remembered as Obi Wan Kenobi, but his career goes far beyond those three little science fiction films he did late in his career. He worked many times with David Lean. He gave life to the spy George Smiley long before Gary Oldman. And he starred in a number of the great Ealing comedies, his first of which is “Kind Hearts and Coronets,” where he pulls a Peter Sellers by playing 8 of the characters in the film. Join us — Pete Wright and Andy Nelson — as we begin our Sir Alec Guinness series by talking about Robert Hamer’s 1949 comedy “Kind Hearts and Coronets.” We talk about the comedy in this film, and how clever it is to write a script in which the audience roots for the protagonist even though he’s planning on committing a number of murders. We discuss the brilliant performances, from Dennis Price and Valerie Hobson to Joan Greenwood and, of course, Guinness. Not to mention a memorable turn from Miles Malleson. We chat about the cinematography by Douglas Slocombe, who we last discussed way back at the beginning of our run with the Indiana Jones series. And we talk about a recent script on the 2014 Black List, “Rothchild,” written by John Patton Ford, that takes this story and updates it. We even bring Ford on to discuss it with us. It’s a great way to kick off our Guinness series and we have a great conversation about this brilliantly funny film. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 08 Jan 2015 08:00:00 -0800 The Next Reel The Next Reel 4625 Sir Alec Guinness may always be remembered as Obi Wan Kenobi, but his career goes far beyond those three little science fiction films he did late in his career. He worked many times with David Lean. He gave life to the spy George Smiley long before Gary Oldman. And he starred in a number of the great Ealing comedies, his first of which is “Kind Hearts and Coronets,” where he pulls a Peter Sellers by playing 8 of the characters in the film. Join us — Pete Wright and Andy Nelson — as we begin our Sir Alec Guinness series by talking about Robert Hamer’s 1949 comedy “Kind Hearts and Coronets.” We talk about the comedy in this film, and how clever it is to write a script in which the audience roots for the protagonist even though he’s planning on committing a number of murders. We discuss the brilliant performances, from Dennis Price and Valerie Hobson to Joan Greenwood and, of course, Guinness. Not to mention a memorable turn from Miles Malleson. We chat about the cinematography by Douglas Slocombe, who we last discussed way back at the beginning of our run with the Indiana Jones series. And we talk about a recent script on the 2014 Black List, “Rothchild,” written by John Patton Ford, that takes this story and updates it. We even bring Ford on to discuss it with us. It’s a great way to kick off our Guinness series and we have a great conversation about this brilliantly funny film. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Sir Alec Guinness may always be remembered as Obi Wan Kenobi, but his career goes far beyond those three little science fiction films he did late in his career. He worked many times with David Lean. He gave life to the spy George Smiley long before Gary O siralecguinness, ealing, johnpattonford No Andy Nelson Pete Wright The Poseidon Adventure • The Next Reel 4 4 26 26 The Poseidon Adventure • The Next Reel full 27737e65-712a-4afb-9b1b-db3f693dec05 https://share.transistor.fm/s/55a60f52 The end of 2014, the beginning of 2015. Happy New Year, everybody! And what a better way to celebrate than with Ronald Neame’s 1972 disaster classic “The Poseidon Adventure.” Join us — Pete Wright and Andy Nelson — as we enjoy the holiday with a wonderful conversation about this infamous ship. We talk about the nature of disaster movies from the 70s and producer Irwin Allen — the Master of Disaster — and how this genre turned into quite a thing for him. We discuss the ideas within the film, notably the religious elements, and look at what the film might be trying to say about those elements. We walk through each of the cast members — Gene Hackman, Shelley Winters, Ernest Borgnine, Red Buttons, Roddy McDowall, Jack Albertson, and more — and chat about what they each bring to the table. We discuss the amazing production design and the process they went through for flipping the set. We touch on director Neame and look at his history and what he initially thought when brought on to direct this film. And we examine the numbers for this film, looking at how well it did and why it set up the disaster genre for big successes in the 70s. It’s a fun film to end one year and begin the next, and we have a great conversation about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> The end of 2014, the beginning of 2015. Happy New Year, everybody! And what a better way to celebrate than with Ronald Neame’s 1972 disaster classic “The Poseidon Adventure.” Join us — Pete Wright and Andy Nelson — as we enjoy the holiday with a wonderful conversation about this infamous ship. We talk about the nature of disaster movies from the 70s and producer Irwin Allen — the Master of Disaster — and how this genre turned into quite a thing for him. We discuss the ideas within the film, notably the religious elements, and look at what the film might be trying to say about those elements. We walk through each of the cast members — Gene Hackman, Shelley Winters, Ernest Borgnine, Red Buttons, Roddy McDowall, Jack Albertson, and more — and chat about what they each bring to the table. We discuss the amazing production design and the process they went through for flipping the set. We touch on director Neame and look at his history and what he initially thought when brought on to direct this film. And we examine the numbers for this film, looking at how well it did and why it set up the disaster genre for big successes in the 70s. It’s a fun film to end one year and begin the next, and we have a great conversation about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 01 Jan 2015 08:00:00 -0800 The Next Reel The Next Reel 4219 The end of 2014, the beginning of 2015. Happy New Year, everybody! And what a better way to celebrate than with Ronald Neame’s 1972 disaster classic “The Poseidon Adventure.” Join us — Pete Wright and Andy Nelson — as we enjoy the holiday with a wonderful conversation about this infamous ship. We talk about the nature of disaster movies from the 70s and producer Irwin Allen — the Master of Disaster — and how this genre turned into quite a thing for him. We discuss the ideas within the film, notably the religious elements, and look at what the film might be trying to say about those elements. We walk through each of the cast members — Gene Hackman, Shelley Winters, Ernest Borgnine, Red Buttons, Roddy McDowall, Jack Albertson, and more — and chat about what they each bring to the table. We discuss the amazing production design and the process they went through for flipping the set. We touch on director Neame and look at his history and what he initially thought when brought on to direct this film. And we examine the numbers for this film, looking at how well it did and why it set up the disaster genre for big successes in the 70s. It’s a fun film to end one year and begin the next, and we have a great conversation about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) The end of 2014, the beginning of 2015. Happy New Year, everybody! And what a better way to celebrate than with Ronald Neame’s 1972 disaster classic “The Poseidon Adventure.” Join us — Pete Wright and Andy Nelson — as we enjoy the holiday with a wonderful film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Bishop's Wife • The Next Reel 4 4 25 25 The Bishop's Wife • The Next Reel full 72b6f1cd-c354-435b-9ec1-205ea480af01 https://share.transistor.fm/s/53f69069 Happy holidays! It’s time for another Christmas movie pick to celebrate, and we’re jumping back to 1947 to talk about Henry Koster’s “The Bishop’s Wife.” Join us — Pete Wright and Andy Nelson — as we dive into this perennial classic starring Cary Grant, Loretta Young and David Niven. We talk about how the film works for us and compare that with what we were expecting, considering neither of us had seen this film before. We chat about the brilliant Niven, the casual and awesome Grant, and the loving Young playing the titular character. We spend some time deliberating on the title itself, and express some confusion about why it’s called what it’s called and how that affected our opinions and expectations of this character. We chat about the release strategy of the movie and how they increased profits by changing its title. And we look at in context of it being a Christmas movie and where it stands for us. It’s a delightful holiday film that has some great light comedy paired with a more serious tone, and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Happy holidays! It’s time for another Christmas movie pick to celebrate, and we’re jumping back to 1947 to talk about Henry Koster’s “The Bishop’s Wife.” Join us — Pete Wright and Andy Nelson — as we dive into this perennial classic starring Cary Grant, Loretta Young and David Niven. We talk about how the film works for us and compare that with what we were expecting, considering neither of us had seen this film before. We chat about the brilliant Niven, the casual and awesome Grant, and the loving Young playing the titular character. We spend some time deliberating on the title itself, and express some confusion about why it’s called what it’s called and how that affected our opinions and expectations of this character. We chat about the release strategy of the movie and how they increased profits by changing its title. And we look at in context of it being a Christmas movie and where it stands for us. It’s a delightful holiday film that has some great light comedy paired with a more serious tone, and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 25 Dec 2014 17:27:00 -0800 The Next Reel The Next Reel 4084 Happy holidays! It’s time for another Christmas movie pick to celebrate, and we’re jumping back to 1947 to talk about Henry Koster’s “The Bishop’s Wife.” Join us — Pete Wright and Andy Nelson — as we dive into this perennial classic starring Cary Grant, Loretta Young and David Niven. We talk about how the film works for us and compare that with what we were expecting, considering neither of us had seen this film before. We chat about the brilliant Niven, the casual and awesome Grant, and the loving Young playing the titular character. We spend some time deliberating on the title itself, and express some confusion about why it’s called what it’s called and how that affected our opinions and expectations of this character. We chat about the release strategy of the movie and how they increased profits by changing its title. And we look at in context of it being a Christmas movie and where it stands for us. It’s a delightful holiday film that has some great light comedy paired with a more serious tone, and we have a great time talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Happy holidays! It’s time for another Christmas movie pick to celebrate, and we’re jumping back to 1947 to talk about Henry Koster’s “The Bishop’s Wife.” Join us — Pete Wright and Andy Nelson — as we dive into this perennial classic starring Cary Grant, L film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Andy's Kidney • A Very Special Episode • The Next Reel 4 4 25 25 Andy's Kidney • A Very Special Episode • The Next Reel bonus eb762f07-8657-49de-aa80-b3f7f5e6329c https://share.transistor.fm/s/09b06e18 Andy had a kidney removed earlier this week to donate to a friend. Pete took a few minutes to call and check in on his recovery, and see which movies he's been watching all week.

]]> Andy had a kidney removed earlier this week to donate to a friend. Pete took a few minutes to call and check in on his recovery, and see which movies he's been watching all week.

]]> Sat, 20 Dec 2014 21:43:00 -0800 The Next Reel The Next Reel 860 Andy had a kidney removed earlier this week to donate to a friend. Pete took a few minutes to call and check in on his recovery, and see which movies he's been watching all week. Andy had a kidney removed earlier this week to donate to a friend. Pete took a few minutes to call and check in on his recovery, and see which movies he's been watching all week. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Requiem for a Dream • The Next Reel 4 4 24 24 Requiem for a Dream • The Next Reel full babce803-df5c-4345-b5aa-221e5264d331 https://share.transistor.fm/s/7125772f Phew. This film should be required viewing for all high school seniors. It’s brutal and intense, but also honest and powerful in its depiction of addiction. Join us — Pete Wright and Andy Nelson — as we finish up our series on the immensely gifted actress Ellen Burstyn with Darren Aronofsky’s 2000 film “Requiem for a Dream.” We discuss why this film is so powerful, and what creating a film that goes to the places this one goes to meant in the filmmakers’ battle with the MPAA over the rating. We talk about the performances — Burstyn’s heartbreaking portrayal of a mother addicted to weight loss pills, along with Jared Leto's, Marlon Wayans' and Jennifer Connelly’s portrayals of people spiraling down in their heroin addiction. We chat about Aronofsky and what he’s doing as a filmmaker in his second film that shows him to be a true storyteller of this amazing visual medium. We touch on other key elements of the production that make this movie what it is, most notably Clint Mansell and the Kronos Quartet bringing to life one of the most haunting and gripping scores we’ve heard. And we look at why this film didn’t do as well here in the States as it should have, including why it didn’t get the award love it should have. It’s an incredibly difficult film to watch but is one made by a master of the craft. We have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Phew. This film should be required viewing for all high school seniors. It’s brutal and intense, but also honest and powerful in its depiction of addiction. Join us — Pete Wright and Andy Nelson — as we finish up our series on the immensely gifted actress Ellen Burstyn with Darren Aronofsky’s 2000 film “Requiem for a Dream.” We discuss why this film is so powerful, and what creating a film that goes to the places this one goes to meant in the filmmakers’ battle with the MPAA over the rating. We talk about the performances — Burstyn’s heartbreaking portrayal of a mother addicted to weight loss pills, along with Jared Leto's, Marlon Wayans' and Jennifer Connelly’s portrayals of people spiraling down in their heroin addiction. We chat about Aronofsky and what he’s doing as a filmmaker in his second film that shows him to be a true storyteller of this amazing visual medium. We touch on other key elements of the production that make this movie what it is, most notably Clint Mansell and the Kronos Quartet bringing to life one of the most haunting and gripping scores we’ve heard. And we look at why this film didn’t do as well here in the States as it should have, including why it didn’t get the award love it should have. It’s an incredibly difficult film to watch but is one made by a master of the craft. We have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 18 Dec 2014 21:17:00 -0800 The Next Reel The Next Reel 5907 Phew. This film should be required viewing for all high school seniors. It’s brutal and intense, but also honest and powerful in its depiction of addiction. Join us — Pete Wright and Andy Nelson — as we finish up our series on the immensely gifted actress Ellen Burstyn with Darren Aronofsky’s 2000 film “Requiem for a Dream.” We discuss why this film is so powerful, and what creating a film that goes to the places this one goes to meant in the filmmakers’ battle with the MPAA over the rating. We talk about the performances — Burstyn’s heartbreaking portrayal of a mother addicted to weight loss pills, along with Jared Leto's, Marlon Wayans' and Jennifer Connelly’s portrayals of people spiraling down in their heroin addiction. We chat about Aronofsky and what he’s doing as a filmmaker in his second film that shows him to be a true storyteller of this amazing visual medium. We touch on other key elements of the production that make this movie what it is, most notably Clint Mansell and the Kronos Quartet bringing to life one of the most haunting and gripping scores we’ve heard. And we look at why this film didn’t do as well here in the States as it should have, including why it didn’t get the award love it should have. It’s an incredibly difficult film to watch but is one made by a master of the craft. We have a great time talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Phew. This film should be required viewing for all high school seniors. It’s brutal and intense, but also honest and powerful in its depiction of addiction. Join us — Pete Wright and Andy Nelson — as we finish up our series on the immensely gifted actress film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Exorcist • The Next Reel 4 4 23 23 The Exorcist • The Next Reel full e4132fb9-53c8-43a2-9ac1-3c322d137494 https://share.transistor.fm/s/a75e842f It’s pretty rare for a film to come along that has such a visceral effect on people when they’re watching it where they faint or throw up because it’s so overwhelming. When “The Exorcist” was released just after Christmas in 1973, it had that effect. People flocked to it in droves and seemed to have these heightened reactions to it, whether because they were so scared or they felt it was truly evil. It’s a fascinating case study in how religion and horror draws people to the theatre. Join us — Pete Wright and Andy Nelson — as we continue our Ellen Burstyn series with William Friedkin’s “The Exorcist.” We talk about what makes this film so good and so horrific — something having to do with the sense of naturalism that William Peter Blatty, the screenwriter and author of the original novel, wanted in it and that Friedkin brought to it. We talk about the performances — Burstyn, Linda Blair, Max Von Sydow, Jason Miller, Lee J. Cobb and the demonic vocal stylings of Mercedes McCambridge — and look at what they each bring to the table in this story about a mother trying to protect her little girl from things she doesn’t understand. We chat about Friedkin and his insane directing style that seems to put actors in harm’s way in his quest for the perfect film, a frightening look at the ends justifying the means. We discuss the perfect cinematography brought to the story by Owen Roizman, lending touches to create both bright and dark shots that work in tandem. We look at the amazing makeup effects by Dick Smith, working well in both areas of makeup — creature effects and age makeup. We also touch on the amazing sound design and music — Tubular Bells anyone? And we chat about how well this film did, despite outlandish claims that the film was evil. It’s truly a terrifying film that deserves the praise it gets. It’s one of our favorites and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> It’s pretty rare for a film to come along that has such a visceral effect on people when they’re watching it where they faint or throw up because it’s so overwhelming. When “The Exorcist” was released just after Christmas in 1973, it had that effect. People flocked to it in droves and seemed to have these heightened reactions to it, whether because they were so scared or they felt it was truly evil. It’s a fascinating case study in how religion and horror draws people to the theatre. Join us — Pete Wright and Andy Nelson — as we continue our Ellen Burstyn series with William Friedkin’s “The Exorcist.” We talk about what makes this film so good and so horrific — something having to do with the sense of naturalism that William Peter Blatty, the screenwriter and author of the original novel, wanted in it and that Friedkin brought to it. We talk about the performances — Burstyn, Linda Blair, Max Von Sydow, Jason Miller, Lee J. Cobb and the demonic vocal stylings of Mercedes McCambridge — and look at what they each bring to the table in this story about a mother trying to protect her little girl from things she doesn’t understand. We chat about Friedkin and his insane directing style that seems to put actors in harm’s way in his quest for the perfect film, a frightening look at the ends justifying the means. We discuss the perfect cinematography brought to the story by Owen Roizman, lending touches to create both bright and dark shots that work in tandem. We look at the amazing makeup effects by Dick Smith, working well in both areas of makeup — creature effects and age makeup. We also touch on the amazing sound design and music — Tubular Bells anyone? And we chat about how well this film did, despite outlandish claims that the film was evil. It’s truly a terrifying film that deserves the praise it gets. It’s one of our favorites and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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The Next Reel Family of Film Shows:

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]]> Thu, 11 Dec 2014 08:00:00 -0800 The Next Reel The Next Reel 5897 It’s pretty rare for a film to come along that has such a visceral effect on people when they’re watching it where they faint or throw up because it’s so overwhelming. When “The Exorcist” was released just after Christmas in 1973, it had that effect. People flocked to it in droves and seemed to have these heightened reactions to it, whether because they were so scared or they felt it was truly evil. It’s a fascinating case study in how religion and horror draws people to the theatre. Join us — Pete Wright and Andy Nelson — as we continue our Ellen Burstyn series with William Friedkin’s “The Exorcist.” We talk about what makes this film so good and so horrific — something having to do with the sense of naturalism that William Peter Blatty, the screenwriter and author of the original novel, wanted in it and that Friedkin brought to it. We talk about the performances — Burstyn, Linda Blair, Max Von Sydow, Jason Miller, Lee J. Cobb and the demonic vocal stylings of Mercedes McCambridge — and look at what they each bring to the table in this story about a mother trying to protect her little girl from things she doesn’t understand. We chat about Friedkin and his insane directing style that seems to put actors in harm’s way in his quest for the perfect film, a frightening look at the ends justifying the means. We discuss the perfect cinematography brought to the story by Owen Roizman, lending touches to create both bright and dark shots that work in tandem. We look at the amazing makeup effects by Dick Smith, working well in both areas of makeup — creature effects and age makeup. We also touch on the amazing sound design and music — Tubular Bells anyone? And we chat about how well this film did, despite outlandish claims that the film was evil. It’s truly a terrifying film that deserves the praise it gets. It’s one of our favorites and we have a great time talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) It’s pretty rare for a film to come along that has such a visceral effect on people when they’re watching it where they faint or throw up because it’s so overwhelming. When “The Exorcist” was released just after Christmas in 1973, it had that effect. Peop film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Alice Doesn't Live Here Anymore • The Next Reel 4 4 22 22 Alice Doesn't Live Here Anymore • The Next Reel full 3299138e-83c8-4b70-afa3-2437762087f2 https://share.transistor.fm/s/d3641b5b Ellen Burstyn won her Oscar for Best Actress for her powerful turn as Alice Hyatt in Martin Scorsese’s 1974 film “Alice Doesn’t Live Here Anymore,” and it was clearly well-deserved. Always an actress in pursuit of roles as strong female characters, Burstyn took this film on after her huge success with “The Exorcist.” Join us — Pete Wright and Andy Nelson — as we start our Ellen Burstyn series with “Alice Doesn’t Live Here Anymore.” We talk about the film as a whole, looking at the journey this widow takes with her son told in a very realistic, gritty, yet comedic way. We discuss Burstyn in the role as Alice, along with other actors in the film including Kris Kristofferson, Diane Ladd, Vic Tayback, Valerie Curtin, Alfred Lutter and Harvey Keitel, and look at what they each bring to the table. We chat about Scorsese, making his fourth film here, and look at how this film fits in his body of work. And we talk about the brilliant moments scattered throughout the film — as well as a few key moments that feel like there could’ve been a bit more to the script. It’s a great film that, while we don’t love it, certainly has a lot to appreciate, and we have a great time talking about it this week. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

Connect With Us:

Shop & Stream:

]]> Ellen Burstyn won her Oscar for Best Actress for her powerful turn as Alice Hyatt in Martin Scorsese’s 1974 film “Alice Doesn’t Live Here Anymore,” and it was clearly well-deserved. Always an actress in pursuit of roles as strong female characters, Burstyn took this film on after her huge success with “The Exorcist.” Join us — Pete Wright and Andy Nelson — as we start our Ellen Burstyn series with “Alice Doesn’t Live Here Anymore.” We talk about the film as a whole, looking at the journey this widow takes with her son told in a very realistic, gritty, yet comedic way. We discuss Burstyn in the role as Alice, along with other actors in the film including Kris Kristofferson, Diane Ladd, Vic Tayback, Valerie Curtin, Alfred Lutter and Harvey Keitel, and look at what they each bring to the table. We chat about Scorsese, making his fourth film here, and look at how this film fits in his body of work. And we talk about the brilliant moments scattered throughout the film — as well as a few key moments that feel like there could’ve been a bit more to the script. It’s a great film that, while we don’t love it, certainly has a lot to appreciate, and we have a great time talking about it this week. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 04 Dec 2014 08:00:00 -0800 The Next Reel The Next Reel 5442 Ellen Burstyn won her Oscar for Best Actress for her powerful turn as Alice Hyatt in Martin Scorsese’s 1974 film “Alice Doesn’t Live Here Anymore,” and it was clearly well-deserved. Always an actress in pursuit of roles as strong female characters, Burstyn took this film on after her huge success with “The Exorcist.” Join us — Pete Wright and Andy Nelson — as we start our Ellen Burstyn series with “Alice Doesn’t Live Here Anymore.” We talk about the film as a whole, looking at the journey this widow takes with her son told in a very realistic, gritty, yet comedic way. We discuss Burstyn in the role as Alice, along with other actors in the film including Kris Kristofferson, Diane Ladd, Vic Tayback, Valerie Curtin, Alfred Lutter and Harvey Keitel, and look at what they each bring to the table. We chat about Scorsese, making his fourth film here, and look at how this film fits in his body of work. And we talk about the brilliant moments scattered throughout the film — as well as a few key moments that feel like there could’ve been a bit more to the script. It’s a great film that, while we don’t love it, certainly has a lot to appreciate, and we have a great time talking about it this week. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Ellen Burstyn won her Oscar for Best Actress for her powerful turn as Alice Hyatt in Martin Scorsese’s 1974 film “Alice Doesn’t Live Here Anymore,” and it was clearly well-deserved. Always an actress in pursuit of roles as strong female characters, Bursty film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright O Brother, Where Art Thou? • The Next Reel 4 4 21 21 O Brother, Where Art Thou? • The Next Reel full c7434bb9-acbf-45b1-a9ce-e374392e04b9 https://share.transistor.fm/s/015cd076 Joel and Ethan Coen must have a funny sense of humor, because the idea of making an “adaptation” of Homer’s ‘The Odyssey’ without having read it just seems like a bad idea when I picture anyone else doing it, but with them it seems like that’s part of the joke. They put enough of the story into this film to warrant it being credited as an adaption but certainly create a world of their own within the context of the film — 1930s Mississippi. And the Coens are masters of creating worlds within their films. Join us — Pete Wright and Andy Nelson — as we finish our Coen series with this fantastic 2000 film. We talk about the story and how it ties into Homer’s original poem, as well as what the Coens have in the story from the era that makes it their own. We discuss the wonderful actors and their performances, from George Clooney and Tim Blake Nelson, to John Turturro and John Goodman, along with all the wonderful supporting performances in between. We delve into the magical world of digital color intermediates and how this film was the first full feature to use this process, as well as analyze the process a bit. And we wrap up our Coen series with a bit of a chat about them and their films, touching on people they’ve worked with, our thoughts on them as filmmakers and storytellers, and looking at how their films stack up against the others. It’s a great film that we both love and have a great time talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Joel and Ethan Coen must have a funny sense of humor, because the idea of making an “adaptation” of Homer’s ‘The Odyssey’ without having read it just seems like a bad idea when I picture anyone else doing it, but with them it seems like that’s part of the joke. They put enough of the story into this film to warrant it being credited as an adaption but certainly create a world of their own within the context of the film — 1930s Mississippi. And the Coens are masters of creating worlds within their films. Join us — Pete Wright and Andy Nelson — as we finish our Coen series with this fantastic 2000 film. We talk about the story and how it ties into Homer’s original poem, as well as what the Coens have in the story from the era that makes it their own. We discuss the wonderful actors and their performances, from George Clooney and Tim Blake Nelson, to John Turturro and John Goodman, along with all the wonderful supporting performances in between. We delve into the magical world of digital color intermediates and how this film was the first full feature to use this process, as well as analyze the process a bit. And we wrap up our Coen series with a bit of a chat about them and their films, touching on people they’ve worked with, our thoughts on them as filmmakers and storytellers, and looking at how their films stack up against the others. It’s a great film that we both love and have a great time talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 27 Nov 2014 08:00:00 -0800 The Next Reel The Next Reel 4806 Joel and Ethan Coen must have a funny sense of humor, because the idea of making an “adaptation” of Homer’s ‘The Odyssey’ without having read it just seems like a bad idea when I picture anyone else doing it, but with them it seems like that’s part of the joke. They put enough of the story into this film to warrant it being credited as an adaption but certainly create a world of their own within the context of the film — 1930s Mississippi. And the Coens are masters of creating worlds within their films. Join us — Pete Wright and Andy Nelson — as we finish our Coen series with this fantastic 2000 film. We talk about the story and how it ties into Homer’s original poem, as well as what the Coens have in the story from the era that makes it their own. We discuss the wonderful actors and their performances, from George Clooney and Tim Blake Nelson, to John Turturro and John Goodman, along with all the wonderful supporting performances in between. We delve into the magical world of digital color intermediates and how this film was the first full feature to use this process, as well as analyze the process a bit. And we wrap up our Coen series with a bit of a chat about them and their films, touching on people they’ve worked with, our thoughts on them as filmmakers and storytellers, and looking at how their films stack up against the others. It’s a great film that we both love and have a great time talking about. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Joel and Ethan Coen must have a funny sense of humor, because the idea of making an “adaptation” of Homer’s ‘The Odyssey’ without having read it just seems like a bad idea when I picture anyone else doing it, but with them it seems like that’s part of the film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Big Lebowski • The Next Reel 4 4 20 20 The Big Lebowski • The Next Reel full fedd8713-ce65-4c48-94dc-6e613a4f7b72 https://share.transistor.fm/s/61aeb36f It seems appropriate to the character of the Dude that “The Big Lebowski” took its time finding its audience. Coming fresh on the heels of their first Oscar-winning hit, “Fargo,” the Coen Brothers’ 7th film had a strange sense of humor, felt disjointed, was full of swearing, and didn’t connect with audiences or critics, who were all largely left scratching their heads. But time was on the side of the movie as people continued to discover it, turning it into a much-loved cult classic — with its own annual festival even. Join us — Pete Wright and Andy Nelson — as we continue our Coen Comedy series with 1998’s “The Big Lebowski.” Pete contemplates why it still doesn’t work for him completely, and Andy talks about why it works for him and tries to convince Pete of its brilliance. We discuss the characters depicted in this story and highlight what each of the performers brings to the role, most notably Jeff Bridges. We talk about some of the production team — Roger Deakins and Carter Burwell in particular — and discuss what they bring to the table. And we chat about how the movie has taken on a life of its own, leading to the annual Lebowski Fest, the religion of Dudeism and countless research papers and websites analyzing the intricacies of this film. We’re a bit split on the film but in a way, that really ties the conversation together. Check it out!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> It seems appropriate to the character of the Dude that “The Big Lebowski” took its time finding its audience. Coming fresh on the heels of their first Oscar-winning hit, “Fargo,” the Coen Brothers’ 7th film had a strange sense of humor, felt disjointed, was full of swearing, and didn’t connect with audiences or critics, who were all largely left scratching their heads. But time was on the side of the movie as people continued to discover it, turning it into a much-loved cult classic — with its own annual festival even. Join us — Pete Wright and Andy Nelson — as we continue our Coen Comedy series with 1998’s “The Big Lebowski.” Pete contemplates why it still doesn’t work for him completely, and Andy talks about why it works for him and tries to convince Pete of its brilliance. We discuss the characters depicted in this story and highlight what each of the performers brings to the role, most notably Jeff Bridges. We talk about some of the production team — Roger Deakins and Carter Burwell in particular — and discuss what they bring to the table. And we chat about how the movie has taken on a life of its own, leading to the annual Lebowski Fest, the religion of Dudeism and countless research papers and websites analyzing the intricacies of this film. We’re a bit split on the film but in a way, that really ties the conversation together. Check it out!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 20 Nov 2014 17:15:00 -0800 The Next Reel The Next Reel 4938 It seems appropriate to the character of the Dude that “The Big Lebowski” took its time finding its audience. Coming fresh on the heels of their first Oscar-winning hit, “Fargo,” the Coen Brothers’ 7th film had a strange sense of humor, felt disjointed, was full of swearing, and didn’t connect with audiences or critics, who were all largely left scratching their heads. But time was on the side of the movie as people continued to discover it, turning it into a much-loved cult classic — with its own annual festival even. Join us — Pete Wright and Andy Nelson — as we continue our Coen Comedy series with 1998’s “The Big Lebowski.” Pete contemplates why it still doesn’t work for him completely, and Andy talks about why it works for him and tries to convince Pete of its brilliance. We discuss the characters depicted in this story and highlight what each of the performers brings to the role, most notably Jeff Bridges. We talk about some of the production team — Roger Deakins and Carter Burwell in particular — and discuss what they bring to the table. And we chat about how the movie has taken on a life of its own, leading to the annual Lebowski Fest, the religion of Dudeism and countless research papers and websites analyzing the intricacies of this film. We’re a bit split on the film but in a way, that really ties the conversation together. Check it out! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) It seems appropriate to the character of the Dude that “The Big Lebowski” took its time finding its audience. Coming fresh on the heels of their first Oscar-winning hit, “Fargo,” the Coen Brothers’ 7th film had a strange sense of humor, felt disjointed, w film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Raising Arizona • The Next Reel 4 4 19 19 Raising Arizona • The Next Reel full daecbe53-0665-4356-a895-7301e36fdcf4 https://share.transistor.fm/s/fe4cd23c It’s time for some laughs! Kicking off our series of Coen brother comedies, we jump in with the second film of theirs, “Raising Arizona.” Coming after “Blood Simple,” they certainly went 180 degrees with this wild comedy. Join us — Pete Wright and Andy Nelson — as we talk about this hilarious 1987 film. We talk about why the film works for us and what we like about it — and why it’s so stinkin’ funny! We discuss the performances — Nicolas Cage, Holly Hunter, John Goodman, William Forsythe, Trey Wilson, Frances McDormand and more — and look at what they bring to the table and why they all work so well in this film. We chat about the Coens and where this fits into their balancing act of serious and funny films. We talk about Barry Sonnenfeld and his amazing camera work, looking at what it does to benefit this film. We relish the yodeling stylings from Carter Burwell and the amazing voice of John R. Crowder, and delight in the perfect setting created by the production design team. And we touch on the real Arizona where the movie was filmed and how this movie fits in the state in which Andy lives. It’s one of our favorites and we love talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> It’s time for some laughs! Kicking off our series of Coen brother comedies, we jump in with the second film of theirs, “Raising Arizona.” Coming after “Blood Simple,” they certainly went 180 degrees with this wild comedy. Join us — Pete Wright and Andy Nelson — as we talk about this hilarious 1987 film. We talk about why the film works for us and what we like about it — and why it’s so stinkin’ funny! We discuss the performances — Nicolas Cage, Holly Hunter, John Goodman, William Forsythe, Trey Wilson, Frances McDormand and more — and look at what they bring to the table and why they all work so well in this film. We chat about the Coens and where this fits into their balancing act of serious and funny films. We talk about Barry Sonnenfeld and his amazing camera work, looking at what it does to benefit this film. We relish the yodeling stylings from Carter Burwell and the amazing voice of John R. Crowder, and delight in the perfect setting created by the production design team. And we touch on the real Arizona where the movie was filmed and how this movie fits in the state in which Andy lives. It’s one of our favorites and we love talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 13 Nov 2014 08:00:00 -0800 The Next Reel The Next Reel 5024 It’s time for some laughs! Kicking off our series of Coen brother comedies, we jump in with the second film of theirs, “Raising Arizona.” Coming after “Blood Simple,” they certainly went 180 degrees with this wild comedy. Join us — Pete Wright and Andy Nelson — as we talk about this hilarious 1987 film. We talk about why the film works for us and what we like about it — and why it’s so stinkin’ funny! We discuss the performances — Nicolas Cage, Holly Hunter, John Goodman, William Forsythe, Trey Wilson, Frances McDormand and more — and look at what they bring to the table and why they all work so well in this film. We chat about the Coens and where this fits into their balancing act of serious and funny films. We talk about Barry Sonnenfeld and his amazing camera work, looking at what it does to benefit this film. We relish the yodeling stylings from Carter Burwell and the amazing voice of John R. Crowder, and delight in the perfect setting created by the production design team. And we touch on the real Arizona where the movie was filmed and how this movie fits in the state in which Andy lives. It’s one of our favorites and we love talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) It’s time for some laughs! Kicking off our series of Coen brother comedies, we jump in with the second film of theirs, “Raising Arizona.” Coming after “Blood Simple,” they certainly went 180 degrees with this wild comedy. Join us — Pete Wright and Andy Ne film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Defending Your Life • The Next Reel 4 4 18 18 Defending Your Life • The Next Reel full e427f054-048e-47c0-b07e-8f6bf08612b8 https://share.transistor.fm/s/ac1881f7 It’s time for another Listener’s Choice episode! For this round, listener Jeremy Wickett was chosen and gave us Albert Brooks’ 1991 film “Defending Your Life” to discuss. Join us — Pete Wright and Andy Nelson — as we talk about Brooks’ movie. We talk with Wickett about why he likes the movie and what made him pick this film as the one he wanted to hear us cover on the show. We discuss our own opinions about the film, look at some of the problems it has, and, even though neither of us ended up loving it like Wickett does, look at what works. We chat about Brooks, the actor, and what he brings to the role, as well as a bit about his background in comedy and, more specifically, with SNL. And we look at the rest of the cast, including the brilliant Meryl Streep, Rip Torn, Buck Henry, Lee Grant and even Shirley MacLaine. It’s an interesting concept of a film that never completely worked for us, but one we have a great time discussing. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> It’s time for another Listener’s Choice episode! For this round, listener Jeremy Wickett was chosen and gave us Albert Brooks’ 1991 film “Defending Your Life” to discuss. Join us — Pete Wright and Andy Nelson — as we talk about Brooks’ movie. We talk with Wickett about why he likes the movie and what made him pick this film as the one he wanted to hear us cover on the show. We discuss our own opinions about the film, look at some of the problems it has, and, even though neither of us ended up loving it like Wickett does, look at what works. We chat about Brooks, the actor, and what he brings to the role, as well as a bit about his background in comedy and, more specifically, with SNL. And we look at the rest of the cast, including the brilliant Meryl Streep, Rip Torn, Buck Henry, Lee Grant and even Shirley MacLaine. It’s an interesting concept of a film that never completely worked for us, but one we have a great time discussing. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 06 Nov 2014 08:00:00 -0800 The Next Reel The Next Reel 4023 It’s time for another Listener’s Choice episode! For this round, listener Jeremy Wickett was chosen and gave us Albert Brooks’ 1991 film “Defending Your Life” to discuss. Join us — Pete Wright and Andy Nelson — as we talk about Brooks’ movie. We talk with Wickett about why he likes the movie and what made him pick this film as the one he wanted to hear us cover on the show. We discuss our own opinions about the film, look at some of the problems it has, and, even though neither of us ended up loving it like Wickett does, look at what works. We chat about Brooks, the actor, and what he brings to the role, as well as a bit about his background in comedy and, more specifically, with SNL. And we look at the rest of the cast, including the brilliant Meryl Streep, Rip Torn, Buck Henry, Lee Grant and even Shirley MacLaine. It’s an interesting concept of a film that never completely worked for us, but one we have a great time discussing. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) It’s time for another Listener’s Choice episode! For this round, listener Jeremy Wickett was chosen and gave us Albert Brooks’ 1991 film “Defending Your Life” to discuss. Join us — Pete Wright and Andy Nelson — as we talk about Brooks’ movie. We talk with film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Apt Pupil • The Next Reel 4 4 17 17 Apt Pupil • The Next Reel full c425829b-d97e-4cda-8870-235508974ae4 https://share.transistor.fm/s/d81afc0b Bryan Singer’s film “Apt Pupil” was actually the second time the film was under production; the first attempt had several casting issues and when it finally started shooting, ended up running out of funds, killing the project. Perhaps that was a sign that Stephen King’s novella was a bit too tricky to make correctly. It’s a very dark story that doesn’t really have any likable characters in it. Singer’s 1998 adaptation toned much of the violence from the book down, but also took a different angle with the ending that many people, including us, felt didn’t work. Join us — Pete Wright and Andy Nelson — as we finish our epic Stephen King adaptation series with Singer’s “Apt Pupil.” We talk about what worked well in the book, what works in the film, and where the film may have gone wrong. We discuss the wonderful performances by Ian McKellan and the late Brad Renfro and look at what they bring to the film, despite its problems. We chat about Singer and some of his regulars, notably John Ottman, his composer/editor. And we circle back to the Nazi elements within the film and what Singer may have been after with this story, as well as other films in his career. It’s an interesting but flawed film that we have a great conversation about. Check it out!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Bryan Singer’s film “Apt Pupil” was actually the second time the film was under production; the first attempt had several casting issues and when it finally started shooting, ended up running out of funds, killing the project. Perhaps that was a sign that Stephen King’s novella was a bit too tricky to make correctly. It’s a very dark story that doesn’t really have any likable characters in it. Singer’s 1998 adaptation toned much of the violence from the book down, but also took a different angle with the ending that many people, including us, felt didn’t work. Join us — Pete Wright and Andy Nelson — as we finish our epic Stephen King adaptation series with Singer’s “Apt Pupil.” We talk about what worked well in the book, what works in the film, and where the film may have gone wrong. We discuss the wonderful performances by Ian McKellan and the late Brad Renfro and look at what they bring to the film, despite its problems. We chat about Singer and some of his regulars, notably John Ottman, his composer/editor. And we circle back to the Nazi elements within the film and what Singer may have been after with this story, as well as other films in his career. It’s an interesting but flawed film that we have a great conversation about. Check it out!

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]]> Thu, 30 Oct 2014 08:00:00 -0700 The Next Reel The Next Reel 4098 Bryan Singer’s film “Apt Pupil” was actually the second time the film was under production; the first attempt had several casting issues and when it finally started shooting, ended up running out of funds, killing the project. Perhaps that was a sign that Stephen King’s novella was a bit too tricky to make correctly. It’s a very dark story that doesn’t really have any likable characters in it. Singer’s 1998 adaptation toned much of the violence from the book down, but also took a different angle with the ending that many people, including us, felt didn’t work. Join us — Pete Wright and Andy Nelson — as we finish our epic Stephen King adaptation series with Singer’s “Apt Pupil.” We talk about what worked well in the book, what works in the film, and where the film may have gone wrong. We discuss the wonderful performances by Ian McKellan and the late Brad Renfro and look at what they bring to the film, despite its problems. We chat about Singer and some of his regulars, notably John Ottman, his composer/editor. And we circle back to the Nazi elements within the film and what Singer may have been after with this story, as well as other films in his career. It’s an interesting but flawed film that we have a great conversation about. Check it out! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Bryan Singer’s film “Apt Pupil” was actually the second time the film was under production; the first attempt had several casting issues and when it finally started shooting, ended up running out of funds, killing the project. Perhaps that was a sign that film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Misery • The Next Reel 4 4 16 16 Misery • The Next Reel full f4ad4e58-3083-4f14-bb6d-d2e13057616f https://share.transistor.fm/s/769d84b6 Rob Reiner could very easily get back to making films like he did in his heyday if he made another Stephen King adaptation. Seriously, “Stand By Me” and “Misery” are two of the best King adaptations we’ve seen on the silver screen. Join us — Pete Wright and Andy Nelson — as we discuss the penultimate film in our King series, Reiner’s 1990 film “Misery.” We talk about the brilliant performance by Kathy Bates, someone who really deserved her Oscar, and what she brought to the role of Annie Wilkes. We also talk about the fantastic James Caan, playing against type with this subdued author character who is pretty much bedridden the duration of the film, as well as Richard Farnsworth and Frances Sternhagen, a brilliant pairing. We chat about the nature of fandom and what it means to a creator of works when they essentially turn their product over to the consumer. We discuss the fantastic cinematography by the great Barry Sonnenfeld, his last work as DP. We touch on the music by Marc Shaiman as well as the Liberace music and how well it works to enhance the environment. And we highlight some of the changes from novel to screen, comparing the internal world Caan’s character creates to help survive his ordeal versus the taut screenplay that William Goldman delivers, and how the changes don’t take away from the story but really streamline it for this other medium. It’s a gripping, tense, psychological, claustrophobic thriller and we have a great time talking about it. Check it out!


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]]> Rob Reiner could very easily get back to making films like he did in his heyday if he made another Stephen King adaptation. Seriously, “Stand By Me” and “Misery” are two of the best King adaptations we’ve seen on the silver screen. Join us — Pete Wright and Andy Nelson — as we discuss the penultimate film in our King series, Reiner’s 1990 film “Misery.” We talk about the brilliant performance by Kathy Bates, someone who really deserved her Oscar, and what she brought to the role of Annie Wilkes. We also talk about the fantastic James Caan, playing against type with this subdued author character who is pretty much bedridden the duration of the film, as well as Richard Farnsworth and Frances Sternhagen, a brilliant pairing. We chat about the nature of fandom and what it means to a creator of works when they essentially turn their product over to the consumer. We discuss the fantastic cinematography by the great Barry Sonnenfeld, his last work as DP. We touch on the music by Marc Shaiman as well as the Liberace music and how well it works to enhance the environment. And we highlight some of the changes from novel to screen, comparing the internal world Caan’s character creates to help survive his ordeal versus the taut screenplay that William Goldman delivers, and how the changes don’t take away from the story but really streamline it for this other medium. It’s a gripping, tense, psychological, claustrophobic thriller and we have a great time talking about it. Check it out!


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]]> Thu, 23 Oct 2014 08:00:00 -0700 The Next Reel The Next Reel 4676 Rob Reiner could very easily get back to making films like he did in his heyday if he made another Stephen King adaptation. Seriously, “Stand By Me” and “Misery” are two of the best King adaptations we’ve seen on the silver screen. Join us — Pete Wright and Andy Nelson — as we discuss the penultimate film in our King series, Reiner’s 1990 film “Misery.” We talk about the brilliant performance by Kathy Bates, someone who really deserved her Oscar, and what she brought to the role of Annie Wilkes. We also talk about the fantastic James Caan, playing against type with this subdued author character who is pretty much bedridden the duration of the film, as well as Richard Farnsworth and Frances Sternhagen, a brilliant pairing. We chat about the nature of fandom and what it means to a creator of works when they essentially turn their product over to the consumer. We discuss the fantastic cinematography by the great Barry Sonnenfeld, his last work as DP. We touch on the music by Marc Shaiman as well as the Liberace music and how well it works to enhance the environment. And we highlight some of the changes from novel to screen, comparing the internal world Caan’s character creates to help survive his ordeal versus the taut screenplay that William Goldman delivers, and how the changes don’t take away from the story but really streamline it for this other medium. It’s a gripping, tense, psychological, claustrophobic thriller and we have a great time talking about it. Check it out! Rob Reiner could very easily get back to making films like he did in his heyday if he made another Stephen King adaptation. Seriously, “Stand By Me” and “Misery” are two of the best King adaptations we’ve seen on the silver screen. Join us — Pete Wright a film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Stand By Me • The Next Reel 4 4 15 15 Stand By Me • The Next Reel full 448f25a8-18d5-4518-9fa3-95d140cdfdfa https://share.transistor.fm/s/6ddfc206 Perhaps it was because elements of the novella ‘The Body’ were autobiographical that the story has so much heart compared to Stephen King’s previous works. Perhaps it was because there weren’t supernatural elements. Or that it didn’t fall into the horror genre. Whatever the reason, ‘The Body’ and the film based on it, Rob Reiner’s 1986 film “Stand By Me,” are beautiful and touching stories about childhood, growing up, friendship, and journeys. Join us — Pete Wright and Andy Nelson — as we talk about the next film in our King series, "Stand By Me.” We talk about what this film says for us about memories, nostalgia, youth, friendship, life and more, as well as how these elements contribute to what we love about the movie. We discuss the talent in the amazing four young lead boys — Wil Wheaton, River Phoenix, Corey Feldman and Jerry O’Connell — and how perfectly cast they all were for the roles they each played. We also talk about Kiefer Sutherland as the antagonist, and what he brings to the table. We chat about the script as well as the novella, and why the story works so well (and why the screenwriters deservingly got an Oscar nomination). And we talk about Reiner as a director, looking at where this movie fits within his career. It’s an incredible film that deserves returning to time and time again. We have a great talk about it this week. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Perhaps it was because elements of the novella ‘The Body’ were autobiographical that the story has so much heart compared to Stephen King’s previous works. Perhaps it was because there weren’t supernatural elements. Or that it didn’t fall into the horror genre. Whatever the reason, ‘The Body’ and the film based on it, Rob Reiner’s 1986 film “Stand By Me,” are beautiful and touching stories about childhood, growing up, friendship, and journeys. Join us — Pete Wright and Andy Nelson — as we talk about the next film in our King series, "Stand By Me.” We talk about what this film says for us about memories, nostalgia, youth, friendship, life and more, as well as how these elements contribute to what we love about the movie. We discuss the talent in the amazing four young lead boys — Wil Wheaton, River Phoenix, Corey Feldman and Jerry O’Connell — and how perfectly cast they all were for the roles they each played. We also talk about Kiefer Sutherland as the antagonist, and what he brings to the table. We chat about the script as well as the novella, and why the story works so well (and why the screenwriters deservingly got an Oscar nomination). And we talk about Reiner as a director, looking at where this movie fits within his career. It’s an incredible film that deserves returning to time and time again. We have a great talk about it this week. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 16 Oct 2014 08:00:00 -0700 The Next Reel The Next Reel 4844 Perhaps it was because elements of the novella ‘The Body’ were autobiographical that the story has so much heart compared to Stephen King’s previous works. Perhaps it was because there weren’t supernatural elements. Or that it didn’t fall into the horror genre. Whatever the reason, ‘The Body’ and the film based on it, Rob Reiner’s 1986 film “Stand By Me,” are beautiful and touching stories about childhood, growing up, friendship, and journeys. Join us — Pete Wright and Andy Nelson — as we talk about the next film in our King series, "Stand By Me.” We talk about what this film says for us about memories, nostalgia, youth, friendship, life and more, as well as how these elements contribute to what we love about the movie. We discuss the talent in the amazing four young lead boys — Wil Wheaton, River Phoenix, Corey Feldman and Jerry O’Connell — and how perfectly cast they all were for the roles they each played. We also talk about Kiefer Sutherland as the antagonist, and what he brings to the table. We chat about the script as well as the novella, and why the story works so well (and why the screenwriters deservingly got an Oscar nomination). And we talk about Reiner as a director, looking at where this movie fits within his career. It’s an incredible film that deserves returning to time and time again. We have a great talk about it this week. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Perhaps it was because elements of the novella ‘The Body’ were autobiographical that the story has so much heart compared to Stephen King’s previous works. Perhaps it was because there weren’t supernatural elements. Or that it didn’t fall into the horror film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Christine • The Next Reel 4 4 14 14 Christine • The Next Reel full 3015ab01-8110-4a51-b2f6-3d7205db56d7 https://share.transistor.fm/s/2d0ecd2f There's something about your first love, and there's something about your first car. Stephen King found an interesting way to tap into that with his novel "Christine," and John Carpenter found an interesting way to develop it even further in his 1983 adaptation. Sure, the car may be possessed, but Arnie sure falls for his car... and she for him. It's an interesting take, and one we delve into this week. Join us — Pete Wright and Andy Nelson — as we continue our Stephen King series with Carpenter's "Christine." We talk about our first experiences with this film and how that compared with our recent viewings of it and whether the film held up or not. We discuss the performances — Keith Gordon, John Stockwell, Alexandra Paul, Robert Prosky, Harry Dean Stanton and more — and how well they worked... or didn't. We chat about the car — the beautiful iterations of the Plymouth Fury that they blend together to create this possessed automobile -- and how she's one of the strongest pieces of the film, particularly the magical scene where Christine rebuilds herself. We touch on script problems, particularly the struggle we have with Christine's reasoning for her kills. And we talk about what John Carpenter brings to the table, and if it holds up with some of his other films made at this time. Andy ends up liking this film more than Pete, but we both have a great time talking it up. Check it out!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> There's something about your first love, and there's something about your first car. Stephen King found an interesting way to tap into that with his novel "Christine," and John Carpenter found an interesting way to develop it even further in his 1983 adaptation. Sure, the car may be possessed, but Arnie sure falls for his car... and she for him. It's an interesting take, and one we delve into this week. Join us — Pete Wright and Andy Nelson — as we continue our Stephen King series with Carpenter's "Christine." We talk about our first experiences with this film and how that compared with our recent viewings of it and whether the film held up or not. We discuss the performances — Keith Gordon, John Stockwell, Alexandra Paul, Robert Prosky, Harry Dean Stanton and more — and how well they worked... or didn't. We chat about the car — the beautiful iterations of the Plymouth Fury that they blend together to create this possessed automobile -- and how she's one of the strongest pieces of the film, particularly the magical scene where Christine rebuilds herself. We touch on script problems, particularly the struggle we have with Christine's reasoning for her kills. And we talk about what John Carpenter brings to the table, and if it holds up with some of his other films made at this time. Andy ends up liking this film more than Pete, but we both have a great time talking it up. Check it out!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 09 Oct 2014 08:00:00 -0700 The Next Reel The Next Reel 4918 There's something about your first love, and there's something about your first car. Stephen King found an interesting way to tap into that with his novel "Christine," and John Carpenter found an interesting way to develop it even further in his 1983 adaptation. Sure, the car may be possessed, but Arnie sure falls for his car... and she for him. It's an interesting take, and one we delve into this week. Join us — Pete Wright and Andy Nelson — as we continue our Stephen King series with Carpenter's "Christine." We talk about our first experiences with this film and how that compared with our recent viewings of it and whether the film held up or not. We discuss the performances — Keith Gordon, John Stockwell, Alexandra Paul, Robert Prosky, Harry Dean Stanton and more — and how well they worked... or didn't. We chat about the car — the beautiful iterations of the Plymouth Fury that they blend together to create this possessed automobile -- and how she's one of the strongest pieces of the film, particularly the magical scene where Christine rebuilds herself. We touch on script problems, particularly the struggle we have with Christine's reasoning for her kills. And we talk about what John Carpenter brings to the table, and if it holds up with some of his other films made at this time. Andy ends up liking this film more than Pete, but we both have a great time talking it up. Check it out! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) There's something about your first love, and there's something about your first car. Stephen King found an interesting way to tap into that with his novel "Christine," and John Carpenter found an interesting way to develop it even further in his 1983 adap film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Dead Zone • The Next Reel 4 4 13 13 The Dead Zone • The Next Reel full e9248f08-7367-453b-8b84-7716957421b6 https://share.transistor.fm/s/6a4ec40b Back in the 70s and 80s, Stephen King's stories generally had a lot more scares in them, as did their cinematic equivalents. Perhaps that's why David Cronenberg's adaptation of "The Dead Zone" feels a bit out of place — it comes off as much more of a dramatic thriller than a horror film. It certainly garnered critical praise and found its audience, but 31 years later, it comes across a bit dated. Join us — Pete Wright and Andy Nelson — as we continue our Stephen King series with 1983's "The Dead Zone." We talk about our feelings of the movie when we first saw it and where we stand on the film now, finding the film to not hold up that well. We chat about the performances and how they work but don't grab us -- even Christopher Walken who seems to be just developing his strange mannerisms here. We discuss the problematic flow of the story and how its episodic nature really leaves the film forgettable, but perhaps is why the story worked so well in the land of episodic television when the USA Network put it out in 2002. And we touch on the cinematography, the production design and the score, looking at what works and what doesn't. It's still a decent film but oddly forgettable upon revisiting it. But that doesn't stop us from having a great conversation about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Back in the 70s and 80s, Stephen King's stories generally had a lot more scares in them, as did their cinematic equivalents. Perhaps that's why David Cronenberg's adaptation of "The Dead Zone" feels a bit out of place — it comes off as much more of a dramatic thriller than a horror film. It certainly garnered critical praise and found its audience, but 31 years later, it comes across a bit dated. Join us — Pete Wright and Andy Nelson — as we continue our Stephen King series with 1983's "The Dead Zone." We talk about our feelings of the movie when we first saw it and where we stand on the film now, finding the film to not hold up that well. We chat about the performances and how they work but don't grab us -- even Christopher Walken who seems to be just developing his strange mannerisms here. We discuss the problematic flow of the story and how its episodic nature really leaves the film forgettable, but perhaps is why the story worked so well in the land of episodic television when the USA Network put it out in 2002. And we touch on the cinematography, the production design and the score, looking at what works and what doesn't. It's still a decent film but oddly forgettable upon revisiting it. But that doesn't stop us from having a great conversation about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 02 Oct 2014 08:00:00 -0700 The Next Reel The Next Reel 3775 Back in the 70s and 80s, Stephen King's stories generally had a lot more scares in them, as did their cinematic equivalents. Perhaps that's why David Cronenberg's adaptation of "The Dead Zone" feels a bit out of place — it comes off as much more of a dramatic thriller than a horror film. It certainly garnered critical praise and found its audience, but 31 years later, it comes across a bit dated. Join us — Pete Wright and Andy Nelson — as we continue our Stephen King series with 1983's "The Dead Zone." We talk about our feelings of the movie when we first saw it and where we stand on the film now, finding the film to not hold up that well. We chat about the performances and how they work but don't grab us -- even Christopher Walken who seems to be just developing his strange mannerisms here. We discuss the problematic flow of the story and how its episodic nature really leaves the film forgettable, but perhaps is why the story worked so well in the land of episodic television when the USA Network put it out in 2002. And we touch on the cinematography, the production design and the score, looking at what works and what doesn't. It's still a decent film but oddly forgettable upon revisiting it. But that doesn't stop us from having a great conversation about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Back in the 70s and 80s, Stephen King's stories generally had a lot more scares in them, as did their cinematic equivalents. Perhaps that's why David Cronenberg's adaptation of "The Dead Zone" feels a bit out of place — it comes off as much more of a dram christopherwalken, stephenking No Andy Nelson Pete Wright Cujo • The Next Reel 4 4 12 12 Cujo • The Next Reel full df714eb5-8796-4994-ac23-d6ddd2a27fbe https://share.transistor.fm/s/41dd61cd There's something truly terrifying about a lovable pet turning on you and attacking. Especially when that pet is a St. Bernard, one of the big dogs with a small barrel of brandy around its neck that's supposed to rescue people lost in the snowy Alps. But that's what makes for great horror, right? Turning something lovable into something horrible. And Stephen King did that perfectly in his novel "Cujo," which was turned into a film in 1983. Join us — Pete Wright and Andy Nelson — as we continue our King series with Lewis Teague's great horror film "Cujo." We talk about what the film means to us and why we both love it so much, whether it's as a kid watching it for the first time or as a parent watching it later in life. We discuss the brilliant performances in the film, led by Dee Wallace and Danny Pintauro, and how they help ground the film in a reality that works incredibly well for this King tale that surprisingly remains free of supernatural elements. We chat about the production of the film, how Teague came into it late, the great cinematography of Jan De Bont, Charles Bernstein's score and more. We contemplate why the critics at the time really didn't like the film at all, and how it really hasn't changed frustratingly. And we chat about the nature of working with animals, and how animal trainer Karl Miller managed to get all the various performances Teague needed to tell his story out of somewhere between 5 and 10 dogs, not to mention a man in a dog suit. It's a film that is considered "rotten" on Rotten Tomatoes, but one that we both love. Watch the film and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> There's something truly terrifying about a lovable pet turning on you and attacking. Especially when that pet is a St. Bernard, one of the big dogs with a small barrel of brandy around its neck that's supposed to rescue people lost in the snowy Alps. But that's what makes for great horror, right? Turning something lovable into something horrible. And Stephen King did that perfectly in his novel "Cujo," which was turned into a film in 1983. Join us — Pete Wright and Andy Nelson — as we continue our King series with Lewis Teague's great horror film "Cujo." We talk about what the film means to us and why we both love it so much, whether it's as a kid watching it for the first time or as a parent watching it later in life. We discuss the brilliant performances in the film, led by Dee Wallace and Danny Pintauro, and how they help ground the film in a reality that works incredibly well for this King tale that surprisingly remains free of supernatural elements. We chat about the production of the film, how Teague came into it late, the great cinematography of Jan De Bont, Charles Bernstein's score and more. We contemplate why the critics at the time really didn't like the film at all, and how it really hasn't changed frustratingly. And we chat about the nature of working with animals, and how animal trainer Karl Miller managed to get all the various performances Teague needed to tell his story out of somewhere between 5 and 10 dogs, not to mention a man in a dog suit. It's a film that is considered "rotten" on Rotten Tomatoes, but one that we both love. Watch the film and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 25 Sep 2014 08:00:00 -0700 The Next Reel The Next Reel 4526 There's something truly terrifying about a lovable pet turning on you and attacking. Especially when that pet is a St. Bernard, one of the big dogs with a small barrel of brandy around its neck that's supposed to rescue people lost in the snowy Alps. But that's what makes for great horror, right? Turning something lovable into something horrible. And Stephen King did that perfectly in his novel "Cujo," which was turned into a film in 1983. Join us — Pete Wright and Andy Nelson — as we continue our King series with Lewis Teague's great horror film "Cujo." We talk about what the film means to us and why we both love it so much, whether it's as a kid watching it for the first time or as a parent watching it later in life. We discuss the brilliant performances in the film, led by Dee Wallace and Danny Pintauro, and how they help ground the film in a reality that works incredibly well for this King tale that surprisingly remains free of supernatural elements. We chat about the production of the film, how Teague came into it late, the great cinematography of Jan De Bont, Charles Bernstein's score and more. We contemplate why the critics at the time really didn't like the film at all, and how it really hasn't changed frustratingly. And we chat about the nature of working with animals, and how animal trainer Karl Miller managed to get all the various performances Teague needed to tell his story out of somewhere between 5 and 10 dogs, not to mention a man in a dog suit. It's a film that is considered "rotten" on Rotten Tomatoes, but one that we both love. Watch the film and tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) There's something truly terrifying about a lovable pet turning on you and attacking. Especially when that pet is a St. Bernard, one of the big dogs with a small barrel of brandy around its neck that's supposed to rescue people lost in the snowy Alps. But deewallace, dannypintauro, jandebont, lewisteague, stephenking No Andy Nelson Pete Wright Creepshow • The Next Reel 4 4 11 11 Creepshow • The Next Reel full 96b4d28c-9cc3-4826-a0a3-c4f2c8485917 https://share.transistor.fm/s/6ae61e2c George A. Romero had already established himself as a master of the horror genre when he and Stephen King created their horror anthology film "Creepshow." With two stories based on King's short stories and three original stories written just for this, Romero created a film that pays homage to the great horror comics from the 40s and 50s, like Tales From the Crypt. It balances horror with humor, all in a beautifully stylized comic book template. Join us -- Pete Wright and Andy Nelson -- as we continue our Stephen King series with Romero's 1982 film "Creepshow." We discuss this look that Romero instills in the film and how well that works to create this funny and frightening homage. We chat about each story and discuss what works and what doesn't. We talk through the amazing cast that Romero put together, marveling that he was able to get some of the actors that he did. And we touch on the brilliant effects work by Tom Savini, a master in his own right, who brought the monsters and mayhem to life. It's a film that we both had a tremendously fun time watching, so check it out and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> George A. Romero had already established himself as a master of the horror genre when he and Stephen King created their horror anthology film "Creepshow." With two stories based on King's short stories and three original stories written just for this, Romero created a film that pays homage to the great horror comics from the 40s and 50s, like Tales From the Crypt. It balances horror with humor, all in a beautifully stylized comic book template. Join us -- Pete Wright and Andy Nelson -- as we continue our Stephen King series with Romero's 1982 film "Creepshow." We discuss this look that Romero instills in the film and how well that works to create this funny and frightening homage. We chat about each story and discuss what works and what doesn't. We talk through the amazing cast that Romero put together, marveling that he was able to get some of the actors that he did. And we touch on the brilliant effects work by Tom Savini, a master in his own right, who brought the monsters and mayhem to life. It's a film that we both had a tremendously fun time watching, so check it out and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 18 Sep 2014 08:00:00 -0700 The Next Reel The Next Reel 5006 George A. Romero had already established himself as a master of the horror genre when he and Stephen King created their horror anthology film "Creepshow." With two stories based on King's short stories and three original stories written just for this, Romero created a film that pays homage to the great horror comics from the 40s and 50s, like Tales From the Crypt. It balances horror with humor, all in a beautifully stylized comic book template. Join us -- Pete Wright and Andy Nelson -- as we continue our Stephen King series with Romero's 1982 film "Creepshow." We discuss this look that Romero instills in the film and how well that works to create this funny and frightening homage. We chat about each story and discuss what works and what doesn't. We talk through the amazing cast that Romero put together, marveling that he was able to get some of the actors that he did. And we touch on the brilliant effects work by Tom Savini, a master in his own right, who brought the monsters and mayhem to life. It's a film that we both had a tremendously fun time watching, so check it out and tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) George A. Romero had already established himself as a master of the horror genre when he and Stephen King created their horror anthology film "Creepshow." With two stories based on King's short stories and three original stories written just for this, Rom stephenking, georgeromero No Andy Nelson Pete Wright The Shining • The Next Reel 4 4 10 10 The Shining • The Next Reel full e672c28b-1671-45e5-a750-9516ec88ca88 https://share.transistor.fm/s/bfbc3f7a Stephen King may not have been a fan of what Stanley Kubrick did when he turned King’s third novel, “The Shining,” into one of his films, but audiences didn’t seem to mind. King purists still have problems with some of Kubrick’s decisions, but the film has withstood the test of time and still stands up as one of the great horror movies out there. Join us — Pete Wright and Andy Nelson — as we begin our Stephen King series with Kubrick’s “The Shining.” We talk about how the film works for us and why, looking at which of the performances stand out and which seem maybe a bit over-the-top for us. We discuss Kubrick’s touches on the film, from beginning to end, and discuss what those touches do for the film. We chat about the differences between the book and the movie and how changing the focus of the story does create a very interesting journey into our character’s heads. We touch on various elements of the crew — the cinematographer, the steadicam operator, the production designer & art director, and the editor — and look at their contributions to this frightening film. We ask ourselves if there really is any logic to the photo at the end, and if that matters. And we dismiss the documentary “Room 237” and its conspiracy theories as a bunch of bunk. It’s a fun conversation about one of the great Stephen King adaptations, even if it is one that King was disappointed with. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Stephen King may not have been a fan of what Stanley Kubrick did when he turned King’s third novel, “The Shining,” into one of his films, but audiences didn’t seem to mind. King purists still have problems with some of Kubrick’s decisions, but the film has withstood the test of time and still stands up as one of the great horror movies out there. Join us — Pete Wright and Andy Nelson — as we begin our Stephen King series with Kubrick’s “The Shining.” We talk about how the film works for us and why, looking at which of the performances stand out and which seem maybe a bit over-the-top for us. We discuss Kubrick’s touches on the film, from beginning to end, and discuss what those touches do for the film. We chat about the differences between the book and the movie and how changing the focus of the story does create a very interesting journey into our character’s heads. We touch on various elements of the crew — the cinematographer, the steadicam operator, the production designer & art director, and the editor — and look at their contributions to this frightening film. We ask ourselves if there really is any logic to the photo at the end, and if that matters. And we dismiss the documentary “Room 237” and its conspiracy theories as a bunch of bunk. It’s a fun conversation about one of the great Stephen King adaptations, even if it is one that King was disappointed with. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 11 Sep 2014 08:00:00 -0700 The Next Reel The Next Reel 4681 Stephen King may not have been a fan of what Stanley Kubrick did when he turned King’s third novel, “The Shining,” into one of his films, but audiences didn’t seem to mind. King purists still have problems with some of Kubrick’s decisions, but the film has withstood the test of time and still stands up as one of the great horror movies out there. Join us — Pete Wright and Andy Nelson — as we begin our Stephen King series with Kubrick’s “The Shining.” We talk about how the film works for us and why, looking at which of the performances stand out and which seem maybe a bit over-the-top for us. We discuss Kubrick’s touches on the film, from beginning to end, and discuss what those touches do for the film. We chat about the differences between the book and the movie and how changing the focus of the story does create a very interesting journey into our character’s heads. We touch on various elements of the crew — the cinematographer, the steadicam operator, the production designer & art director, and the editor — and look at their contributions to this frightening film. We ask ourselves if there really is any logic to the photo at the end, and if that matters. And we dismiss the documentary “Room 237” and its conspiracy theories as a bunch of bunk. It’s a fun conversation about one of the great Stephen King adaptations, even if it is one that King was disappointed with. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Stephen King may not have been a fan of what Stanley Kubrick did when he turned King’s third novel, “The Shining,” into one of his films, but audiences didn’t seem to mind. King purists still have problems with some of Kubrick’s decisions, but the film ha shelleyduvall, stanleykubrick, stephenking, dannylloyd, jacknicholson No Andy Nelson Pete Wright Labor Day • The Next Reel 4 4 9 9 Labor Day • The Next Reel full 42a6e0df-3e22-4d6f-890f-3d3942be2f90 https://share.transistor.fm/s/3d75872a There is something interesting about going into a film that's had as many bad reviews as Jason Reitman's "Labor Day" has had, and that has flopped at the box office. Does it taint our own views or make us more critical of it? Hard to say, but it certainly makes for an interesting exploration of a film that works in some ways and doesn't in others. Join us — Pete Wright and Andy Nelson — as we celebrate the US's Labor Day holiday weekend with another Reitman film to add to our collection and deliberate on our own views of whether we like this film or not. We talk about how we feel about the film itself and look at what worked for each of us and what didn't work, and compare that with what the public consensus seemed to be. We touch on the thriller vibe the film has with the romantic drama vibe, and how marketing one way or the other can definitely determine how a person approaches the film. We chat about the amazing performances from Kate Winslet, Josh Brolin and Gattlin Griffith and how Reitman always brings amazing performances to his films, even when the script is weaker. We discuss the story, specifically looking at several elements that we both have problems with for one reason or another — the montages and the voiceover — and analyze how they could have affected people's perception of the film. And we look at the unfortunate numbers, acknowledging that people did not click with this film which led it to fail at the box office. It's a compelling film that works better for some than for others, and it's certainly one that provides for a stimulating conversation. Plus we have a special guest give us an insider's report from the Telluride Film Festival! Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> There is something interesting about going into a film that's had as many bad reviews as Jason Reitman's "Labor Day" has had, and that has flopped at the box office. Does it taint our own views or make us more critical of it? Hard to say, but it certainly makes for an interesting exploration of a film that works in some ways and doesn't in others. Join us — Pete Wright and Andy Nelson — as we celebrate the US's Labor Day holiday weekend with another Reitman film to add to our collection and deliberate on our own views of whether we like this film or not. We talk about how we feel about the film itself and look at what worked for each of us and what didn't work, and compare that with what the public consensus seemed to be. We touch on the thriller vibe the film has with the romantic drama vibe, and how marketing one way or the other can definitely determine how a person approaches the film. We chat about the amazing performances from Kate Winslet, Josh Brolin and Gattlin Griffith and how Reitman always brings amazing performances to his films, even when the script is weaker. We discuss the story, specifically looking at several elements that we both have problems with for one reason or another — the montages and the voiceover — and analyze how they could have affected people's perception of the film. And we look at the unfortunate numbers, acknowledging that people did not click with this film which led it to fail at the box office. It's a compelling film that works better for some than for others, and it's certainly one that provides for a stimulating conversation. Plus we have a special guest give us an insider's report from the Telluride Film Festival! Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 04 Sep 2014 08:00:00 -0700 The Next Reel The Next Reel 5620 There is something interesting about going into a film that's had as many bad reviews as Jason Reitman's "Labor Day" has had, and that has flopped at the box office. Does it taint our own views or make us more critical of it? Hard to say, but it certainly makes for an interesting exploration of a film that works in some ways and doesn't in others. Join us — Pete Wright and Andy Nelson — as we celebrate the US's Labor Day holiday weekend with another Reitman film to add to our collection and deliberate on our own views of whether we like this film or not. We talk about how we feel about the film itself and look at what worked for each of us and what didn't work, and compare that with what the public consensus seemed to be. We touch on the thriller vibe the film has with the romantic drama vibe, and how marketing one way or the other can definitely determine how a person approaches the film. We chat about the amazing performances from Kate Winslet, Josh Brolin and Gattlin Griffith and how Reitman always brings amazing performances to his films, even when the script is weaker. We discuss the story, specifically looking at several elements that we both have problems with for one reason or another — the montages and the voiceover — and analyze how they could have affected people's perception of the film. And we look at the unfortunate numbers, acknowledging that people did not click with this film which led it to fail at the box office. It's a compelling film that works better for some than for others, and it's certainly one that provides for a stimulating conversation. Plus we have a special guest give us an insider's report from the Telluride Film Festival! Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) There is something interesting about going into a film that's had as many bad reviews as Jason Reitman's "Labor Day" has had, and that has flopped at the box office. Does it taint our own views or make us more critical of it? Hard to say, but it certainly jasonreitman, joshbrolin, katewinslet No Andy Nelson Pete Wright The Good, the Bad, and the Ugly • The Next Reel 4 4 8 8 The Good, the Bad, and the Ugly • The Next Reel full d256b0c7-75b3-4d1c-a842-5c4029f1b7c6 https://share.transistor.fm/s/b4932ca6 The last of Leone's 'Man with no name' trilogy is the longest and considered by many to be the best. By the time he made it, he was a much more assured and mature storyteller. And it shows. Join us — Pete Wright and Andy Nelson — as we finish the trilogy with 1966's "The Good, the Bad and the Ugly." We talk about Leone and the style he's been developing over the course of this trilogy, and what he brings to the table this go-around. We chat about both the climactic gun fight as well as the scene immediately after it, and look at what the filmmakers and storytellers were working to convey in these sequences. We discuss Clint Eastwood, Lee Van Cleef and the new-to-Leone's-films Eli Wallach, who brilliantly plays Tuco. And we chat about many on the crew who helped make this film what it is. It's a fantastic film, even if Pete prefers the prior one. Watch the movie then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> The last of Leone's 'Man with no name' trilogy is the longest and considered by many to be the best. By the time he made it, he was a much more assured and mature storyteller. And it shows. Join us — Pete Wright and Andy Nelson — as we finish the trilogy with 1966's "The Good, the Bad and the Ugly." We talk about Leone and the style he's been developing over the course of this trilogy, and what he brings to the table this go-around. We chat about both the climactic gun fight as well as the scene immediately after it, and look at what the filmmakers and storytellers were working to convey in these sequences. We discuss Clint Eastwood, Lee Van Cleef and the new-to-Leone's-films Eli Wallach, who brilliantly plays Tuco. And we chat about many on the crew who helped make this film what it is. It's a fantastic film, even if Pete prefers the prior one. Watch the movie then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

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]]> Thu, 28 Aug 2014 08:00:00 -0700 The Next Reel The Next Reel 4644 The last of Leone's 'Man with no name' trilogy is the longest and considered by many to be the best. By the time he made it, he was a much more assured and mature storyteller. And it shows. Join us — Pete Wright and Andy Nelson — as we finish the trilogy with 1966's "The Good, the Bad and the Ugly." We talk about Leone and the style he's been developing over the course of this trilogy, and what he brings to the table this go-around. We chat about both the climactic gun fight as well as the scene immediately after it, and look at what the filmmakers and storytellers were working to convey in these sequences. We discuss Clint Eastwood, Lee Van Cleef and the new-to-Leone's-films Eli Wallach, who brilliantly plays Tuco. And we chat about many on the crew who helped make this film what it is. It's a fantastic film, even if Pete prefers the prior one. Watch the movie then tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) The last of Leone's 'Man with no name' trilogy is the longest and considered by many to be the best. By the time he made it, he was a much more assured and mature storyteller. And it shows. Join us — Pete Wright and Andy Nelson — as we finish the trilogy clinteastwood, sergioleone, eliwallach, leevancleef No Andy Nelson Pete Wright For a Few Dollars More • The Next Reel 4 4 7 7 For a Few Dollars More • The Next Reel full fa59f77b-24a6-4c5e-a577-0db1e07ccde2 https://share.transistor.fm/s/d7257881 Sergio Leone continued building on the mythos that he and Clint Eastwood had created in "A Fistful of Dollars" with the follow-up, "For a Few Dollars More," and it is in this film that Eastwood really developed so many of the tropes that he would continue using throughout his career. The squinting, silent gazes he'd give before gunning someone down. The one-liners. And for Eastwood's other westerns, a defined look. Join us — Pete Wright and Andy Nelson — as we continue our misnamed Man With No Name trilogy series and talk about Eastwood in his second film with Leone, 1965's "For a Few Dollars More.' We discuss the development that Leone shows from his first western to this one, as well as the development that Ennio Morricone shows in developing his brilliant score. We chat about Eastwood as well as the perfect western actor Lee Van Cleef, the ever manic Gian Maria Volonte and the ever frightening Klaus Kinski. We talk about the violence and rape in this film along with the use of marijuana and how it really seemed to break some filmmaking barriers for mainstream movies at the time. And we chat about the fantastic production design that really builds this western world that Eastwood, Van Cleef and Volonte inhabit along with their cast-mates, a world that can still be seen by visiting Mini-Hollywood in Almeria, Spain. It's a wildly fun film and one we have a wonderful time talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Sergio Leone continued building on the mythos that he and Clint Eastwood had created in "A Fistful of Dollars" with the follow-up, "For a Few Dollars More," and it is in this film that Eastwood really developed so many of the tropes that he would continue using throughout his career. The squinting, silent gazes he'd give before gunning someone down. The one-liners. And for Eastwood's other westerns, a defined look. Join us — Pete Wright and Andy Nelson — as we continue our misnamed Man With No Name trilogy series and talk about Eastwood in his second film with Leone, 1965's "For a Few Dollars More.' We discuss the development that Leone shows from his first western to this one, as well as the development that Ennio Morricone shows in developing his brilliant score. We chat about Eastwood as well as the perfect western actor Lee Van Cleef, the ever manic Gian Maria Volonte and the ever frightening Klaus Kinski. We talk about the violence and rape in this film along with the use of marijuana and how it really seemed to break some filmmaking barriers for mainstream movies at the time. And we chat about the fantastic production design that really builds this western world that Eastwood, Van Cleef and Volonte inhabit along with their cast-mates, a world that can still be seen by visiting Mini-Hollywood in Almeria, Spain. It's a wildly fun film and one we have a wonderful time talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 21 Aug 2014 08:00:00 -0700 The Next Reel The Next Reel 4515 Sergio Leone continued building on the mythos that he and Clint Eastwood had created in "A Fistful of Dollars" with the follow-up, "For a Few Dollars More," and it is in this film that Eastwood really developed so many of the tropes that he would continue using throughout his career. The squinting, silent gazes he'd give before gunning someone down. The one-liners. And for Eastwood's other westerns, a defined look. Join us — Pete Wright and Andy Nelson — as we continue our misnamed Man With No Name trilogy series and talk about Eastwood in his second film with Leone, 1965's "For a Few Dollars More.' We discuss the development that Leone shows from his first western to this one, as well as the development that Ennio Morricone shows in developing his brilliant score. We chat about Eastwood as well as the perfect western actor Lee Van Cleef, the ever manic Gian Maria Volonte and the ever frightening Klaus Kinski. We talk about the violence and rape in this film along with the use of marijuana and how it really seemed to break some filmmaking barriers for mainstream movies at the time. And we chat about the fantastic production design that really builds this western world that Eastwood, Van Cleef and Volonte inhabit along with their cast-mates, a world that can still be seen by visiting Mini-Hollywood in Almeria, Spain. It's a wildly fun film and one we have a wonderful time talking about. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Sergio Leone continued building on the mythos that he and Clint Eastwood had created in "A Fistful of Dollars" with the follow-up, "For a Few Dollars More," and it is in this film that Eastwood really developed so many of the tropes that he would continue film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A Fistful of Dollars • The Next Reel 4 4 6 6 A Fistful of Dollars • The Next Reel full 3bf2d8cd-0dc2-4b59-9b49-1055824dbbbd https://share.transistor.fm/s/0e503a80 Spaghetti Westerns didn't completely begin with Sergio Leone's 1964 film "A Fistful of Dollars," but his film certainly set a new bar — and created an international audience — for these films. This film revitalized a genre that had been slowly dying by getting rid of the black hat/white hat type of story that instead focused on characters who had a lot more gray in them. And this film is really the film that set Leone on his way to making the types of films he'd continue making throughout his career. Join us — Pete Wright and Andy Nelson — as we start our Man With No Name Trilogy series with a conversation about "A Fistful of Dollars." We talk about how this film changed westerns and what its European sensibilities brought to the film that those in the US latched onto. We discuss Clint Eastwood and why he got involved in the film, and look at what he brought to his role as Joe. We chat about the other cast and how they hold up with Eastwood. We discuss the interesting cinematography that in so many ways came to define Leone's style, as well as the standard practice at the time in Italy of post-syncing all of their audio which leads to all of the actors feeling slightly out of sync. And we talk about the violence in the film and discuss how people felt about it at the time along with how it ended up influencing films to follow. It's a great start to Leone's unofficial (but well-marketed) trilogy and we have a blast talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Spaghetti Westerns didn't completely begin with Sergio Leone's 1964 film "A Fistful of Dollars," but his film certainly set a new bar — and created an international audience — for these films. This film revitalized a genre that had been slowly dying by getting rid of the black hat/white hat type of story that instead focused on characters who had a lot more gray in them. And this film is really the film that set Leone on his way to making the types of films he'd continue making throughout his career. Join us — Pete Wright and Andy Nelson — as we start our Man With No Name Trilogy series with a conversation about "A Fistful of Dollars." We talk about how this film changed westerns and what its European sensibilities brought to the film that those in the US latched onto. We discuss Clint Eastwood and why he got involved in the film, and look at what he brought to his role as Joe. We chat about the other cast and how they hold up with Eastwood. We discuss the interesting cinematography that in so many ways came to define Leone's style, as well as the standard practice at the time in Italy of post-syncing all of their audio which leads to all of the actors feeling slightly out of sync. And we talk about the violence in the film and discuss how people felt about it at the time along with how it ended up influencing films to follow. It's a great start to Leone's unofficial (but well-marketed) trilogy and we have a blast talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 14 Aug 2014 08:00:00 -0700 The Next Reel The Next Reel 4922 Spaghetti Westerns didn't completely begin with Sergio Leone's 1964 film "A Fistful of Dollars," but his film certainly set a new bar — and created an international audience — for these films. This film revitalized a genre that had been slowly dying by getting rid of the black hat/white hat type of story that instead focused on characters who had a lot more gray in them. And this film is really the film that set Leone on his way to making the types of films he'd continue making throughout his career. Join us — Pete Wright and Andy Nelson — as we start our Man With No Name Trilogy series with a conversation about "A Fistful of Dollars." We talk about how this film changed westerns and what its European sensibilities brought to the film that those in the US latched onto. We discuss Clint Eastwood and why he got involved in the film, and look at what he brought to his role as Joe. We chat about the other cast and how they hold up with Eastwood. We discuss the interesting cinematography that in so many ways came to define Leone's style, as well as the standard practice at the time in Italy of post-syncing all of their audio which leads to all of the actors feeling slightly out of sync. And we talk about the violence in the film and discuss how people felt about it at the time along with how it ended up influencing films to follow. It's a great start to Leone's unofficial (but well-marketed) trilogy and we have a blast talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Spaghetti Westerns didn't completely begin with Sergio Leone's 1964 film "A Fistful of Dollars," but his film certainly set a new bar — and created an international audience — for these films. This film revitalized a genre that had been slowly dying by ge clinteastwood, sergioleone No Andy Nelson Pete Wright 12 Monkeys • The Next Reel 4 4 5 5 12 Monkeys • The Next Reel full 34f9575c-9313-48c1-8234-b4a65aa68a64 https://share.transistor.fm/s/66c1dcbd Terry Gilliam has said that 'The Fisher King' and 'Twelve Monkeys' were two of the easiest films for him to make. Perhaps that's because he found the right way to work in the studio system, perhaps it's because he found the right people to work with, perhaps it's because he wasn't working with his own scripts. It's hard to say why that is, but they certainly proved successful at the box office, showing that Gilliam wasn't box office poison and allowing him to continue his career. Join us — Pete Wright and Andy Nelson — as we conclude our Terry Gilliam series with his 1995 film 'Twelve Monkeys.' We talk about what Gilliam did between 'The Fisher King' and this film and why he latched onto this film. We discuss the nature of the story and how it works for us now — is it a film we love or a film that ends up being forgotten not long after rewatching it. We chat about the three main actors — Bruce Willis, Madeline Stowe and Brad Pitt — and what they each bring to the table, as well as some of the fantastic supporting cast. We cover the nature of time travel and debate whether this film's rules really work, or if that matters as long as the rules apply within the film itself. And we chat about Terry Gilliam and what we've learned about him over the course of this series. It's a great way to finish up — tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Terry Gilliam has said that 'The Fisher King' and 'Twelve Monkeys' were two of the easiest films for him to make. Perhaps that's because he found the right way to work in the studio system, perhaps it's because he found the right people to work with, perhaps it's because he wasn't working with his own scripts. It's hard to say why that is, but they certainly proved successful at the box office, showing that Gilliam wasn't box office poison and allowing him to continue his career. Join us — Pete Wright and Andy Nelson — as we conclude our Terry Gilliam series with his 1995 film 'Twelve Monkeys.' We talk about what Gilliam did between 'The Fisher King' and this film and why he latched onto this film. We discuss the nature of the story and how it works for us now — is it a film we love or a film that ends up being forgotten not long after rewatching it. We chat about the three main actors — Bruce Willis, Madeline Stowe and Brad Pitt — and what they each bring to the table, as well as some of the fantastic supporting cast. We cover the nature of time travel and debate whether this film's rules really work, or if that matters as long as the rules apply within the film itself. And we chat about Terry Gilliam and what we've learned about him over the course of this series. It's a great way to finish up — tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 07 Aug 2014 08:00:00 -0700 The Next Reel The Next Reel 5716 Terry Gilliam has said that 'The Fisher King' and 'Twelve Monkeys' were two of the easiest films for him to make. Perhaps that's because he found the right way to work in the studio system, perhaps it's because he found the right people to work with, perhaps it's because he wasn't working with his own scripts. It's hard to say why that is, but they certainly proved successful at the box office, showing that Gilliam wasn't box office poison and allowing him to continue his career. Join us — Pete Wright and Andy Nelson — as we conclude our Terry Gilliam series with his 1995 film 'Twelve Monkeys.' We talk about what Gilliam did between 'The Fisher King' and this film and why he latched onto this film. We discuss the nature of the story and how it works for us now — is it a film we love or a film that ends up being forgotten not long after rewatching it. We chat about the three main actors — Bruce Willis, Madeline Stowe and Brad Pitt — and what they each bring to the table, as well as some of the fantastic supporting cast. We cover the nature of time travel and debate whether this film's rules really work, or if that matters as long as the rules apply within the film itself. And we chat about Terry Gilliam and what we've learned about him over the course of this series. It's a great way to finish up — tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Terry Gilliam has said that 'The Fisher King' and 'Twelve Monkeys' were two of the easiest films for him to make. Perhaps that's because he found the right way to work in the studio system, perhaps it's because he found the right people to work with, perh terrygilliam, bradpitt, madelynstowe, brucewillis No Andy Nelson Pete Wright The Fisher King • The Next Reel 4 4 4 4 The Fisher King • The Next Reel full 9fcaff39-1e41-4f48-b4c6-d9de28ba7e2e https://share.transistor.fm/s/65cdc766 After the financial disaster that was 'The Adventures of Baron Munchausen,' Terry Gilliam needed a way to prove to the studio brass that he could make a great movie that was on budget and made money at the box office. He found it in 'The Fisher King,' the film he made and released in 1991. Join us — Pete Wright and Andy Nelson — as we continue our Terry Gilliam series with the fantastic 'The Fisher King.' We talk about why this film works so well for us, even if Roger Ebert clearly didn't click with it. We discuss the brilliant 4 leads in the film — Jeff Bridges, Robin Williams, Mercedes Ruehl and Amanda Plummer — and look at what each of them bring to their own roles that make them work so well. We chat about the brilliance of Richard LaGravenese's script and how honest he portrays the characters yet how efficient the script is as well, giving full portrayals of characters even for minor characters (like the brilliant Michael Jeter). And we cover how this film succeeded at the box office and even gathered a handful of Oscar nominations, showing people that Gilliam can make films that make money. It's a wonderful film that we have a great time talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> After the financial disaster that was 'The Adventures of Baron Munchausen,' Terry Gilliam needed a way to prove to the studio brass that he could make a great movie that was on budget and made money at the box office. He found it in 'The Fisher King,' the film he made and released in 1991. Join us — Pete Wright and Andy Nelson — as we continue our Terry Gilliam series with the fantastic 'The Fisher King.' We talk about why this film works so well for us, even if Roger Ebert clearly didn't click with it. We discuss the brilliant 4 leads in the film — Jeff Bridges, Robin Williams, Mercedes Ruehl and Amanda Plummer — and look at what each of them bring to their own roles that make them work so well. We chat about the brilliance of Richard LaGravenese's script and how honest he portrays the characters yet how efficient the script is as well, giving full portrayals of characters even for minor characters (like the brilliant Michael Jeter). And we cover how this film succeeded at the box office and even gathered a handful of Oscar nominations, showing people that Gilliam can make films that make money. It's a wonderful film that we have a great time talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 31 Jul 2014 08:00:00 -0700 The Next Reel The Next Reel 5178 After the financial disaster that was 'The Adventures of Baron Munchausen,' Terry Gilliam needed a way to prove to the studio brass that he could make a great movie that was on budget and made money at the box office. He found it in 'The Fisher King,' the film he made and released in 1991. Join us — Pete Wright and Andy Nelson — as we continue our Terry Gilliam series with the fantastic 'The Fisher King.' We talk about why this film works so well for us, even if Roger Ebert clearly didn't click with it. We discuss the brilliant 4 leads in the film — Jeff Bridges, Robin Williams, Mercedes Ruehl and Amanda Plummer — and look at what each of them bring to their own roles that make them work so well. We chat about the brilliance of Richard LaGravenese's script and how honest he portrays the characters yet how efficient the script is as well, giving full portrayals of characters even for minor characters (like the brilliant Michael Jeter). And we cover how this film succeeded at the box office and even gathered a handful of Oscar nominations, showing people that Gilliam can make films that make money. It's a wonderful film that we have a great time talking about. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) After the financial disaster that was 'The Adventures of Baron Munchausen,' Terry Gilliam needed a way to prove to the studio brass that he could make a great movie that was on budget and made money at the box office. He found it in 'The Fisher King,' the terrygilliam, robinwilliams, mercedesruehl, amandaplummer No Andy Nelson Pete Wright The Adventures of Baron Munchausen • The Next Reel 4 4 3 3 The Adventures of Baron Munchausen • The Next Reel full 0400dfab-1911-4d22-918b-844358c60f03 https://share.transistor.fm/s/0110edfc After the battle that Terry Gilliam had to endure to release 'Brazil,' it's a shame that his next movie ended up being another debacle. From producer problems to studio exec switcheroos to plain old bad luck, 'The Adventures of Baron Munchausen' was a tough film to get made. Join us — Pete Wright and Andy Nelson — as we continue our Terry Gilliam series with this beautiful but troubled film. We talk about what works in the film and what doesn't work in the film, and what likely were the real problems that didn't help the movie ever find its audience at the time. We chat about the brilliant actors all through the film — including young roles for Uma Thurman and Sarah Polley, as well as a deliciously funny Oliver Reed — and what they brought to the table. We discuss the problems this film had in getting made and yet really only scratch the surface. We talk about how the film did financially and contemplate how it ended up being the lowest grossing film on our list of films we've discussed. And we look at how the film works for us while looking also at how it works for children and wonder if perhaps this film will always be better when first seen through the eyes of a child. It's a fun film that's stunning to look at but full of story problems all the way through, but that doesn't stop us from having a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> After the battle that Terry Gilliam had to endure to release 'Brazil,' it's a shame that his next movie ended up being another debacle. From producer problems to studio exec switcheroos to plain old bad luck, 'The Adventures of Baron Munchausen' was a tough film to get made. Join us — Pete Wright and Andy Nelson — as we continue our Terry Gilliam series with this beautiful but troubled film. We talk about what works in the film and what doesn't work in the film, and what likely were the real problems that didn't help the movie ever find its audience at the time. We chat about the brilliant actors all through the film — including young roles for Uma Thurman and Sarah Polley, as well as a deliciously funny Oliver Reed — and what they brought to the table. We discuss the problems this film had in getting made and yet really only scratch the surface. We talk about how the film did financially and contemplate how it ended up being the lowest grossing film on our list of films we've discussed. And we look at how the film works for us while looking also at how it works for children and wonder if perhaps this film will always be better when first seen through the eyes of a child. It's a fun film that's stunning to look at but full of story problems all the way through, but that doesn't stop us from having a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 24 Jul 2014 08:00:00 -0700 The Next Reel The Next Reel 5014 After the battle that Terry Gilliam had to endure to release 'Brazil,' it's a shame that his next movie ended up being another debacle. From producer problems to studio exec switcheroos to plain old bad luck, 'The Adventures of Baron Munchausen' was a tough film to get made. Join us — Pete Wright and Andy Nelson — as we continue our Terry Gilliam series with this beautiful but troubled film. We talk about what works in the film and what doesn't work in the film, and what likely were the real problems that didn't help the movie ever find its audience at the time. We chat about the brilliant actors all through the film — including young roles for Uma Thurman and Sarah Polley, as well as a deliciously funny Oliver Reed — and what they brought to the table. We discuss the problems this film had in getting made and yet really only scratch the surface. We talk about how the film did financially and contemplate how it ended up being the lowest grossing film on our list of films we've discussed. And we look at how the film works for us while looking also at how it works for children and wonder if perhaps this film will always be better when first seen through the eyes of a child. It's a fun film that's stunning to look at but full of story problems all the way through, but that doesn't stop us from having a great time talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) After the battle that Terry Gilliam had to endure to release 'Brazil,' it's a shame that his next movie ended up being another debacle. From producer problems to studio exec switcheroos to plain old bad luck, 'The Adventures of Baron Munchausen' was a tou terrygilliam No Andy Nelson Pete Wright Brazil • The Next Reel 4 4 2 2 Brazil • The Next Reel full 5efb7722-e2a0-42c4-97dd-584ba0d34728 https://share.transistor.fm/s/e4e3f2d2 Terry Gilliam has always been an ambitious director with wild visions for his films. Sometimes that’s worked out, sometimes it hasn’t. In the case of the follow-up to his successful film Time Bandits, Brazil didn’t work out, at least at the time. Gilliam had a very public battle with Sid Sheinberg, the president and CEO of MCA-Universal at the time, who didn’t want to release Gilliam’s film as it was presented to him. It wasn’t until 1996 when Gilliam’s director’s cut was finally released, but people could tell long before that there was a great film here. Join us – Pete Wright and Andy Nelson – as we continue our Terry Gilliam series with Andy’s favorite movie, Brazil. We talk about the battle in more depth and how it helped and hurt the film. We chat about why Andy likes it so much and look at what Gilliam is doing in this film that does make it stand out as a great film. We touch on the various versions of the film available and what their differences are. We discuss the nature of dreams vs. reality, of bureaucracy and technology, and the importance of ducts among other things. And we chat about many of the talented people both in front of and behind the cameras. It’s a fantastic film that definitely warrants conversation, so check it out and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Terry Gilliam has always been an ambitious director with wild visions for his films. Sometimes that’s worked out, sometimes it hasn’t. In the case of the follow-up to his successful film Time Bandits, Brazil didn’t work out, at least at the time. Gilliam had a very public battle with Sid Sheinberg, the president and CEO of MCA-Universal at the time, who didn’t want to release Gilliam’s film as it was presented to him. It wasn’t until 1996 when Gilliam’s director’s cut was finally released, but people could tell long before that there was a great film here. Join us – Pete Wright and Andy Nelson – as we continue our Terry Gilliam series with Andy’s favorite movie, Brazil. We talk about the battle in more depth and how it helped and hurt the film. We chat about why Andy likes it so much and look at what Gilliam is doing in this film that does make it stand out as a great film. We touch on the various versions of the film available and what their differences are. We discuss the nature of dreams vs. reality, of bureaucracy and technology, and the importance of ducts among other things. And we chat about many of the talented people both in front of and behind the cameras. It’s a fantastic film that definitely warrants conversation, so check it out and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 17 Jul 2014 08:00:00 -0700 The Next Reel The Next Reel 6128 Terry Gilliam has always been an ambitious director with wild visions for his films. Sometimes that’s worked out, sometimes it hasn’t. In the case of the follow-up to his successful film Time Bandits, Brazil didn’t work out, at least at the time. Gilliam had a very public battle with Sid Sheinberg, the president and CEO of MCA-Universal at the time, who didn’t want to release Gilliam’s film as it was presented to him. It wasn’t until 1996 when Gilliam’s director’s cut was finally released, but people could tell long before that there was a great film here. Join us – Pete Wright and Andy Nelson – as we continue our Terry Gilliam series with Andy’s favorite movie, Brazil. We talk about the battle in more depth and how it helped and hurt the film. We chat about why Andy likes it so much and look at what Gilliam is doing in this film that does make it stand out as a great film. We touch on the various versions of the film available and what their differences are. We discuss the nature of dreams vs. reality, of bureaucracy and technology, and the importance of ducts among other things. And we chat about many of the talented people both in front of and behind the cameras. It’s a fantastic film that definitely warrants conversation, so check it out and tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Terry Gilliam has always been an ambitious director with wild visions for his films. Sometimes that’s worked out, sometimes it hasn’t. In the case of the follow-up to his successful film Time Bandits, Brazil didn’t work out, at least at the time. Gilliam terrygilliam No Andy Nelson Pete Wright Time Bandits • The Next Reel 4 4 1 1 Time Bandits • The Next Reel full 4da0105f-553e-49a0-adf8-31aee79553d1 https://share.transistor.fm/s/7dba5cfb Getting out from under the shadow of Monty Python proved difficult for Terry Gilliam early in his solo career — no one in America would finance any films for him — so while he waited to get his big movie, "Brazil," off the ground, he wrote a script for an idea he'd been kicking around that would appeal to the whole family. "Time Bandits" proved to be a box office success and still is one of Gilliam's most profitable movies, allowing him to make "Brazil" immediately afterward and continue in the business. Join us — Pete Wright and Andy Nelson — as we dig into his 1981 film. We talk about how this film struck us at an early age and how we find it now, thrilled that Gilliam made a children's film that didn't need to gloss anything over for kids but kept it raw and edgy. We chat about the slew of actors running all through it — from the brilliance of the kid and six dwarfs in the titular roles to all the fantastic cameos and bit parts scattered through it (and, of course, most notably the brilliant David Warner playing Evil in the best way possible). We discuss the theological views of the story and how these views don't really affect the film, which can be viewed as simply a children's film still. And we look at the amazing world building done by Gilliam in this film and how he couldn't have done it without the help of his brilliant costume designer, production designer and art director. It's a film that holds up incredibly well for us and holds a special place in our hearts. We have a great chat about it, so check it out and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Getting out from under the shadow of Monty Python proved difficult for Terry Gilliam early in his solo career — no one in America would finance any films for him — so while he waited to get his big movie, "Brazil," off the ground, he wrote a script for an idea he'd been kicking around that would appeal to the whole family. "Time Bandits" proved to be a box office success and still is one of Gilliam's most profitable movies, allowing him to make "Brazil" immediately afterward and continue in the business. Join us — Pete Wright and Andy Nelson — as we dig into his 1981 film. We talk about how this film struck us at an early age and how we find it now, thrilled that Gilliam made a children's film that didn't need to gloss anything over for kids but kept it raw and edgy. We chat about the slew of actors running all through it — from the brilliance of the kid and six dwarfs in the titular roles to all the fantastic cameos and bit parts scattered through it (and, of course, most notably the brilliant David Warner playing Evil in the best way possible). We discuss the theological views of the story and how these views don't really affect the film, which can be viewed as simply a children's film still. And we look at the amazing world building done by Gilliam in this film and how he couldn't have done it without the help of his brilliant costume designer, production designer and art director. It's a film that holds up incredibly well for us and holds a special place in our hearts. We have a great chat about it, so check it out and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 10 Jul 2014 08:00:00 -0700 The Next Reel The Next Reel 4830 Getting out from under the shadow of Monty Python proved difficult for Terry Gilliam early in his solo career — no one in America would finance any films for him — so while he waited to get his big movie, "Brazil," off the ground, he wrote a script for an idea he'd been kicking around that would appeal to the whole family. "Time Bandits" proved to be a box office success and still is one of Gilliam's most profitable movies, allowing him to make "Brazil" immediately afterward and continue in the business. Join us — Pete Wright and Andy Nelson — as we dig into his 1981 film. We talk about how this film struck us at an early age and how we find it now, thrilled that Gilliam made a children's film that didn't need to gloss anything over for kids but kept it raw and edgy. We chat about the slew of actors running all through it — from the brilliance of the kid and six dwarfs in the titular roles to all the fantastic cameos and bit parts scattered through it (and, of course, most notably the brilliant David Warner playing Evil in the best way possible). We discuss the theological views of the story and how these views don't really affect the film, which can be viewed as simply a children's film still. And we look at the amazing world building done by Gilliam in this film and how he couldn't have done it without the help of his brilliant costume designer, production designer and art director. It's a film that holds up incredibly well for us and holds a special place in our hearts. We have a great chat about it, so check it out and tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Getting out from under the shadow of Monty Python proved difficult for Terry Gilliam early in his solo career — no one in America would finance any films for him — so while he waited to get his big movie, "Brazil," off the ground, he wrote a script for an michaelpalin, terrygilliam No Andy Nelson Pete Wright Knowing • The Next Reel 3 3 53 53 Knowing • The Next Reel full 62c5160c-3c51-4437-91d8-3f377f5ebef2 https://share.transistor.fm/s/9ee7c65e Considering how much critics and audiences seem to hate Alex Proyas' 2009 film Knowing, it's surprising that it actually did fairly well at the box office. We don't know if that's proof that people actually like it, but it was hated enough that Andy felt it was appropriate to call it a guilty pleasure of his. Join us — Pete Wright and Andy Nelson — as we finish up our short and fun Guilty Pleasure Series with Proyas' Knowing. Andy talks about why he loves it so much, and Pete talks about what he likes about it while pointing out all the problems he has with it. We debate the merits of what it's trying to do with what is actually presented to us. We chat about the stunning visual effects work, particularly the plane crash, how they went about creating it and why. We discuss the performances, primarily Nicolas Cage's and Rose Byrne's, and how they work for us (if at all). And we look at the importance of scope in the film — does a payoff need to be sized to its setup? It's a great conversation about a much maligned film. Andy's not sure he won Pete over but it's still one that Andy holds dear. Check it out, tune in, then let us know what you think!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Considering how much critics and audiences seem to hate Alex Proyas' 2009 film Knowing, it's surprising that it actually did fairly well at the box office. We don't know if that's proof that people actually like it, but it was hated enough that Andy felt it was appropriate to call it a guilty pleasure of his. Join us — Pete Wright and Andy Nelson — as we finish up our short and fun Guilty Pleasure Series with Proyas' Knowing. Andy talks about why he loves it so much, and Pete talks about what he likes about it while pointing out all the problems he has with it. We debate the merits of what it's trying to do with what is actually presented to us. We chat about the stunning visual effects work, particularly the plane crash, how they went about creating it and why. We discuss the performances, primarily Nicolas Cage's and Rose Byrne's, and how they work for us (if at all). And we look at the importance of scope in the film — does a payoff need to be sized to its setup? It's a great conversation about a much maligned film. Andy's not sure he won Pete over but it's still one that Andy holds dear. Check it out, tune in, then let us know what you think!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 03 Jul 2014 05:00:00 -0700 The Next Reel The Next Reel 4355 Considering how much critics and audiences seem to hate Alex Proyas' 2009 film Knowing, it's surprising that it actually did fairly well at the box office. We don't know if that's proof that people actually like it, but it was hated enough that Andy felt it was appropriate to call it a guilty pleasure of his. Join us — Pete Wright and Andy Nelson — as we finish up our short and fun Guilty Pleasure Series with Proyas' Knowing. Andy talks about why he loves it so much, and Pete talks about what he likes about it while pointing out all the problems he has with it. We debate the merits of what it's trying to do with what is actually presented to us. We chat about the stunning visual effects work, particularly the plane crash, how they went about creating it and why. We discuss the performances, primarily Nicolas Cage's and Rose Byrne's, and how they work for us (if at all). And we look at the importance of scope in the film — does a payoff need to be sized to its setup? It's a great conversation about a much maligned film. Andy's not sure he won Pete over but it's still one that Andy holds dear. Check it out, tune in, then let us know what you think! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Considering how much critics and audiences seem to hate Alex Proyas' 2009 film Knowing, it's surprising that it actually did fairly well at the box office. We don't know if that's proof that people actually like it, but it was hated enough that Andy felt nicholascage No Andy Nelson Pete Wright The Adventures of Buckaroo Banzai Across the 8th Dimension • The Next Reel 3 3 52 52 The Adventures of Buckaroo Banzai Across the 8th Dimension • The Next Reel full 4183fde5-8ab7-4674-9a09-856985bee420 https://share.transistor.fm/s/a34b9745 As someone once said, cult films aren't born, they're chosen. The Adventures of Buckaroo Banzai Across the 8th Dimension failed at the box office, but the film was just quirky enough to find that fan base and get propelled into cult status. While the film didn't do well enough to warrant a sequel, it did find a big fan in Pete. Join us — Andy Nelson and Pete Wright — as we begin our short (but hopefully fun) Guilty Pleasure Series with Buckaroo Banzai. Pete talks about why this film is a guilty pleasure for him and Andy admits that, while never having seen the film before, it's one that he could find himself really enjoying given a few more watches. We chat about the world building that the filmmakers infused this film with and find big and obscure films with which to compare its world building. We discuss the actors from top to bottom and how they all infuse the film with great energy, helping to create this world that feels fully formed, even if the script is a bit convoluted. We talk about how the film was received and how it became a cult favorite. And, inevitably, we spill out a few quotes from the film because, well, it's full of them. We have a great time talking about Pete's guilty pleasure this week so check it out!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> As someone once said, cult films aren't born, they're chosen. The Adventures of Buckaroo Banzai Across the 8th Dimension failed at the box office, but the film was just quirky enough to find that fan base and get propelled into cult status. While the film didn't do well enough to warrant a sequel, it did find a big fan in Pete. Join us — Andy Nelson and Pete Wright — as we begin our short (but hopefully fun) Guilty Pleasure Series with Buckaroo Banzai. Pete talks about why this film is a guilty pleasure for him and Andy admits that, while never having seen the film before, it's one that he could find himself really enjoying given a few more watches. We chat about the world building that the filmmakers infused this film with and find big and obscure films with which to compare its world building. We discuss the actors from top to bottom and how they all infuse the film with great energy, helping to create this world that feels fully formed, even if the script is a bit convoluted. We talk about how the film was received and how it became a cult favorite. And, inevitably, we spill out a few quotes from the film because, well, it's full of them. We have a great time talking about Pete's guilty pleasure this week so check it out!

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]]> Thu, 26 Jun 2014 06:27:00 -0700 The Next Reel The Next Reel 4107 As someone once said, cult films aren't born, they're chosen. The Adventures of Buckaroo Banzai Across the 8th Dimension failed at the box office, but the film was just quirky enough to find that fan base and get propelled into cult status. While the film didn't do well enough to warrant a sequel, it did find a big fan in Pete. Join us — Andy Nelson and Pete Wright — as we begin our short (but hopefully fun) Guilty Pleasure Series with Buckaroo Banzai. Pete talks about why this film is a guilty pleasure for him and Andy admits that, while never having seen the film before, it's one that he could find himself really enjoying given a few more watches. We chat about the world building that the filmmakers infused this film with and find big and obscure films with which to compare its world building. We discuss the actors from top to bottom and how they all infuse the film with great energy, helping to create this world that feels fully formed, even if the script is a bit convoluted. We talk about how the film was received and how it became a cult favorite. And, inevitably, we spill out a few quotes from the film because, well, it's full of them. We have a great time talking about Pete's guilty pleasure this week so check it out! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) As someone once said, cult films aren't born, they're chosen. The Adventures of Buckaroo Banzai Across the 8th Dimension failed at the box office, but the film was just quirky enough to find that fan base and get propelled into cult status. While the film peterweller No Andy Nelson Pete Wright Atlantic City • The Next Reel 3 3 51 51 Atlantic City • The Next Reel full be49ccac-70f2-473a-8863-4c20b038f096 https://share.transistor.fm/s/dc286127 It’s time to draw the curtains on our 1981 series with another Louis Malle film, Atlantic City. While technically made in 1979 and released in Canada and France in 1980, this film wasn’t released in the US until April 1981. Because of that, however, it does feel like a film from the 70s to us, like many films in our series ended up doing. Join us — Pete Wright and Andy Nelson — as we discuss Malle’s second film to be released in 1981 in the US. We talk about how the film worked for us — Andy really loved it this go-around, latching on to the characters, the story and the sadness of it all while Pete enjoyed the supporting characters more than the leads and overall felt it dull. We chat about how the film came to be and who else was considered for the parts. We talk about the performances of Burt Lancaster and Susan Sarandon, and how they work for us, again splitting our opinion. And we examine how timely this film fits into the changing scenery in the real Atlantic City at the time, constant demolition and construction as the city became an East Coast gambling hub. Its a fascinating film that we don’t see eye to eye on, but one that is definitely worth talking about. Tune in!

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]]> It’s time to draw the curtains on our 1981 series with another Louis Malle film, Atlantic City. While technically made in 1979 and released in Canada and France in 1980, this film wasn’t released in the US until April 1981. Because of that, however, it does feel like a film from the 70s to us, like many films in our series ended up doing. Join us — Pete Wright and Andy Nelson — as we discuss Malle’s second film to be released in 1981 in the US. We talk about how the film worked for us — Andy really loved it this go-around, latching on to the characters, the story and the sadness of it all while Pete enjoyed the supporting characters more than the leads and overall felt it dull. We chat about how the film came to be and who else was considered for the parts. We talk about the performances of Burt Lancaster and Susan Sarandon, and how they work for us, again splitting our opinion. And we examine how timely this film fits into the changing scenery in the real Atlantic City at the time, constant demolition and construction as the city became an East Coast gambling hub. Its a fascinating film that we don’t see eye to eye on, but one that is definitely worth talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 19 Jun 2014 23:41:00 -0700 The Next Reel The Next Reel 4862 It’s time to draw the curtains on our 1981 series with another Louis Malle film, Atlantic City. While technically made in 1979 and released in Canada and France in 1980, this film wasn’t released in the US until April 1981. Because of that, however, it does feel like a film from the 70s to us, like many films in our series ended up doing. Join us — Pete Wright and Andy Nelson — as we discuss Malle’s second film to be released in 1981 in the US. We talk about how the film worked for us — Andy really loved it this go-around, latching on to the characters, the story and the sadness of it all while Pete enjoyed the supporting characters more than the leads and overall felt it dull. We chat about how the film came to be and who else was considered for the parts. We talk about the performances of Burt Lancaster and Susan Sarandon, and how they work for us, again splitting our opinion. And we examine how timely this film fits into the changing scenery in the real Atlantic City at the time, constant demolition and construction as the city became an East Coast gambling hub. Its a fascinating film that we don’t see eye to eye on, but one that is definitely worth talking about. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) It’s time to draw the curtains on our 1981 series with another Louis Malle film, Atlantic City. While technically made in 1979 and released in Canada and France in 1980, this film wasn’t released in the US until April 1981. Because of that, however, it do susansarandon, louismalle, burtlancaster No Andy Nelson Pete Wright Gallipoli • The Next Reel 3 3 50 50 Gallipoli • The Next Reel full c92d460f-1541-4265-9785-51f45c5bd776 https://share.transistor.fm/s/edf2ecfc The late 70s and early 80s were a great time for Australian cinema. The filmmakers churned out lots of great (and cheap) movies and these movies helped create a resurgence of Australian films on the world cinematic stage. Peter Weir was one of these filmmakers, and his 1981 film Gallipoli really helped this resurgence with its story of friendship and the loss of innocence in times of war. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Weir’s Gallipoli. We talk about the horrors of this battle in Turkey, who fought it and how this film portrays the war. We discuss the odd structure of the film as it focuses primarily on character and less on the war, and why that works, but also why it makes the first half of the film lag a bit. We chat about Mel Gibson and Mark Lee, how they work as actors in this film, and why we like their portrayals. And we touch on how this film’s popularity did help boost it and other Australian films up onto the world stage. It’s a powerful film, even if it’s not something we feel like we’d find ourselves returning to very often. Still. well worth looking at. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> The late 70s and early 80s were a great time for Australian cinema. The filmmakers churned out lots of great (and cheap) movies and these movies helped create a resurgence of Australian films on the world cinematic stage. Peter Weir was one of these filmmakers, and his 1981 film Gallipoli really helped this resurgence with its story of friendship and the loss of innocence in times of war. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Weir’s Gallipoli. We talk about the horrors of this battle in Turkey, who fought it and how this film portrays the war. We discuss the odd structure of the film as it focuses primarily on character and less on the war, and why that works, but also why it makes the first half of the film lag a bit. We chat about Mel Gibson and Mark Lee, how they work as actors in this film, and why we like their portrayals. And we touch on how this film’s popularity did help boost it and other Australian films up onto the world stage. It’s a powerful film, even if it’s not something we feel like we’d find ourselves returning to very often. Still. well worth looking at. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 12 Jun 2014 08:00:00 -0700 The Next Reel The Next Reel 4761 The late 70s and early 80s were a great time for Australian cinema. The filmmakers churned out lots of great (and cheap) movies and these movies helped create a resurgence of Australian films on the world cinematic stage. Peter Weir was one of these filmmakers, and his 1981 film Gallipoli really helped this resurgence with its story of friendship and the loss of innocence in times of war. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Weir’s Gallipoli. We talk about the horrors of this battle in Turkey, who fought it and how this film portrays the war. We discuss the odd structure of the film as it focuses primarily on character and less on the war, and why that works, but also why it makes the first half of the film lag a bit. We chat about Mel Gibson and Mark Lee, how they work as actors in this film, and why we like their portrayals. And we touch on how this film’s popularity did help boost it and other Australian films up onto the world stage. It’s a powerful film, even if it’s not something we feel like we’d find ourselves returning to very often. Still. well worth looking at. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) The late 70s and early 80s were a great time for Australian cinema. The filmmakers churned out lots of great (and cheap) movies and these movies helped create a resurgence of Australian films on the world cinematic stage. Peter Weir was one of these filmm peterweir, melgibson, marklee No Andy Nelson Pete Wright An American Werewolf in London • The Next Reel 3 3 49 49 An American Werewolf in London • The Next Reel full d2ab347a-f4a0-4a2d-92e4-3062a7752fe0 https://share.transistor.fm/s/848f87e1 John Landis made a big shift in his filmmaking when we went from comedies like The Kentucky Fried Movie and Animal House to An American Werewolf in London. At the time, people weren't used to horror films that blended with comedy and it took him over a decade to actually get it made. The film was, however, a success when it was released and still has a big fan base. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Landis' horror/comedy film. We discuss why this film works so well for us and what makes it hold up so well, now nearly 33 years since it was first released. We talk about the great cast headed up by David Naughton, Griffin Dunne and Jenny Agutter, and what casting decision almost had the film move to Paris. We talk about the beginning of the film and how we'd rewrite it to fix some little problems we have. We chat about the werewolf effects and how Rick Baker really brought a new level of makeup effects to the forefront of cinema, changing it forever. And we discuss many other aspects of the film — cinematography, editing, sound mixing, composing — that elevate the film into something that builds an incredibly effective world and makes for a film that stands the test of time. We love this film and have a great time talking about it. Tune in!


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]]> John Landis made a big shift in his filmmaking when we went from comedies like The Kentucky Fried Movie and Animal House to An American Werewolf in London. At the time, people weren't used to horror films that blended with comedy and it took him over a decade to actually get it made. The film was, however, a success when it was released and still has a big fan base. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Landis' horror/comedy film. We discuss why this film works so well for us and what makes it hold up so well, now nearly 33 years since it was first released. We talk about the great cast headed up by David Naughton, Griffin Dunne and Jenny Agutter, and what casting decision almost had the film move to Paris. We talk about the beginning of the film and how we'd rewrite it to fix some little problems we have. We chat about the werewolf effects and how Rick Baker really brought a new level of makeup effects to the forefront of cinema, changing it forever. And we discuss many other aspects of the film — cinematography, editing, sound mixing, composing — that elevate the film into something that builds an incredibly effective world and makes for a film that stands the test of time. We love this film and have a great time talking about it. Tune in!


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]]> Thu, 05 Jun 2014 08:00:00 -0700 The Next Reel The Next Reel 5215 John Landis made a big shift in his filmmaking when we went from comedies like The Kentucky Fried Movie and Animal House to An American Werewolf in London. At the time, people weren't used to horror films that blended with comedy and it took him over a decade to actually get it made. The film was, however, a success when it was released and still has a big fan base. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Landis' horror/comedy film. We discuss why this film works so well for us and what makes it hold up so well, now nearly 33 years since it was first released. We talk about the great cast headed up by David Naughton, Griffin Dunne and Jenny Agutter, and what casting decision almost had the film move to Paris. We talk about the beginning of the film and how we'd rewrite it to fix some little problems we have. We chat about the werewolf effects and how Rick Baker really brought a new level of makeup effects to the forefront of cinema, changing it forever. And we discuss many other aspects of the film — cinematography, editing, sound mixing, composing — that elevate the film into something that builds an incredibly effective world and makes for a film that stands the test of time. We love this film and have a great time talking about it. Tune in! John Landis made a big shift in his filmmaking when we went from comedies like The Kentucky Fried Movie and Animal House to An American Werewolf in London. At the time, people weren't used to horror films that blended with comedy and it took him over a de film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Thief • The Next Reel 3 3 48 48 Thief • The Next Reel full 172089f3-3075-4742-bc7c-87e562b1835d https://share.transistor.fm/s/eee70787 Michael Mann has spent most of his film career exploring the world of crime and the criminals that inhabit it. Not to mention neon lighting. His feature film debut, Thief, certainly started him on the right track. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Mann's Thief. We talk about why this film works well for us as well as what elements don't work, really digging into Mann and his proclivity to give short shrift to his female characters. We chat about the truth brought to the film by bringing on real thieves to work as technical advisors, training James Caan to work with real equipment and actually really cracking safes on screen. We talk about the great James Caan as well as the rest of the cast — Tuesday Weld, James Belushi, Robert Prosky and more — and what they all bring to the movie. We chat about Tangerine Dream and their music, why Mann hired them, and what, if anything, works with their score. And we really dig into the character arc of Frank played by Caan, discussing how it works in context of the script, and why the actual ending of the screenplay changes his story in a way that works for us even if it doesn't feel very much like a 'Michael Mann' ending. It's a great film that we're happy to revisit. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Michael Mann has spent most of his film career exploring the world of crime and the criminals that inhabit it. Not to mention neon lighting. His feature film debut, Thief, certainly started him on the right track. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Mann's Thief. We talk about why this film works well for us as well as what elements don't work, really digging into Mann and his proclivity to give short shrift to his female characters. We chat about the truth brought to the film by bringing on real thieves to work as technical advisors, training James Caan to work with real equipment and actually really cracking safes on screen. We talk about the great James Caan as well as the rest of the cast — Tuesday Weld, James Belushi, Robert Prosky and more — and what they all bring to the movie. We chat about Tangerine Dream and their music, why Mann hired them, and what, if anything, works with their score. And we really dig into the character arc of Frank played by Caan, discussing how it works in context of the script, and why the actual ending of the screenplay changes his story in a way that works for us even if it doesn't feel very much like a 'Michael Mann' ending. It's a great film that we're happy to revisit. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 29 May 2014 08:00:00 -0700 The Next Reel The Next Reel 4809 Michael Mann has spent most of his film career exploring the world of crime and the criminals that inhabit it. Not to mention neon lighting. His feature film debut, Thief, certainly started him on the right track. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Mann's Thief. We talk about why this film works well for us as well as what elements don't work, really digging into Mann and his proclivity to give short shrift to his female characters. We chat about the truth brought to the film by bringing on real thieves to work as technical advisors, training James Caan to work with real equipment and actually really cracking safes on screen. We talk about the great James Caan as well as the rest of the cast — Tuesday Weld, James Belushi, Robert Prosky and more — and what they all bring to the movie. We chat about Tangerine Dream and their music, why Mann hired them, and what, if anything, works with their score. And we really dig into the character arc of Frank played by Caan, discussing how it works in context of the script, and why the actual ending of the screenplay changes his story in a way that works for us even if it doesn't feel very much like a 'Michael Mann' ending. It's a great film that we're happy to revisit. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Michael Mann has spent most of his film career exploring the world of crime and the criminals that inhabit it. Not to mention neon lighting. His feature film debut, Thief, certainly started him on the right track. Join us — Pete Wright and Andy Nelson — a tuesdayweld, jamesbelushi, robertprosky, jamescaan, tangerinedream, michaelmann No Andy Nelson Pete Wright Blow Out • The Next Reel 3 3 47 47 Blow Out • The Next Reel full 357f9d74-7945-470d-aab1-40ca73fb2b85 https://share.transistor.fm/s/0734bddd Anyone who listens to the show knows that we have a love/hate relationship with Brian De Palma. With his 1981 film Blow Out, he makes one of his strongest films and lands squarely on the side of ‘love’ for us (thank the heavens since neither of us had seen it recently and we couldn’t remember it well enough). Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with De Palma’s Blow Out. We talk about the tone of the film and why it worked so well for De Palma. We chat about the opening sequence and if it starts the film on the wrong tone or if, perhaps, it gives a sense of the irony at work within the film. We discuss the actors — notably John Travolta, Nancy Allen, John Lithgow and Dennis Franz — and how well they work for us (except Nancy Allen who plays her character in a way that might not work as well for some). We chat about the brilliant production work by the DP, the sound team and the production design team, building a film that films haunting and tragic. And we talk about the nature of De Palma, what he’s doing with this film, what techniques he employs and why it works so well. We loved this film and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Anyone who listens to the show knows that we have a love/hate relationship with Brian De Palma. With his 1981 film Blow Out, he makes one of his strongest films and lands squarely on the side of ‘love’ for us (thank the heavens since neither of us had seen it recently and we couldn’t remember it well enough). Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with De Palma’s Blow Out. We talk about the tone of the film and why it worked so well for De Palma. We chat about the opening sequence and if it starts the film on the wrong tone or if, perhaps, it gives a sense of the irony at work within the film. We discuss the actors — notably John Travolta, Nancy Allen, John Lithgow and Dennis Franz — and how well they work for us (except Nancy Allen who plays her character in a way that might not work as well for some). We chat about the brilliant production work by the DP, the sound team and the production design team, building a film that films haunting and tragic. And we talk about the nature of De Palma, what he’s doing with this film, what techniques he employs and why it works so well. We loved this film and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 22 May 2014 13:46:00 -0700 The Next Reel The Next Reel 4631 Anyone who listens to the show knows that we have a love/hate relationship with Brian De Palma. With his 1981 film Blow Out, he makes one of his strongest films and lands squarely on the side of ‘love’ for us (thank the heavens since neither of us had seen it recently and we couldn’t remember it well enough). Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with De Palma’s Blow Out. We talk about the tone of the film and why it worked so well for De Palma. We chat about the opening sequence and if it starts the film on the wrong tone or if, perhaps, it gives a sense of the irony at work within the film. We discuss the actors — notably John Travolta, Nancy Allen, John Lithgow and Dennis Franz — and how well they work for us (except Nancy Allen who plays her character in a way that might not work as well for some). We chat about the brilliant production work by the DP, the sound team and the production design team, building a film that films haunting and tragic. And we talk about the nature of De Palma, what he’s doing with this film, what techniques he employs and why it works so well. We loved this film and we have a great time talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Anyone who listens to the show knows that we have a love/hate relationship with Brian De Palma. With his 1981 film Blow Out, he makes one of his strongest films and lands squarely on the side of ‘love’ for us (thank the heavens since neither of us had see film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright My Dinner with André • The Next Reel 3 3 46 46 My Dinner with André • The Next Reel full 3dad69da-ead9-410b-9ffe-dcd444ca6622 https://share.transistor.fm/s/7b276f94 My Dinner With Andre is certainly not an easy film to classify. It certainly is a film that could be considered divisive, but that's really between people who get into it and people who just don't click with it. It is a film of two people having a conversation over dinner, after all. But to many, it is one of Louis Malle's classics, a film that makes many lists of great films, and a film that inspires conversation. Join us -- Pete Wright and Andy Nelson -- as we have our own conversation about this film that fits in our 1981 film series. We talk about how the film worked for us when we first saw it and how it hit us on this most recent viewing. We look at what the film is really about, why it works and why it draws us in. We discuss the origins of the film and how Wallace Shawn and Andre Gregory came up with the idea, wrote it, got it into Malle's hands and ended up making the film. And we chat about how everyone needs to get their own Wallace and Andre action figures, the kind that Corky has in Waiting for Guffman. It's a great film, albeit one we wouldn't put on too often, but certainly one that inspires a fantastic conversation. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> My Dinner With Andre is certainly not an easy film to classify. It certainly is a film that could be considered divisive, but that's really between people who get into it and people who just don't click with it. It is a film of two people having a conversation over dinner, after all. But to many, it is one of Louis Malle's classics, a film that makes many lists of great films, and a film that inspires conversation. Join us -- Pete Wright and Andy Nelson -- as we have our own conversation about this film that fits in our 1981 film series. We talk about how the film worked for us when we first saw it and how it hit us on this most recent viewing. We look at what the film is really about, why it works and why it draws us in. We discuss the origins of the film and how Wallace Shawn and Andre Gregory came up with the idea, wrote it, got it into Malle's hands and ended up making the film. And we chat about how everyone needs to get their own Wallace and Andre action figures, the kind that Corky has in Waiting for Guffman. It's a great film, albeit one we wouldn't put on too often, but certainly one that inspires a fantastic conversation. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 15 May 2014 08:16:00 -0700 The Next Reel The Next Reel 4171 My Dinner With Andre is certainly not an easy film to classify. It certainly is a film that could be considered divisive, but that's really between people who get into it and people who just don't click with it. It is a film of two people having a conversation over dinner, after all. But to many, it is one of Louis Malle's classics, a film that makes many lists of great films, and a film that inspires conversation. Join us -- Pete Wright and Andy Nelson -- as we have our own conversation about this film that fits in our 1981 film series. We talk about how the film worked for us when we first saw it and how it hit us on this most recent viewing. We look at what the film is really about, why it works and why it draws us in. We discuss the origins of the film and how Wallace Shawn and Andre Gregory came up with the idea, wrote it, got it into Malle's hands and ended up making the film. And we chat about how everyone needs to get their own Wallace and Andre action figures, the kind that Corky has in Waiting for Guffman. It's a great film, albeit one we wouldn't put on too often, but certainly one that inspires a fantastic conversation. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) My Dinner With Andre is certainly not an easy film to classify. It certainly is a film that could be considered divisive, but that's really between people who get into it and people who just don't click with it. It is a film of two people having a convers film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Escape from New York • The Next Reel 3 3 45 45 Escape from New York • The Next Reel full f64cb87d-81df-4ea3-92ae-968b7784904d https://share.transistor.fm/s/dc4e6810 Many films in the early 80s continued the cynicism of the 70s, and that certainly holds true for a number of John Carpenter's films, who has used several of his films and characters in them to take a pointed look at the hypocrisy of the government and society's ills as he saw them. His 1981 film 'Escape From New York' falls into that mold, while also feeling like nothing more than an early 80s action thriller set in a dystopian future. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Carpenter's 'Escape From New York.' We talk about how the film holds up for us (not very well despite still being fun) and why it likely doesn't work as well as other films of Carpenter's in that period. We discuss the glimpse into the year 1997 as the film describes it and reminisce about what really happened in 1997. We chat about the performances, from Kurt Russell in one of his iconic roles, to Lee Van Cleef to Adrienne Barbeau to Isaac Hayes in a role far too weakly written for him. We touch on the production of the film and how they didn't film any of it in New York City except a few bits on Liberty Island. And we chat about the character of "Snake" Plissken, why he works, why we like him, and if we agree with Russell in saying that it's an intrinsically American character and should only be played by American actors when they finally get around to doing a remake. It's a fun film that unfortunately really carries the burden of its budget and its time around its neck, getting weighed down and faltering when it has such a great concept. Regardless, we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Many films in the early 80s continued the cynicism of the 70s, and that certainly holds true for a number of John Carpenter's films, who has used several of his films and characters in them to take a pointed look at the hypocrisy of the government and society's ills as he saw them. His 1981 film 'Escape From New York' falls into that mold, while also feeling like nothing more than an early 80s action thriller set in a dystopian future. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Carpenter's 'Escape From New York.' We talk about how the film holds up for us (not very well despite still being fun) and why it likely doesn't work as well as other films of Carpenter's in that period. We discuss the glimpse into the year 1997 as the film describes it and reminisce about what really happened in 1997. We chat about the performances, from Kurt Russell in one of his iconic roles, to Lee Van Cleef to Adrienne Barbeau to Isaac Hayes in a role far too weakly written for him. We touch on the production of the film and how they didn't film any of it in New York City except a few bits on Liberty Island. And we chat about the character of "Snake" Plissken, why he works, why we like him, and if we agree with Russell in saying that it's an intrinsically American character and should only be played by American actors when they finally get around to doing a remake. It's a fun film that unfortunately really carries the burden of its budget and its time around its neck, getting weighed down and faltering when it has such a great concept. Regardless, we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 08 May 2014 11:42:00 -0700 The Next Reel The Next Reel 5616 Many films in the early 80s continued the cynicism of the 70s, and that certainly holds true for a number of John Carpenter's films, who has used several of his films and characters in them to take a pointed look at the hypocrisy of the government and society's ills as he saw them. His 1981 film 'Escape From New York' falls into that mold, while also feeling like nothing more than an early 80s action thriller set in a dystopian future. Join us — Pete Wright and Andy Nelson — as we continue our 1981 series with Carpenter's 'Escape From New York.' We talk about how the film holds up for us (not very well despite still being fun) and why it likely doesn't work as well as other films of Carpenter's in that period. We discuss the glimpse into the year 1997 as the film describes it and reminisce about what really happened in 1997. We chat about the performances, from Kurt Russell in one of his iconic roles, to Lee Van Cleef to Adrienne Barbeau to Isaac Hayes in a role far too weakly written for him. We touch on the production of the film and how they didn't film any of it in New York City except a few bits on Liberty Island. And we chat about the character of "Snake" Plissken, why he works, why we like him, and if we agree with Russell in saying that it's an intrinsically American character and should only be played by American actors when they finally get around to doing a remake. It's a fun film that unfortunately really carries the burden of its budget and its time around its neck, getting weighed down and faltering when it has such a great concept. Regardless, we have a great time talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) Many films in the early 80s continued the cynicism of the 70s, and that certainly holds true for a number of John Carpenter's films, who has used several of his films and characters in them to take a pointed look at the hypocrisy of the government and soc kurtrussell, johncarpenter No Andy Nelson Pete Wright Das Boot • The Next Reel 3 3 44 44 Das Boot • The Next Reel full d27cb878-635d-4829-ba31-ce433df57215 https://share.transistor.fm/s/3922888f There are great years of cinema like 1999 when the films seem to redefine the direction of the medium. And then there are years that, while maybe not changing the nature of cinema, certainly have a lot of great movies.1981 is one of those years. Wolfgang Peterson's epic WWII submarine film came out in Germany in 1981 and changed the way many filmmakers constructed tension in war and action films. It changed the way people viewed Germans during the war because it portrayed the submariners as simply human. And it became the most popular foreign language film in the US for a very long time. Join us — Pete Wright and Andy Nelson — as we begin our series on 1981 with Peterson's "Das Boot." We talk about the power of the anti-war story and why it works so well, even if German critics at the time thought it was a horrible move on the part of the filmmakers. We discuss the director and his cast, looking at what each of them bring to the table, particularly Jürgen Prochnow as the Captain of the U-boat. We go over the length and debate the worth of the additional hour in the director's cut — was it necessary to add it all back into the film? We talk about taking the tour of the Bavaria Film Studios to see the original full-scale model of the submarine (and take a ride on Falcor from The NeverEnding Story!) And we talk about the complexities of shooting a submarine film with models, handheld cameras with gyroscopic stabilization systems, moving sets on gimbles made to spec, and more. It's a powerful film that perhaps begins to wear its welcome, but we love it and have a great time talking about it this week. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> There are great years of cinema like 1999 when the films seem to redefine the direction of the medium. And then there are years that, while maybe not changing the nature of cinema, certainly have a lot of great movies.1981 is one of those years. Wolfgang Peterson's epic WWII submarine film came out in Germany in 1981 and changed the way many filmmakers constructed tension in war and action films. It changed the way people viewed Germans during the war because it portrayed the submariners as simply human. And it became the most popular foreign language film in the US for a very long time. Join us — Pete Wright and Andy Nelson — as we begin our series on 1981 with Peterson's "Das Boot." We talk about the power of the anti-war story and why it works so well, even if German critics at the time thought it was a horrible move on the part of the filmmakers. We discuss the director and his cast, looking at what each of them bring to the table, particularly Jürgen Prochnow as the Captain of the U-boat. We go over the length and debate the worth of the additional hour in the director's cut — was it necessary to add it all back into the film? We talk about taking the tour of the Bavaria Film Studios to see the original full-scale model of the submarine (and take a ride on Falcor from The NeverEnding Story!) And we talk about the complexities of shooting a submarine film with models, handheld cameras with gyroscopic stabilization systems, moving sets on gimbles made to spec, and more. It's a powerful film that perhaps begins to wear its welcome, but we love it and have a great time talking about it this week. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 01 May 2014 08:00:00 -0700 The Next Reel The Next Reel 5482 There are great years of cinema like 1999 when the films seem to redefine the direction of the medium. And then there are years that, while maybe not changing the nature of cinema, certainly have a lot of great movies.1981 is one of those years. Wolfgang Peterson's epic WWII submarine film came out in Germany in 1981 and changed the way many filmmakers constructed tension in war and action films. It changed the way people viewed Germans during the war because it portrayed the submariners as simply human. And it became the most popular foreign language film in the US for a very long time. Join us — Pete Wright and Andy Nelson — as we begin our series on 1981 with Peterson's "Das Boot." We talk about the power of the anti-war story and why it works so well, even if German critics at the time thought it was a horrible move on the part of the filmmakers. We discuss the director and his cast, looking at what each of them bring to the table, particularly Jürgen Prochnow as the Captain of the U-boat. We go over the length and debate the worth of the additional hour in the director's cut — was it necessary to add it all back into the film? We talk about taking the tour of the Bavaria Film Studios to see the original full-scale model of the submarine (and take a ride on Falcor from The NeverEnding Story!) And we talk about the complexities of shooting a submarine film with models, handheld cameras with gyroscopic stabilization systems, moving sets on gimbles made to spec, and more. It's a powerful film that perhaps begins to wear its welcome, but we love it and have a great time talking about it this week. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) - [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/) There are great years of cinema like 1999 when the films seem to redefine the direction of the medium. And then there are years that, while maybe not changing the nature of cinema, certainly have a lot of great movies.1981 is one of those years. Wolfgang film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Matrix • The Next Reel 3 3 43 43 The Matrix • The Next Reel full 399da210-3722-4a81-9cc0-fbc38f33673c https://share.transistor.fm/s/7d09df1f People often talk about the great movie year of 1999, and one of the great films that came out that year is 'The Matrix,' the film that made bullet-time a filmmaking standard and stunt wire work almost an expectation in action films. But it's a great film because of its script, written by Lana née Larry and Andy Wachowski, who went on to co-direct it as well. Join us — Pete Wright and Andy Nelson — as we delve into our next Listener's Choice movie selection with 'The Matrix.' We talk about the script and how it works in the world of science fiction, but also how the script goes beyond that by including elements from a wide variety of other sources — religions, movie genres, writings and theories, etc. We discuss how well it does with these heavier and headier ideas, and if those elements matter when watching the film to make it enjoyable. We chat about the cast and crew and everything they're bringing to the table to create this amazing world. We mention the film just had its 15th birthday and argue about whether it holds up as well as it first did or if it's showing its age now. And we really have to deliberate with this versus several other films we've discussed in previous episodes when trying to rank it on Flickchart. It's a great film that's well worth talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> People often talk about the great movie year of 1999, and one of the great films that came out that year is 'The Matrix,' the film that made bullet-time a filmmaking standard and stunt wire work almost an expectation in action films. But it's a great film because of its script, written by Lana née Larry and Andy Wachowski, who went on to co-direct it as well. Join us — Pete Wright and Andy Nelson — as we delve into our next Listener's Choice movie selection with 'The Matrix.' We talk about the script and how it works in the world of science fiction, but also how the script goes beyond that by including elements from a wide variety of other sources — religions, movie genres, writings and theories, etc. We discuss how well it does with these heavier and headier ideas, and if those elements matter when watching the film to make it enjoyable. We chat about the cast and crew and everything they're bringing to the table to create this amazing world. We mention the film just had its 15th birthday and argue about whether it holds up as well as it first did or if it's showing its age now. And we really have to deliberate with this versus several other films we've discussed in previous episodes when trying to rank it on Flickchart. It's a great film that's well worth talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 24 Apr 2014 08:00:00 -0700 The Next Reel The Next Reel 6480 People often talk about the great movie year of 1999, and one of the great films that came out that year is 'The Matrix,' the film that made bullet-time a filmmaking standard and stunt wire work almost an expectation in action films. But it's a great film because of its script, written by Lana née Larry and Andy Wachowski, who went on to co-direct it as well. Join us — Pete Wright and Andy Nelson — as we delve into our next Listener's Choice movie selection with 'The Matrix.' We talk about the script and how it works in the world of science fiction, but also how the script goes beyond that by including elements from a wide variety of other sources — religions, movie genres, writings and theories, etc. We discuss how well it does with these heavier and headier ideas, and if those elements matter when watching the film to make it enjoyable. We chat about the cast and crew and everything they're bringing to the table to create this amazing world. We mention the film just had its 15th birthday and argue about whether it holds up as well as it first did or if it's showing its age now. And we really have to deliberate with this versus several other films we've discussed in previous episodes when trying to rank it on Flickchart. It's a great film that's well worth talking about. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) People often talk about the great movie year of 1999, and one of the great films that came out that year is 'The Matrix,' the film that made bullet-time a filmmaking standard and stunt wire work almost an expectation in action films. But it's a great film wachowski, keanureeves No Andy Nelson Pete Wright Trollhunter • The Next Reel 3 3 42 42 Trollhunter • The Next Reel full b5974f23-37ba-48aa-945f-b33fcb0b03a7 https://share.transistor.fm/s/e2248f44 One of the interesting things to explore in the usage of found footage style films is how it can be applied to different genres. Okay, so it works better in some genres than others, but it's not a genre in and of itself, nor is it restricted to horror movies. But one thing that is consistent is the fact that we're watching real people in a real situation they likely didn't survive. There is an inherent connection to reality that isn't present in other styles of films because of this, and in a film like Norway's 'Trollhunter,' it ups the stakes because everything feels that much more real. Join us — Pete Wright and Andy Nelson — as we wrap up our found footage series with André Øvredal's 2010 fantasy thriller 'Trollhunter.' We talk about why this film works and what works about it — from the trolls to Otto Jespersen's world weary titular character Hans, from the effects (mostly) to the reality presented in the film. We discuss the interesting religious thoughts brought up in the film, and also look at the insightful story of the government and its need to control what information the people get. We chat about the myths of the trolls in Norwegian folklore and how bringing them so literally to life in this film helps the reality of the story, though possibly hurts it as well. And we frame it in context of our other found footage films to really get a sense as to what works and what doesn't. It's a fun series to have under our belts, and one we certainly hope to revisit in the future. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> One of the interesting things to explore in the usage of found footage style films is how it can be applied to different genres. Okay, so it works better in some genres than others, but it's not a genre in and of itself, nor is it restricted to horror movies. But one thing that is consistent is the fact that we're watching real people in a real situation they likely didn't survive. There is an inherent connection to reality that isn't present in other styles of films because of this, and in a film like Norway's 'Trollhunter,' it ups the stakes because everything feels that much more real. Join us — Pete Wright and Andy Nelson — as we wrap up our found footage series with André Øvredal's 2010 fantasy thriller 'Trollhunter.' We talk about why this film works and what works about it — from the trolls to Otto Jespersen's world weary titular character Hans, from the effects (mostly) to the reality presented in the film. We discuss the interesting religious thoughts brought up in the film, and also look at the insightful story of the government and its need to control what information the people get. We chat about the myths of the trolls in Norwegian folklore and how bringing them so literally to life in this film helps the reality of the story, though possibly hurts it as well. And we frame it in context of our other found footage films to really get a sense as to what works and what doesn't. It's a fun series to have under our belts, and one we certainly hope to revisit in the future. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 17 Apr 2014 08:00:00 -0700 The Next Reel The Next Reel 4209 One of the interesting things to explore in the usage of found footage style films is how it can be applied to different genres. Okay, so it works better in some genres than others, but it's not a genre in and of itself, nor is it restricted to horror movies. But one thing that is consistent is the fact that we're watching real people in a real situation they likely didn't survive. There is an inherent connection to reality that isn't present in other styles of films because of this, and in a film like Norway's 'Trollhunter,' it ups the stakes because everything feels that much more real. Join us — Pete Wright and Andy Nelson — as we wrap up our found footage series with André Øvredal's 2010 fantasy thriller 'Trollhunter.' We talk about why this film works and what works about it — from the trolls to Otto Jespersen's world weary titular character Hans, from the effects (mostly) to the reality presented in the film. We discuss the interesting religious thoughts brought up in the film, and also look at the insightful story of the government and its need to control what information the people get. We chat about the myths of the trolls in Norwegian folklore and how bringing them so literally to life in this film helps the reality of the story, though possibly hurts it as well. And we frame it in context of our other found footage films to really get a sense as to what works and what doesn't. It's a fun series to have under our belts, and one we certainly hope to revisit in the future. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) One of the interesting things to explore in the usage of found footage style films is how it can be applied to different genres. Okay, so it works better in some genres than others, but it's not a genre in and of itself, nor is it restricted to horror mov film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Chronicle • The Next Reel 3 3 41 41 Chronicle • The Next Reel full 82ba2d38-5958-45cc-93d8-8627463f3753 https://share.transistor.fm/s/311c2e10 When making found footage style films, it's important to stick with the conceit — someone is holding the camera and filming events as they happen, then we someone later stumble upon the footage and watch it to understand what happened. What's great about Josh Trank's 2012 debut film 'Chronicle' is that he takes that conceit and finds ways to use it to his advantage while also exploring ways to break out of the conceit with multiple cameras and camera movement. Join us — Pete Wright and Andy Nelson — as we continue our found footage series with this great superhero film. We talk about how Trank did an amazing job of modifying the conceit in order to tell an excellent film, warts and all. We discuss the cast — from Dane DeHaan to Michael B Jordan — and look look at what they each bring to the film. And we look at this story in context of superhero origin stories and discuss the idea of developing a new super villain. It's a creative and fun movie and we have a great time talking about it. Check it out!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> When making found footage style films, it's important to stick with the conceit — someone is holding the camera and filming events as they happen, then we someone later stumble upon the footage and watch it to understand what happened. What's great about Josh Trank's 2012 debut film 'Chronicle' is that he takes that conceit and finds ways to use it to his advantage while also exploring ways to break out of the conceit with multiple cameras and camera movement. Join us — Pete Wright and Andy Nelson — as we continue our found footage series with this great superhero film. We talk about how Trank did an amazing job of modifying the conceit in order to tell an excellent film, warts and all. We discuss the cast — from Dane DeHaan to Michael B Jordan — and look look at what they each bring to the film. And we look at this story in context of superhero origin stories and discuss the idea of developing a new super villain. It's a creative and fun movie and we have a great time talking about it. Check it out!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 10 Apr 2014 08:00:00 -0700 The Next Reel The Next Reel 5048 When making found footage style films, it's important to stick with the conceit — someone is holding the camera and filming events as they happen, then we someone later stumble upon the footage and watch it to understand what happened. What's great about Josh Trank's 2012 debut film 'Chronicle' is that he takes that conceit and finds ways to use it to his advantage while also exploring ways to break out of the conceit with multiple cameras and camera movement. Join us — Pete Wright and Andy Nelson — as we continue our found footage series with this great superhero film. We talk about how Trank did an amazing job of modifying the conceit in order to tell an excellent film, warts and all. We discuss the cast — from Dane DeHaan to Michael B Jordan — and look look at what they each bring to the film. And we look at this story in context of superhero origin stories and discuss the idea of developing a new super villain. It's a creative and fun movie and we have a great time talking about it. Check it out! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) When making found footage style films, it's important to stick with the conceit — someone is holding the camera and filming events as they happen, then we someone later stumble upon the footage and watch it to understand what happened. What's great about film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Cloverfield • The Next Reel 3 3 40 40 Cloverfield • The Next Reel full f4c28611-fa74-4f4e-857d-59a398bd9238 https://share.transistor.fm/s/f10a352d The J.J. Abrams team jumped into the found footage realm with a fun Godzilla-style monster movie that was kept under strict wraps while filming, to the point where excited audience members actually believed that it might have possibly been a live-action version of Voltron. "Cloverfield," which, in the film, is the name the government gives to this top secret creature after-the-fact, is a unique creature feature that at once allowed for an intimate story set in a massive location. Join us — Pete Wright and Andy Nelson — as we discuss Matt Reeves' 2008 film "Cloverfield." We talk about how this film handles the camerawork vs. "Quarantine," and why this one may employ a bit more shaky-cam than our previous film. We discuss the goods and bads in the film, notably talking about how for both of us, the cast is one of our biggest problems with the movie. We chat about the filming and editing process and how they're used differently in a found footage style film. And we talk about the monster and how well she works for us. It's a fun film that may not be our favorite, but still is a lot of fun. It's well worth talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> The J.J. Abrams team jumped into the found footage realm with a fun Godzilla-style monster movie that was kept under strict wraps while filming, to the point where excited audience members actually believed that it might have possibly been a live-action version of Voltron. "Cloverfield," which, in the film, is the name the government gives to this top secret creature after-the-fact, is a unique creature feature that at once allowed for an intimate story set in a massive location. Join us — Pete Wright and Andy Nelson — as we discuss Matt Reeves' 2008 film "Cloverfield." We talk about how this film handles the camerawork vs. "Quarantine," and why this one may employ a bit more shaky-cam than our previous film. We discuss the goods and bads in the film, notably talking about how for both of us, the cast is one of our biggest problems with the movie. We chat about the filming and editing process and how they're used differently in a found footage style film. And we talk about the monster and how well she works for us. It's a fun film that may not be our favorite, but still is a lot of fun. It's well worth talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 03 Apr 2014 06:00:00 -0700 The Next Reel The Next Reel 3915 The J.J. Abrams team jumped into the found footage realm with a fun Godzilla-style monster movie that was kept under strict wraps while filming, to the point where excited audience members actually believed that it might have possibly been a live-action version of Voltron. "Cloverfield," which, in the film, is the name the government gives to this top secret creature after-the-fact, is a unique creature feature that at once allowed for an intimate story set in a massive location. Join us — Pete Wright and Andy Nelson — as we discuss Matt Reeves' 2008 film "Cloverfield." We talk about how this film handles the camerawork vs. "Quarantine," and why this one may employ a bit more shaky-cam than our previous film. We discuss the goods and bads in the film, notably talking about how for both of us, the cast is one of our biggest problems with the movie. We chat about the filming and editing process and how they're used differently in a found footage style film. And we talk about the monster and how well she works for us. It's a fun film that may not be our favorite, but still is a lot of fun. It's well worth talking about. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) The J.J. Abrams team jumped into the found footage realm with a fun Godzilla-style monster movie that was kept under strict wraps while filming, to the point where excited audience members actually believed that it might have possibly been a live-action v film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Quarantine • The Next Reel 3 3 39 39 Quarantine • The Next Reel full 74600025-bc45-4e09-a04c-b8bc8628e73c https://share.transistor.fm/s/5f964d5c For many audience members, found footage films are just an opportunity to to film a horror story on the cheap and don't bring anything to the table. There are films, however, that work to use the filmmaking style to their advantage in exploring different ways to tell their stories. Sure, it's a conceit, but if you buy into it, it can make for a fun style of storytelling. Join us -- Pete Wright and Andy Nelson — as we begin our Found Footage Series with John Erick Dowdle's 2008 film "Quarantine." We talk about the nature of found footage films, what they need, why they're often horror films, and why it works in this film. We discuss the script of this film and, while still enjoyable, what big problem crops up late in the film that leads to too many questions and, if thought about critically, can really spoil the story. We chat about the original Spanish film, "[REC]," on which this is based, what the differences are, which version works better, and why the original film's director hates this one so much. We chat about the cast and what they bring to the table in a film largely made up of long shots. And we complain about the marketing images for this film and ponder what could possibly have been their intention when using the film's final image as the poster design. It's a fun and frightening horror film that has its problems, but still is effective at creating a claustrophobic horror film. We have a great chat about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> For many audience members, found footage films are just an opportunity to to film a horror story on the cheap and don't bring anything to the table. There are films, however, that work to use the filmmaking style to their advantage in exploring different ways to tell their stories. Sure, it's a conceit, but if you buy into it, it can make for a fun style of storytelling. Join us -- Pete Wright and Andy Nelson — as we begin our Found Footage Series with John Erick Dowdle's 2008 film "Quarantine." We talk about the nature of found footage films, what they need, why they're often horror films, and why it works in this film. We discuss the script of this film and, while still enjoyable, what big problem crops up late in the film that leads to too many questions and, if thought about critically, can really spoil the story. We chat about the original Spanish film, "[REC]," on which this is based, what the differences are, which version works better, and why the original film's director hates this one so much. We chat about the cast and what they bring to the table in a film largely made up of long shots. And we complain about the marketing images for this film and ponder what could possibly have been their intention when using the film's final image as the poster design. It's a fun and frightening horror film that has its problems, but still is effective at creating a claustrophobic horror film. We have a great chat about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 27 Mar 2014 07:00:00 -0700 The Next Reel The Next Reel 4404 For many audience members, found footage films are just an opportunity to to film a horror story on the cheap and don't bring anything to the table. There are films, however, that work to use the filmmaking style to their advantage in exploring different ways to tell their stories. Sure, it's a conceit, but if you buy into it, it can make for a fun style of storytelling. Join us -- Pete Wright and Andy Nelson — as we begin our Found Footage Series with John Erick Dowdle's 2008 film "Quarantine." We talk about the nature of found footage films, what they need, why they're often horror films, and why it works in this film. We discuss the script of this film and, while still enjoyable, what big problem crops up late in the film that leads to too many questions and, if thought about critically, can really spoil the story. We chat about the original Spanish film, "[REC]," on which this is based, what the differences are, which version works better, and why the original film's director hates this one so much. We chat about the cast and what they bring to the table in a film largely made up of long shots. And we complain about the marketing images for this film and ponder what could possibly have been their intention when using the film's final image as the poster design. It's a fun and frightening horror film that has its problems, but still is effective at creating a claustrophobic horror film. We have a great chat about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) For many audience members, found footage films are just an opportunity to to film a horror story on the cheap and don't bring anything to the table. There are films, however, that work to use the filmmaking style to their advantage in exploring different film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright A League of Their Own • The Next Reel 3 3 38 38 A League of Their Own • The Next Reel full 491770e1-0ad2-4c19-828b-40f73fb2fb39 https://share.transistor.fm/s/91a002a8 Tom Hanks and baseball — they go together like peanut butter and chocolate. Aside from always wanting to be an astronaut, Hanks has always been a great baseball fan and eagerly jumped at the chance to be in Penny Marshall's 1992 film about the All-American Girls Professional Baseball League. The film is a crowd pleaser and drew in the crowds when it was released, which was great because it shined a light on an aspect of sports history that had sadly been largely forgotten. Join us — Pete Wright and Andy Nelson — as we finish our Tom Hanks series with a dip back into our spring Baseball series of past years. We talk about how this film came to be, and how Penny Marshall couldn't even find any female screenwriters to come on board to write the script. We discuss the performances and how everyone, from top to bottom, really fits their parts and puts in the work, even if we don't always care for their performances. We chat about the script and how that might be what's leading to some of our struggles with performances as the script really does feel straight out of screenwriting basic training. We talk about the roles of women in sports and in media, how skewed toward men it all is, and how this film does help give better role models for young girls. And we close it out discussing Hanks himself and what these four films in the first decade (for the most part) of his career showed us about who he is and where he'd be going. It's a great film, albeit with a basic script, that highlights a key time in our history, and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Tom Hanks and baseball — they go together like peanut butter and chocolate. Aside from always wanting to be an astronaut, Hanks has always been a great baseball fan and eagerly jumped at the chance to be in Penny Marshall's 1992 film about the All-American Girls Professional Baseball League. The film is a crowd pleaser and drew in the crowds when it was released, which was great because it shined a light on an aspect of sports history that had sadly been largely forgotten. Join us — Pete Wright and Andy Nelson — as we finish our Tom Hanks series with a dip back into our spring Baseball series of past years. We talk about how this film came to be, and how Penny Marshall couldn't even find any female screenwriters to come on board to write the script. We discuss the performances and how everyone, from top to bottom, really fits their parts and puts in the work, even if we don't always care for their performances. We chat about the script and how that might be what's leading to some of our struggles with performances as the script really does feel straight out of screenwriting basic training. We talk about the roles of women in sports and in media, how skewed toward men it all is, and how this film does help give better role models for young girls. And we close it out discussing Hanks himself and what these four films in the first decade (for the most part) of his career showed us about who he is and where he'd be going. It's a great film, albeit with a basic script, that highlights a key time in our history, and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 20 Mar 2014 08:00:00 -0700 The Next Reel The Next Reel 4554 Tom Hanks and baseball — they go together like peanut butter and chocolate. Aside from always wanting to be an astronaut, Hanks has always been a great baseball fan and eagerly jumped at the chance to be in Penny Marshall's 1992 film about the All-American Girls Professional Baseball League. The film is a crowd pleaser and drew in the crowds when it was released, which was great because it shined a light on an aspect of sports history that had sadly been largely forgotten. Join us — Pete Wright and Andy Nelson — as we finish our Tom Hanks series with a dip back into our spring Baseball series of past years. We talk about how this film came to be, and how Penny Marshall couldn't even find any female screenwriters to come on board to write the script. We discuss the performances and how everyone, from top to bottom, really fits their parts and puts in the work, even if we don't always care for their performances. We chat about the script and how that might be what's leading to some of our struggles with performances as the script really does feel straight out of screenwriting basic training. We talk about the roles of women in sports and in media, how skewed toward men it all is, and how this film does help give better role models for young girls. And we close it out discussing Hanks himself and what these four films in the first decade (for the most part) of his career showed us about who he is and where he'd be going. It's a great film, albeit with a basic script, that highlights a key time in our history, and we have a great time talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) Tom Hanks and baseball — they go together like peanut butter and chocolate. Aside from always wanting to be an astronaut, Hanks has always been a great baseball fan and eagerly jumped at the chance to be in Penny Marshall's 1992 film about the All-America pennymarshal, madonna, geenadavis, tomhanks No Andy Nelson Pete Wright Apollo 13 • The Next Reel 3 3 37 37 Apollo 13 • The Next Reel full 77adf1c8-0c9b-45cd-aab6-4850ee7d112a https://share.transistor.fm/s/650bdc9e Tom Hanks already won his back-to-back Oscars and with an ensemble film like "Apollo 13," he wasn't a clear choice to get nominated again to make a three-peat a possibility. All of that aside, as anyone on the cast or crew who worked on the film knows — as well as anyone who saw the film — he was clearly born to play an astronaut. He reunited with Ron Howard on the making of this amazing film dealing with one of the worst space disasters the world has ever seen, and even though everyone knew what happened, it was a compelling piece of cinema. Join us — Pete Wright and Andy Nelson — as we continue our Tom Hanks series with "Apollo 13." We talk about the amazing effects work and how it seamlessly blends with real footage, miniatures, and amazing weightless photography filmed in the vomit comet. We discuss the performances throughout the film and what each of the performers brings to the story, including Hanks, Gary Sinise, Bill Paxton, Kevin Bacon, Ed Harris, and Kathleen Quinlan. We chat about the roles of women in this film and similar films, what works and what doesn't for us in their part of the story, and why we feel they're portrayed the way they are. We talk about the amazing score done by James Horner in this film and how well it fits in context of the film. And we chat about some of the awards the film won, was nominated for, and wasn't nominated for, and what we think about that. It's a great movie — one of our favorites — and we have a fantastic conversation about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Tom Hanks already won his back-to-back Oscars and with an ensemble film like "Apollo 13," he wasn't a clear choice to get nominated again to make a three-peat a possibility. All of that aside, as anyone on the cast or crew who worked on the film knows — as well as anyone who saw the film — he was clearly born to play an astronaut. He reunited with Ron Howard on the making of this amazing film dealing with one of the worst space disasters the world has ever seen, and even though everyone knew what happened, it was a compelling piece of cinema. Join us — Pete Wright and Andy Nelson — as we continue our Tom Hanks series with "Apollo 13." We talk about the amazing effects work and how it seamlessly blends with real footage, miniatures, and amazing weightless photography filmed in the vomit comet. We discuss the performances throughout the film and what each of the performers brings to the story, including Hanks, Gary Sinise, Bill Paxton, Kevin Bacon, Ed Harris, and Kathleen Quinlan. We chat about the roles of women in this film and similar films, what works and what doesn't for us in their part of the story, and why we feel they're portrayed the way they are. We talk about the amazing score done by James Horner in this film and how well it fits in context of the film. And we chat about some of the awards the film won, was nominated for, and wasn't nominated for, and what we think about that. It's a great movie — one of our favorites — and we have a fantastic conversation about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 13 Mar 2014 08:00:00 -0700 The Next Reel The Next Reel 4773 Tom Hanks already won his back-to-back Oscars and with an ensemble film like "Apollo 13," he wasn't a clear choice to get nominated again to make a three-peat a possibility. All of that aside, as anyone on the cast or crew who worked on the film knows — as well as anyone who saw the film — he was clearly born to play an astronaut. He reunited with Ron Howard on the making of this amazing film dealing with one of the worst space disasters the world has ever seen, and even though everyone knew what happened, it was a compelling piece of cinema. Join us — Pete Wright and Andy Nelson — as we continue our Tom Hanks series with "Apollo 13." We talk about the amazing effects work and how it seamlessly blends with real footage, miniatures, and amazing weightless photography filmed in the vomit comet. We discuss the performances throughout the film and what each of the performers brings to the story, including Hanks, Gary Sinise, Bill Paxton, Kevin Bacon, Ed Harris, and Kathleen Quinlan. We chat about the roles of women in this film and similar films, what works and what doesn't for us in their part of the story, and why we feel they're portrayed the way they are. We talk about the amazing score done by James Horner in this film and how well it fits in context of the film. And we chat about some of the awards the film won, was nominated for, and wasn't nominated for, and what we think about that. It's a great movie — one of our favorites — and we have a fantastic conversation about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) Tom Hanks already won his back-to-back Oscars and with an ensemble film like "Apollo 13," he wasn't a clear choice to get nominated again to make a three-peat a possibility. All of that aside, as anyone on the cast or crew who worked on the film knows — a ronhoward, tomhanks No Andy Nelson Pete Wright Forrest Gump • The Next Reel 3 3 36 36 Forrest Gump • The Next Reel full 6f958d0f-9542-43a8-9dfd-1b6e2dac6e96 https://share.transistor.fm/s/fdec6589 "Forrest Gump" broke all sorts of box office records when it was released in the summer of 1994, which may be why people spent a lot of time digging into what they thought the film was really saying, even if it's not what the filmmakers were actually saying. At its heart, it's a character story about people struggling to find their paths in life, and looking back on it 20 years later, it's still an absolutely beautiful film. Join us — Pete Wright and Andy Nelson — as we continue our Tom Hanks series with Robert Zemeckis' Oscar-winning film, "Forrest Gump." We talk about the rhetoric and opinions that came out shortly after the film's release and where we each stand with those lines of thinking. We discuss the amazing performances across the board, focusing on Tom Hanks, Robin Wright, Gary Sinise, Mykelti Williamson, Sally Field and Hailey Joel Osment. We chat about the stunning effects work all through this film and how they're often completely invisible, and we reveal our opinions on the Oscars that year and what we think should have won. It's a great conversation about an unforgettable film. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> "Forrest Gump" broke all sorts of box office records when it was released in the summer of 1994, which may be why people spent a lot of time digging into what they thought the film was really saying, even if it's not what the filmmakers were actually saying. At its heart, it's a character story about people struggling to find their paths in life, and looking back on it 20 years later, it's still an absolutely beautiful film. Join us — Pete Wright and Andy Nelson — as we continue our Tom Hanks series with Robert Zemeckis' Oscar-winning film, "Forrest Gump." We talk about the rhetoric and opinions that came out shortly after the film's release and where we each stand with those lines of thinking. We discuss the amazing performances across the board, focusing on Tom Hanks, Robin Wright, Gary Sinise, Mykelti Williamson, Sally Field and Hailey Joel Osment. We chat about the stunning effects work all through this film and how they're often completely invisible, and we reveal our opinions on the Oscars that year and what we think should have won. It's a great conversation about an unforgettable film. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 06 Mar 2014 08:00:00 -0800 The Next Reel The Next Reel 5242 "Forrest Gump" broke all sorts of box office records when it was released in the summer of 1994, which may be why people spent a lot of time digging into what they thought the film was really saying, even if it's not what the filmmakers were actually saying. At its heart, it's a character story about people struggling to find their paths in life, and looking back on it 20 years later, it's still an absolutely beautiful film. Join us — Pete Wright and Andy Nelson — as we continue our Tom Hanks series with Robert Zemeckis' Oscar-winning film, "Forrest Gump." We talk about the rhetoric and opinions that came out shortly after the film's release and where we each stand with those lines of thinking. We discuss the amazing performances across the board, focusing on Tom Hanks, Robin Wright, Gary Sinise, Mykelti Williamson, Sally Field and Hailey Joel Osment. We chat about the stunning effects work all through this film and how they're often completely invisible, and we reveal our opinions on the Oscars that year and what we think should have won. It's a great conversation about an unforgettable film. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) "Forrest Gump" broke all sorts of box office records when it was released in the summer of 1994, which may be why people spent a lot of time digging into what they thought the film was really saying, even if it's not what the filmmakers were actually sayi sallyfield, robertzemekis, tomhanks No Andy Nelson Pete Wright Splash • The Next Reel 3 3 35 35 Splash • The Next Reel full fd7fbb53-1a2a-45d2-9b96-fb9acb68d1bd https://share.transistor.fm/s/98059ad6 In the late 70s and early 80s, Disney Pictures had been getting grief for releasing films that were too adult. When “Splash” came along, they decided to create a new label for releasing more adult fare. And thus, Touchstone Pictures was born! On top of that, the film was such a success that it pushed its star, Tom Hanks, and director, Ron Howard, up toward the upper echelons of the Hollywood elite. Join us — Pete Wright and Andy Nelson — as we begin our Tom Hanks series near the beginning of his career with “Splash,” a film that Andy holds near and dear to his heart while Pete struggles with many aspects of it. We talk about the beginnings of Hanks’ career and how he ended up getting cast in this film, as well as how well he works in it. We touch on the other actors — Daryl Hannah, John Candy and Eugene Levy in particular — and how they do in the film. We discuss what works for Andy and what doesn’t work for Pete and try to identify specific elements that could be causing Pete to disconnect from the movie. And we chat about the cinematography and how beautiful the film looks, standing out from the flat lighting most comedies suffer from. It’s a film Andy and Pete likely will never agree on, but it’s certainly fun to talk about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> In the late 70s and early 80s, Disney Pictures had been getting grief for releasing films that were too adult. When “Splash” came along, they decided to create a new label for releasing more adult fare. And thus, Touchstone Pictures was born! On top of that, the film was such a success that it pushed its star, Tom Hanks, and director, Ron Howard, up toward the upper echelons of the Hollywood elite. Join us — Pete Wright and Andy Nelson — as we begin our Tom Hanks series near the beginning of his career with “Splash,” a film that Andy holds near and dear to his heart while Pete struggles with many aspects of it. We talk about the beginnings of Hanks’ career and how he ended up getting cast in this film, as well as how well he works in it. We touch on the other actors — Daryl Hannah, John Candy and Eugene Levy in particular — and how they do in the film. We discuss what works for Andy and what doesn’t work for Pete and try to identify specific elements that could be causing Pete to disconnect from the movie. And we chat about the cinematography and how beautiful the film looks, standing out from the flat lighting most comedies suffer from. It’s a film Andy and Pete likely will never agree on, but it’s certainly fun to talk about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 27 Feb 2014 07:52:00 -0800 The Next Reel The Next Reel 4819 In the late 70s and early 80s, Disney Pictures had been getting grief for releasing films that were too adult. When “Splash” came along, they decided to create a new label for releasing more adult fare. And thus, Touchstone Pictures was born! On top of that, the film was such a success that it pushed its star, Tom Hanks, and director, Ron Howard, up toward the upper echelons of the Hollywood elite. Join us — Pete Wright and Andy Nelson — as we begin our Tom Hanks series near the beginning of his career with “Splash,” a film that Andy holds near and dear to his heart while Pete struggles with many aspects of it. We talk about the beginnings of Hanks’ career and how he ended up getting cast in this film, as well as how well he works in it. We touch on the other actors — Daryl Hannah, John Candy and Eugene Levy in particular — and how they do in the film. We discuss what works for Andy and what doesn’t work for Pete and try to identify specific elements that could be causing Pete to disconnect from the movie. And we chat about the cinematography and how beautiful the film looks, standing out from the flat lighting most comedies suffer from. It’s a film Andy and Pete likely will never agree on, but it’s certainly fun to talk about. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) In the late 70s and early 80s, Disney Pictures had been getting grief for releasing films that were too adult. When “Splash” came along, they decided to create a new label for releasing more adult fare. And thus, Touchstone Pictures was born! On top of th film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Inception • The Next Reel 3 3 34 34 Inception • The Next Reel full 1ce16c10-3fff-4cfb-8189-4663fb509361 https://share.transistor.fm/s/24bbdd58 It's a sad state to consider that Christopher Nolan had to fight to get money to make "Inception" because it wasn't a sequel, based on a comic book, a remake, or something similar. It was purely an original script about a wild inverted heist taking place inside someone's dreams. Sure, Warner Bros. eventually gave Nolan $160 million plus to make his film and it went on to become one of the highest grossing films of all time, but the fact that he had to fight to get money doesn't bode well for the state of the industry. All that aside, it's a marvel of a film, and we conclude our latest Original Sci-Fi series with this non-benevolent alien movie, Nolan's 2010 film, "Inception." Join us — Pete Wright and Andy Nelson — as we talk about Nolan and the wild story he tells in this film, and how much of a struggle it must have been to not just fight to get the money but also to introduce all the exposition that goes along with telling an original film about dream thieves. We chat about Nolan's preference for physical effects and how much they bring to the film, even if some of them had to get enhanced by digital effects. We discuss the performers, particularly Leonardo DiCaprio and Marion Cotillard and the relationship their characters have. We go over the ending and what we think happens, as well as cover Nolan's intentions for ending it as he did. And we talk about the bombastic score by Hans Zimmer and how well it works in the film. Its an incredible film every time you watch it, and makes for a lot of great conversation. Join us!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> It's a sad state to consider that Christopher Nolan had to fight to get money to make "Inception" because it wasn't a sequel, based on a comic book, a remake, or something similar. It was purely an original script about a wild inverted heist taking place inside someone's dreams. Sure, Warner Bros. eventually gave Nolan $160 million plus to make his film and it went on to become one of the highest grossing films of all time, but the fact that he had to fight to get money doesn't bode well for the state of the industry. All that aside, it's a marvel of a film, and we conclude our latest Original Sci-Fi series with this non-benevolent alien movie, Nolan's 2010 film, "Inception." Join us — Pete Wright and Andy Nelson — as we talk about Nolan and the wild story he tells in this film, and how much of a struggle it must have been to not just fight to get the money but also to introduce all the exposition that goes along with telling an original film about dream thieves. We chat about Nolan's preference for physical effects and how much they bring to the film, even if some of them had to get enhanced by digital effects. We discuss the performers, particularly Leonardo DiCaprio and Marion Cotillard and the relationship their characters have. We go over the ending and what we think happens, as well as cover Nolan's intentions for ending it as he did. And we talk about the bombastic score by Hans Zimmer and how well it works in the film. Its an incredible film every time you watch it, and makes for a lot of great conversation. Join us!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 20 Feb 2014 09:44:00 -0800 The Next Reel The Next Reel 4665 It's a sad state to consider that Christopher Nolan had to fight to get money to make "Inception" because it wasn't a sequel, based on a comic book, a remake, or something similar. It was purely an original script about a wild inverted heist taking place inside someone's dreams. Sure, Warner Bros. eventually gave Nolan $160 million plus to make his film and it went on to become one of the highest grossing films of all time, but the fact that he had to fight to get money doesn't bode well for the state of the industry. All that aside, it's a marvel of a film, and we conclude our latest Original Sci-Fi series with this non-benevolent alien movie, Nolan's 2010 film, "Inception." Join us — Pete Wright and Andy Nelson — as we talk about Nolan and the wild story he tells in this film, and how much of a struggle it must have been to not just fight to get the money but also to introduce all the exposition that goes along with telling an original film about dream thieves. We chat about Nolan's preference for physical effects and how much they bring to the film, even if some of them had to get enhanced by digital effects. We discuss the performers, particularly Leonardo DiCaprio and Marion Cotillard and the relationship their characters have. We go over the ending and what we think happens, as well as cover Nolan's intentions for ending it as he did. And we talk about the bombastic score by Hans Zimmer and how well it works in the film. Its an incredible film every time you watch it, and makes for a lot of great conversation. Join us! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) It's a sad state to consider that Christopher Nolan had to fight to get money to make "Inception" because it wasn't a sequel, based on a comic book, a remake, or something similar. It was purely an original script about a wild inverted heist taking place leonardodicaprio, christophernolan No Andy Nelson Pete Wright The Abyss • The Next Reel 3 3 33 33 The Abyss • The Next Reel full 173d29cc-2a68-4adf-b465-45ef85ca78ec https://share.transistor.fm/s/e7977833 When the extended trailer for James Cameron's 1989 undersea scifi spectacular, "The Abyss," was released, detailing everything from the production on sets built in an unfinished power plant to the intense action and character moments throughout the film, all set to Michael Stearns' powerful score from the IMAX film "Chronos," it set the stage for an epic film that promised to deliver "Aliens" underwater. When the film was released, it received good reviews and earned its money back, but wasn't what people expected. Plus, it had an ending that left audiences scratching their heads a bit. But 3 years later, Cameron was able to return to it and release an extended version with nearly 30 minutes of new material, including an extended ending that answered a lot of questions, even if it did add an element to the story that feels heavy handed. His new version was received very positively and showed that going back and meddling with a film could result in a better product, and it's definitely a film worth rewatching. Join us — Pete Wright and Andy Nelson — as we continue our Original SciFi series with "The Abyss." We talk about what works for us and what doesn't in this film, and how much that really matters in the end. We talk about the amazing cast that really sell the story — even the cheesy lines and heavy-handed plot elements — and why some of them refuse to talk about production of this film to this day. We chat about the effects and where this film fits in the context of the history of special effects development. We discuss Cameron and his ability to make films as well as his passion for technologies and undersea exploration, and how those two passions came together perfectly here. And we discuss the nature of film worlds versus the real world, and how accurate a film needs to be when depicting real things. It's a great film with some problematic elements that we're perfectly willing to overlook, and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

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]]> When the extended trailer for James Cameron's 1989 undersea scifi spectacular, "The Abyss," was released, detailing everything from the production on sets built in an unfinished power plant to the intense action and character moments throughout the film, all set to Michael Stearns' powerful score from the IMAX film "Chronos," it set the stage for an epic film that promised to deliver "Aliens" underwater. When the film was released, it received good reviews and earned its money back, but wasn't what people expected. Plus, it had an ending that left audiences scratching their heads a bit. But 3 years later, Cameron was able to return to it and release an extended version with nearly 30 minutes of new material, including an extended ending that answered a lot of questions, even if it did add an element to the story that feels heavy handed. His new version was received very positively and showed that going back and meddling with a film could result in a better product, and it's definitely a film worth rewatching. Join us — Pete Wright and Andy Nelson — as we continue our Original SciFi series with "The Abyss." We talk about what works for us and what doesn't in this film, and how much that really matters in the end. We talk about the amazing cast that really sell the story — even the cheesy lines and heavy-handed plot elements — and why some of them refuse to talk about production of this film to this day. We chat about the effects and where this film fits in the context of the history of special effects development. We discuss Cameron and his ability to make films as well as his passion for technologies and undersea exploration, and how those two passions came together perfectly here. And we discuss the nature of film worlds versus the real world, and how accurate a film needs to be when depicting real things. It's a great film with some problematic elements that we're perfectly willing to overlook, and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 13 Feb 2014 08:00:00 -0800 The Next Reel The Next Reel 4719 When the extended trailer for James Cameron's 1989 undersea scifi spectacular, "The Abyss," was released, detailing everything from the production on sets built in an unfinished power plant to the intense action and character moments throughout the film, all set to Michael Stearns' powerful score from the IMAX film "Chronos," it set the stage for an epic film that promised to deliver "Aliens" underwater. When the film was released, it received good reviews and earned its money back, but wasn't what people expected. Plus, it had an ending that left audiences scratching their heads a bit. But 3 years later, Cameron was able to return to it and release an extended version with nearly 30 minutes of new material, including an extended ending that answered a lot of questions, even if it did add an element to the story that feels heavy handed. His new version was received very positively and showed that going back and meddling with a film could result in a better product, and it's definitely a film worth rewatching. Join us — Pete Wright and Andy Nelson — as we continue our Original SciFi series with "The Abyss." We talk about what works for us and what doesn't in this film, and how much that really matters in the end. We talk about the amazing cast that really sell the story — even the cheesy lines and heavy-handed plot elements — and why some of them refuse to talk about production of this film to this day. We chat about the effects and where this film fits in the context of the history of special effects development. We discuss Cameron and his ability to make films as well as his passion for technologies and undersea exploration, and how those two passions came together perfectly here. And we discuss the nature of film worlds versus the real world, and how accurate a film needs to be when depicting real things. It's a great film with some problematic elements that we're perfectly willing to overlook, and we have a great time talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) When the extended trailer for James Cameron's 1989 undersea scifi spectacular, "The Abyss," was released, detailing everything from the production on sets built in an unfinished power plant to the intense action and character moments throughout the film, film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Close Encounters of the Third Kind • The Next Reel 3 3 32 32 Close Encounters of the Third Kind • The Next Reel full 7f99cf80-0126-4787-aee4-043f7e3e516b https://share.transistor.fm/s/4fd1a60b In 1977, Devil's Tower went from being known as the first National Monument (for those who had actually heard of it) to the iconographic image marking the rendezvous point where the aliens want to meet the humans in Steven Spielberg's third theatrical film, "Close Encounters of the Third Kind." The release and success of the movie saw visits to the monument skyrocket, which shows the power in Spielberg's film. Join us — Pete Wright and Andy Nelson — as we jump back into our Original SciFi series with this fantastic entry into the genre. We talk about the way this film has changed in our eyes as we've gotten older, and how the parenting of both Roy and Gillian, played by Richard Dreyfuss and Melinda Dillon, now feels incredibly poor. We discuss the nature of the 3 existing cuts of this film, what's different, what works and what doesn't in the changes, why the changes were made and which to watch. We chat about the nature of this film in the world of scifi films and why is feels very naturalistic, playing to realistic sensibilities that fit very much with Spielberg's views at the time he made this that it was more science speculation than it was science fiction — it's a story of alien visitors in a world where he believed we had already been visited. We go through the incredible talents behind the amazing special effects, the music, the editing and the production design, as well as the line up of the cast, even if Pete feels Spielberg should've swapped Dillon and Teri Garr in their roles. And we question the decision to put a "PRESENT DAY" title card up at the start of this film when watching it today clearly dates the film (leading us to question the import of ever using this title card). It's a fantastic and lengthy discussion over one of our favorite science fiction films of all time. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

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]]> In 1977, Devil's Tower went from being known as the first National Monument (for those who had actually heard of it) to the iconographic image marking the rendezvous point where the aliens want to meet the humans in Steven Spielberg's third theatrical film, "Close Encounters of the Third Kind." The release and success of the movie saw visits to the monument skyrocket, which shows the power in Spielberg's film. Join us — Pete Wright and Andy Nelson — as we jump back into our Original SciFi series with this fantastic entry into the genre. We talk about the way this film has changed in our eyes as we've gotten older, and how the parenting of both Roy and Gillian, played by Richard Dreyfuss and Melinda Dillon, now feels incredibly poor. We discuss the nature of the 3 existing cuts of this film, what's different, what works and what doesn't in the changes, why the changes were made and which to watch. We chat about the nature of this film in the world of scifi films and why is feels very naturalistic, playing to realistic sensibilities that fit very much with Spielberg's views at the time he made this that it was more science speculation than it was science fiction — it's a story of alien visitors in a world where he believed we had already been visited. We go through the incredible talents behind the amazing special effects, the music, the editing and the production design, as well as the line up of the cast, even if Pete feels Spielberg should've swapped Dillon and Teri Garr in their roles. And we question the decision to put a "PRESENT DAY" title card up at the start of this film when watching it today clearly dates the film (leading us to question the import of ever using this title card). It's a fantastic and lengthy discussion over one of our favorite science fiction films of all time. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 06 Feb 2014 08:00:00 -0800 The Next Reel The Next Reel 5573 In 1977, Devil's Tower went from being known as the first National Monument (for those who had actually heard of it) to the iconographic image marking the rendezvous point where the aliens want to meet the humans in Steven Spielberg's third theatrical film, "Close Encounters of the Third Kind." The release and success of the movie saw visits to the monument skyrocket, which shows the power in Spielberg's film. Join us — Pete Wright and Andy Nelson — as we jump back into our Original SciFi series with this fantastic entry into the genre. We talk about the way this film has changed in our eyes as we've gotten older, and how the parenting of both Roy and Gillian, played by Richard Dreyfuss and Melinda Dillon, now feels incredibly poor. We discuss the nature of the 3 existing cuts of this film, what's different, what works and what doesn't in the changes, why the changes were made and which to watch. We chat about the nature of this film in the world of scifi films and why is feels very naturalistic, playing to realistic sensibilities that fit very much with Spielberg's views at the time he made this that it was more science speculation than it was science fiction — it's a story of alien visitors in a world where he believed we had already been visited. We go through the incredible talents behind the amazing special effects, the music, the editing and the production design, as well as the line up of the cast, even if Pete feels Spielberg should've swapped Dillon and Teri Garr in their roles. And we question the decision to put a "PRESENT DAY" title card up at the start of this film when watching it today clearly dates the film (leading us to question the import of ever using this title card). It's a fantastic and lengthy discussion over one of our favorite science fiction films of all time. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) In 1977, Devil's Tower went from being known as the first National Monument (for those who had actually heard of it) to the iconographic image marking the rendezvous point where the aliens want to meet the humans in Steven Spielberg's third theatrical fil richarddreyfus, stevenspielberg No Andy Nelson Pete Wright In the Mood for Love • The Next Reel 3 3 31 31 In the Mood for Love • The Next Reel full 8f73761b-e629-4d0f-9dff-445bb75d3b4e https://share.transistor.fm/s/b4387496 Wong Kar-Wai's sumptuous film "In the Mood for Love" premiered at the Cannes Film Festival in 2000 and, while it lost the Palm d'Or, it left an indelible impression on everyone who saw it. A story of a connection between a man and woman who learn their spouses are having an affair, the film deals with their growing friendship as they help each other come to terms with the infidelity. In the process, they also struggle with their own draw to each other. Join us — Pete Wright and Andy Nelson — as we discuss the first of our Listener's Choice films. Steven Smart won the drawing and chose this film for us to discuss, and we're thrilled he did because we both fell in love with it. We talk about the nature of the love between the two leads played by Tony Leung and Maggie Cheung and how, on the one hand, the draw they have to each other is never consummated because they don't want to stoop to the level of their spouses, while on the other hand, they both are afraid that it's not what the other person wants so they don't act. We discuss the stunning look of the film, both from a cinematography standpoint as well as costumes and production design, and how the artists behind those elements make the film what it is. And we chat about director Wong Kar-Wai and how he started making one film but ended up with this one (perhaps because he did this without a script?). It's a beautiful film that touched both of us with its art and finesse. We had a wonderful time watching this film and have a great time chatting about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Wong Kar-Wai's sumptuous film "In the Mood for Love" premiered at the Cannes Film Festival in 2000 and, while it lost the Palm d'Or, it left an indelible impression on everyone who saw it. A story of a connection between a man and woman who learn their spouses are having an affair, the film deals with their growing friendship as they help each other come to terms with the infidelity. In the process, they also struggle with their own draw to each other. Join us — Pete Wright and Andy Nelson — as we discuss the first of our Listener's Choice films. Steven Smart won the drawing and chose this film for us to discuss, and we're thrilled he did because we both fell in love with it. We talk about the nature of the love between the two leads played by Tony Leung and Maggie Cheung and how, on the one hand, the draw they have to each other is never consummated because they don't want to stoop to the level of their spouses, while on the other hand, they both are afraid that it's not what the other person wants so they don't act. We discuss the stunning look of the film, both from a cinematography standpoint as well as costumes and production design, and how the artists behind those elements make the film what it is. And we chat about director Wong Kar-Wai and how he started making one film but ended up with this one (perhaps because he did this without a script?). It's a beautiful film that touched both of us with its art and finesse. We had a wonderful time watching this film and have a great time chatting about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 30 Jan 2014 08:00:00 -0800 The Next Reel The Next Reel 4513 Wong Kar-Wai's sumptuous film "In the Mood for Love" premiered at the Cannes Film Festival in 2000 and, while it lost the Palm d'Or, it left an indelible impression on everyone who saw it. A story of a connection between a man and woman who learn their spouses are having an affair, the film deals with their growing friendship as they help each other come to terms with the infidelity. In the process, they also struggle with their own draw to each other. Join us — Pete Wright and Andy Nelson — as we discuss the first of our Listener's Choice films. Steven Smart won the drawing and chose this film for us to discuss, and we're thrilled he did because we both fell in love with it. We talk about the nature of the love between the two leads played by Tony Leung and Maggie Cheung and how, on the one hand, the draw they have to each other is never consummated because they don't want to stoop to the level of their spouses, while on the other hand, they both are afraid that it's not what the other person wants so they don't act. We discuss the stunning look of the film, both from a cinematography standpoint as well as costumes and production design, and how the artists behind those elements make the film what it is. And we chat about director Wong Kar-Wai and how he started making one film but ended up with this one (perhaps because he did this without a script?). It's a beautiful film that touched both of us with its art and finesse. We had a wonderful time watching this film and have a great time chatting about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) Wong Kar-Wai's sumptuous film "In the Mood for Love" premiered at the Cannes Film Festival in 2000 and, while it lost the Palm d'Or, it left an indelible impression on everyone who saw it. A story of a connection between a man and woman who learn their sp film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Richard Dysart: A Special Next Reel Interview • The Next Reel 3 3 30 30 Richard Dysart: A Special Next Reel Interview • The Next Reel full 024ac78b-dffd-4394-b05a-2afb8ad6f803 https://share.transistor.fm/s/1e001a04 Richard Dysart is one of those faces that you instantly recognize. He's acted on the stage, on the movie screen and on the TV screen most of his life. In his films, he generally played strong supporting characters, helping to fill any given scene with what it needed. (Look at him in the films we've discussed in our Dysart series as well as several past shows — The Hospital and The Thing — to really get a sense as to what he brought to those movies.) On TV, he often carried the projects, whether he was playing a US President (he played Truman and Eisenhower twice each), a studio head (Jack Warner and Louis B. Mayer), or his most iconic character, Leland McKenzie on the entire run of L.A. Law. He's worked in about every genre there is (as well as animation), has played some of the kindest characters on screen and some of the most vile, and has worked with an incredibly wide array of actors, directors and others in the industry. Join us — Pete Wright and Andy Nelson — as we have a special episode talking with the incredible, humble and versatile Richard Dysart. We talk with Dick about where his passion for this crazy industry grew from and how he took that passion and turned it into a career in radio, which led to theatre, eventually TV and inevitably film. We chat about the way 'live TV' worked and how everyone was still kinda winging it in this fledgling industry at the time, and talk about how it's changed as the industry matured. We discuss his move into film, first playing an uncredited role in a Steve McQueen film, and then touch on a wide variety of movies that he worked in over the years. We point out several of our favorites and talk about the work on those specific projects. And we ask him about what he's up to now and if he has any regrets with his career. It's a delightful conversation with a funny, congenial man full of insight about the industry, stories about experiences on set, and a genuine passion for the world of acting. We're thrilled to ask you to join us for this special episode.

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Richard Dysart is one of those faces that you instantly recognize. He's acted on the stage, on the movie screen and on the TV screen most of his life. In his films, he generally played strong supporting characters, helping to fill any given scene with what it needed. (Look at him in the films we've discussed in our Dysart series as well as several past shows — The Hospital and The Thing — to really get a sense as to what he brought to those movies.) On TV, he often carried the projects, whether he was playing a US President (he played Truman and Eisenhower twice each), a studio head (Jack Warner and Louis B. Mayer), or his most iconic character, Leland McKenzie on the entire run of L.A. Law. He's worked in about every genre there is (as well as animation), has played some of the kindest characters on screen and some of the most vile, and has worked with an incredibly wide array of actors, directors and others in the industry. Join us — Pete Wright and Andy Nelson — as we have a special episode talking with the incredible, humble and versatile Richard Dysart. We talk with Dick about where his passion for this crazy industry grew from and how he took that passion and turned it into a career in radio, which led to theatre, eventually TV and inevitably film. We chat about the way 'live TV' worked and how everyone was still kinda winging it in this fledgling industry at the time, and talk about how it's changed as the industry matured. We discuss his move into film, first playing an uncredited role in a Steve McQueen film, and then touch on a wide variety of movies that he worked in over the years. We point out several of our favorites and talk about the work on those specific projects. And we ask him about what he's up to now and if he has any regrets with his career. It's a delightful conversation with a funny, congenial man full of insight about the industry, stories about experiences on set, and a genuine passion for the world of acting. We're thrilled to ask you to join us for this special episode.

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Wed, 29 Jan 2014 16:09:00 -0800 The Next Reel The Next Reel 4472 Richard Dysart is one of those faces that you instantly recognize. He's acted on the stage, on the movie screen and on the TV screen most of his life. In his films, he generally played strong supporting characters, helping to fill any given scene with what it needed. (Look at him in the films we've discussed in our Dysart series as well as several past shows — The Hospital and The Thing — to really get a sense as to what he brought to those movies.) On TV, he often carried the projects, whether he was playing a US President (he played Truman and Eisenhower twice each), a studio head (Jack Warner and Louis B. Mayer), or his most iconic character, Leland McKenzie on the entire run of L.A. Law. He's worked in about every genre there is (as well as animation), has played some of the kindest characters on screen and some of the most vile, and has worked with an incredibly wide array of actors, directors and others in the industry. Join us — Pete Wright and Andy Nelson — as we have a special episode talking with the incredible, humble and versatile Richard Dysart. We talk with Dick about where his passion for this crazy industry grew from and how he took that passion and turned it into a career in radio, which led to theatre, eventually TV and inevitably film. We chat about the way 'live TV' worked and how everyone was still kinda winging it in this fledgling industry at the time, and talk about how it's changed as the industry matured. We discuss his move into film, first playing an uncredited role in a Steve McQueen film, and then touch on a wide variety of movies that he worked in over the years. We point out several of our favorites and talk about the work on those specific projects. And we ask him about what he's up to now and if he has any regrets with his career. It's a delightful conversation with a funny, congenial man full of insight about the industry, stories about experiences on set, and a genuine passion for the world of acting. We're thrilled to ask you to join us for this special episode. * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) Richard Dysart is one of those faces that you instantly recognize. He's acted on the stage, on the movie screen and on the TV screen most of his life. In his films, he generally played strong supporting characters, helping to fill any given scene with wha moviereview, richarddysart, movies, filmcommentary, filmreview No Andy Nelson Pete Wright Pale Rider • The Next Reel 3 3 29 29 Pale Rider • The Next Reel full ff62d393-c30b-459b-b358-7bc9d0ec4ef1 https://share.transistor.fm/s/57054012 "Pale Rider" marks Clint Eastwood's 10th time directing himself in a film, something he went on doing until 2008's "Gran Torino" and something he clearly knows how to do well. This seems to hold true especially in westerns, even though he only directed himself in four of them. Perhaps that's because he had so much experience in them and learned from other directors like Sergio Leone how to stand, how to ride, how to stare, how to shoot on film. And while "Pale Rider" is an obvious retelling of the classic 1953 film "Shane," it can stand on its own merits and doesn't feel like a ripoff. Join us -- Pete Wright and Andy Nelson -- as we come to the last film in our Richard Dysart series, 1985's "Pale Rider." We talk about the story of this film and how lean it is, while also apparently being a ghost story, something neither of us ever caught on to until reading up on it. We discuss the actors, notably Eastwood, Michael Moriarty, Carrie Snodgress, Richard Kiel, Sydney Penny, and of course Richard Dysart, and how well they work in this film. We chat about the Biblical references in the film, the idea of Eastwood's character, Preacher, being a ghost, and how that structure works in context of this story. We talk about the nature of the little man versus the corporate machine, something we've talked about in a few recent episodes, and how it works in this film. We go over the look of this film and discuss what Bruce Surtees and Eastwood bring to the film by using low lighting, particularly for the night and interior scenes. And we touch on Lennie Niehaus's music and why it works so well in context of the film. It's a classic western with some great moments that further cement Eastwood as the true iconic 'stranger' character. Give it a watch then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> "Pale Rider" marks Clint Eastwood's 10th time directing himself in a film, something he went on doing until 2008's "Gran Torino" and something he clearly knows how to do well. This seems to hold true especially in westerns, even though he only directed himself in four of them. Perhaps that's because he had so much experience in them and learned from other directors like Sergio Leone how to stand, how to ride, how to stare, how to shoot on film. And while "Pale Rider" is an obvious retelling of the classic 1953 film "Shane," it can stand on its own merits and doesn't feel like a ripoff. Join us -- Pete Wright and Andy Nelson -- as we come to the last film in our Richard Dysart series, 1985's "Pale Rider." We talk about the story of this film and how lean it is, while also apparently being a ghost story, something neither of us ever caught on to until reading up on it. We discuss the actors, notably Eastwood, Michael Moriarty, Carrie Snodgress, Richard Kiel, Sydney Penny, and of course Richard Dysart, and how well they work in this film. We chat about the Biblical references in the film, the idea of Eastwood's character, Preacher, being a ghost, and how that structure works in context of this story. We talk about the nature of the little man versus the corporate machine, something we've talked about in a few recent episodes, and how it works in this film. We go over the look of this film and discuss what Bruce Surtees and Eastwood bring to the film by using low lighting, particularly for the night and interior scenes. And we touch on Lennie Niehaus's music and why it works so well in context of the film. It's a classic western with some great moments that further cement Eastwood as the true iconic 'stranger' character. Give it a watch then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 23 Jan 2014 08:00:00 -0800 The Next Reel The Next Reel 4962 "Pale Rider" marks Clint Eastwood's 10th time directing himself in a film, something he went on doing until 2008's "Gran Torino" and something he clearly knows how to do well. This seems to hold true especially in westerns, even though he only directed himself in four of them. Perhaps that's because he had so much experience in them and learned from other directors like Sergio Leone how to stand, how to ride, how to stare, how to shoot on film. And while "Pale Rider" is an obvious retelling of the classic 1953 film "Shane," it can stand on its own merits and doesn't feel like a ripoff. Join us -- Pete Wright and Andy Nelson -- as we come to the last film in our Richard Dysart series, 1985's "Pale Rider." We talk about the story of this film and how lean it is, while also apparently being a ghost story, something neither of us ever caught on to until reading up on it. We discuss the actors, notably Eastwood, Michael Moriarty, Carrie Snodgress, Richard Kiel, Sydney Penny, and of course Richard Dysart, and how well they work in this film. We chat about the Biblical references in the film, the idea of Eastwood's character, Preacher, being a ghost, and how that structure works in context of this story. We talk about the nature of the little man versus the corporate machine, something we've talked about in a few recent episodes, and how it works in this film. We go over the look of this film and discuss what Bruce Surtees and Eastwood bring to the film by using low lighting, particularly for the night and interior scenes. And we touch on Lennie Niehaus's music and why it works so well in context of the film. It's a classic western with some great moments that further cement Eastwood as the true iconic 'stranger' character. Give it a watch then tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) "Pale Rider" marks Clint Eastwood's 10th time directing himself in a film, something he went on doing until 2008's "Gran Torino" and something he clearly knows how to do well. This seems to hold true especially in westerns, even though he only directed hi clinteastwood, moviereview, richarddysart, movies, filmcommentary, filmreview No Andy Nelson Pete Wright Being There • The Next Reel 3 3 28 28 Being There • The Next Reel full 803653c0-9c90-49af-a60f-01c8a323f68c https://share.transistor.fm/s/3ef0c503 Hal Ashby made a number of stand-out films in the 70s, films that looked at human nature in offbeat stories that didn't feel like they came from a mold. When Peter Sellers presented him with the opportunity to direct an adaptation of Jerzy Kosinski's novella "Being There" shortly after the book's publication, he loved the idea and spent the next 9 years working to find the funding to get it made. The film was finally released in 1979 and was considered by many to be Peter Sellers' return to greatness. Join us — Pete Wright and Andy Nelson — as we continue our Richard Dysart series with this fantastic film. We look at the era of the film and, while it's certainly a 70s film, it still feels timeless. We talk about the nature of Sellers's fascinating portrayal of Chance the Gardener (or as Chauncey Gardiner, as he comes to be known), and what our own interpretations of this character are. We chat about the way the film ends and what we think Kosinski and Ashby were wanting to say... if anything. We discuss the nature of the footage during the end credits and debate whether it takes away from the mysterious and beautiful mood the end of the film creates or not. And we discuss both cast and crew in this film, including the wonderful Richard Dysart who brings an amazing, quiet gracefulness to his benevolent doctor who is the only one not fooled by Sellers' Chance. It's a film we love and love to discuss. Watch it and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Hal Ashby made a number of stand-out films in the 70s, films that looked at human nature in offbeat stories that didn't feel like they came from a mold. When Peter Sellers presented him with the opportunity to direct an adaptation of Jerzy Kosinski's novella "Being There" shortly after the book's publication, he loved the idea and spent the next 9 years working to find the funding to get it made. The film was finally released in 1979 and was considered by many to be Peter Sellers' return to greatness. Join us — Pete Wright and Andy Nelson — as we continue our Richard Dysart series with this fantastic film. We look at the era of the film and, while it's certainly a 70s film, it still feels timeless. We talk about the nature of Sellers's fascinating portrayal of Chance the Gardener (or as Chauncey Gardiner, as he comes to be known), and what our own interpretations of this character are. We chat about the way the film ends and what we think Kosinski and Ashby were wanting to say... if anything. We discuss the nature of the footage during the end credits and debate whether it takes away from the mysterious and beautiful mood the end of the film creates or not. And we discuss both cast and crew in this film, including the wonderful Richard Dysart who brings an amazing, quiet gracefulness to his benevolent doctor who is the only one not fooled by Sellers' Chance. It's a film we love and love to discuss. Watch it and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 16 Jan 2014 08:00:00 -0800 The Next Reel The Next Reel 4762 Hal Ashby made a number of stand-out films in the 70s, films that looked at human nature in offbeat stories that didn't feel like they came from a mold. When Peter Sellers presented him with the opportunity to direct an adaptation of Jerzy Kosinski's novella "Being There" shortly after the book's publication, he loved the idea and spent the next 9 years working to find the funding to get it made. The film was finally released in 1979 and was considered by many to be Peter Sellers' return to greatness. Join us — Pete Wright and Andy Nelson — as we continue our Richard Dysart series with this fantastic film. We look at the era of the film and, while it's certainly a 70s film, it still feels timeless. We talk about the nature of Sellers's fascinating portrayal of Chance the Gardener (or as Chauncey Gardiner, as he comes to be known), and what our own interpretations of this character are. We chat about the way the film ends and what we think Kosinski and Ashby were wanting to say... if anything. We discuss the nature of the footage during the end credits and debate whether it takes away from the mysterious and beautiful mood the end of the film creates or not. And we discuss both cast and crew in this film, including the wonderful Richard Dysart who brings an amazing, quiet gracefulness to his benevolent doctor who is the only one not fooled by Sellers' Chance. It's a film we love and love to discuss. Watch it and tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) Hal Ashby made a number of stand-out films in the 70s, films that looked at human nature in offbeat stories that didn't feel like they came from a mold. When Peter Sellers presented him with the opportunity to direct an adaptation of Jerzy Kosinski's nove moviereview, petersellers, richarddysart, movies, filmcommentary, filmreview No Andy Nelson Pete Wright The Day of the Locust • The Next Reel 3 3 27 27 The Day of the Locust • The Next Reel full 731c08e9-cf04-4a98-baf7-00955f58a321 https://share.transistor.fm/s/dee74378 There have been a good number of films made about the film industry, but few have taken such a dark and surreal look at the Hollywood machine as John Schlesinger's 1975 "The Day of the Locust" did. While it's based on the Nathanael West book from 1939 and takes place at that time, it feels like a modern — or possibly even timeless — story of the business and the fringe-dwellers who want to be a part of its magic. Join us — Pete Wright and Andy Nelson — as we begin our Richard Dysart series with Schlesinger's film. We talk about our experiences with this film (which is at times mind-boggling, slow, horrifically violent, absurd, and pointedly smart) and how it's one of those films that sticks with you whether you want it to or not. We discuss the performances and how perfect they are for the story — William Atherton, Karen Black, Donald Sutherland, Billy Barty, and of course Richard Dysart. We chat about the interesting structure this film has, feeling more like a novel than a 3-act screenplay, and how it challenges us with trying to determine who we would call the protagonist. And we work to figure out what the film is saying through some of its incredibly haunting imagery. It's not a film for everyone, but it's certainly a film worth watching if you're looking for a dark tale spun about the movie machine and how it destroys people. It certainly is a film that warrants a lot of discussion. Think you're up for it? Give it a watch then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> There have been a good number of films made about the film industry, but few have taken such a dark and surreal look at the Hollywood machine as John Schlesinger's 1975 "The Day of the Locust" did. While it's based on the Nathanael West book from 1939 and takes place at that time, it feels like a modern — or possibly even timeless — story of the business and the fringe-dwellers who want to be a part of its magic. Join us — Pete Wright and Andy Nelson — as we begin our Richard Dysart series with Schlesinger's film. We talk about our experiences with this film (which is at times mind-boggling, slow, horrifically violent, absurd, and pointedly smart) and how it's one of those films that sticks with you whether you want it to or not. We discuss the performances and how perfect they are for the story — William Atherton, Karen Black, Donald Sutherland, Billy Barty, and of course Richard Dysart. We chat about the interesting structure this film has, feeling more like a novel than a 3-act screenplay, and how it challenges us with trying to determine who we would call the protagonist. And we work to figure out what the film is saying through some of its incredibly haunting imagery. It's not a film for everyone, but it's certainly a film worth watching if you're looking for a dark tale spun about the movie machine and how it destroys people. It certainly is a film that warrants a lot of discussion. Think you're up for it? Give it a watch then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 09 Jan 2014 05:00:00 -0800 The Next Reel The Next Reel 4165 There have been a good number of films made about the film industry, but few have taken such a dark and surreal look at the Hollywood machine as John Schlesinger's 1975 "The Day of the Locust" did. While it's based on the Nathanael West book from 1939 and takes place at that time, it feels like a modern — or possibly even timeless — story of the business and the fringe-dwellers who want to be a part of its magic. Join us — [Pete Wright](https://twitter.com/petewright) and [Andy Nelson](https://twitter.com/sodacreekfilm) — as we begin our Richard Dysart series with Schlesinger's film. We talk about our experiences with this film (which is at times mind-boggling, slow, horrifically violent, absurd, and pointedly smart) and how it's one of those films that sticks with you whether you want it to or not. We discuss the performances and how perfect they are for the story — William Atherton, Karen Black, Donald Sutherland, Billy Barty, and of course Richard Dysart. We chat about the interesting structure this film has, feeling more like a novel than a 3-act screenplay, and how it challenges us with trying to determine who we would call the protagonist. And we work to figure out what the film is saying through some of its incredibly haunting imagery. It's not a film for everyone, but it's certainly a film worth watching if you're looking for a dark tale spun about the movie machine and how it destroys people. It certainly is a film that warrants a lot of discussion. Think you're up for it? Give it a watch then tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) There have been a good number of films made about the film industry, but few have taken such a dark and surreal look at the Hollywood machine as John Schlesinger's 1975 "The Day of the Locust" did. While it's based on the Nathanael West book from 1939 and moviereview, richarddysart, movies, filmcommentary, filmreview No Andy Nelson Pete Wright The Hudsucker Proxy • The Next Reel 3 3 26 26 The Hudsucker Proxy • The Next Reel full 0640befe-b237-4dad-ab97-38e81a95a7d0 https://share.transistor.fm/s/5586c5d1 Happy New Year! To ring in 2014, we wanted to find a tie-in to the new year so landed on 1994's Coen brothers comedy, "The Hudsucker Proxy." Join us — Pete Wright and Andy Nelson — as we delve back into the comedies from our good friends the brothers Coen and ring in 2014 with this fun film. We talk about the overall feel of the Coens' films and compare their comedies to their dramas. We discuss what it takes to be a great film and what would make one 'lesser' and where we'd put this film. We chat about any deeper meaning about corporate greed that can be read into this film, and whether or not it was intentionally put there by the Coens and their co-writer, Sam Raimi, or not. And we talk about how Roger Deakins' work has evolved over the years with the Coens and what changes he's made in his own style from watching in their washroom. It's a fun movie and one worth watching and discussing. Check it out!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Happy New Year! To ring in 2014, we wanted to find a tie-in to the new year so landed on 1994's Coen brothers comedy, "The Hudsucker Proxy." Join us — Pete Wright and Andy Nelson — as we delve back into the comedies from our good friends the brothers Coen and ring in 2014 with this fun film. We talk about the overall feel of the Coens' films and compare their comedies to their dramas. We discuss what it takes to be a great film and what would make one 'lesser' and where we'd put this film. We chat about any deeper meaning about corporate greed that can be read into this film, and whether or not it was intentionally put there by the Coens and their co-writer, Sam Raimi, or not. And we talk about how Roger Deakins' work has evolved over the years with the Coens and what changes he's made in his own style from watching in their washroom. It's a fun movie and one worth watching and discussing. Check it out!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 02 Jan 2014 08:00:00 -0800 The Next Reel The Next Reel 3747 Happy New Year! To ring in 2014, we wanted to find a tie-in to the new year so landed on 1994's Coen brothers comedy, "The Hudsucker Proxy." Join us — Pete Wright and Andy Nelson — as we delve back into the comedies from our good friends the brothers Coen and ring in 2014 with this fun film. Happy New Year! To ring in 2014, we wanted to find a tie-in to the new year so landed on 1994's Coen brothers comedy, "The Hudsucker Proxy." Join us — Pete Wright and Andy Nelson — as we delve back into the comedies from our good friends the brothers Coen thecoenbrothers, moviereview, samraimi, timrobbins, rogerdeakins, jenniferjasonleigh, movies, filmcommentary, filmreview, paulnewman No Andy Nelson Pete Wright Christmas in Connecticut • The Next Reel 3 3 25 25 Christmas in Connecticut • The Next Reel full 3d8fdec1-6946-4f34-af8b-3c1e53340057 https://share.transistor.fm/s/a55d4529 It's the holiday season again which means it's time for us — Pete and Andy — to talk about another holiday classic! Join us as we talk about Peter Godfrey's screwball war comedy from 1945, "Christmas in Connecticut." We talk about how much fun the movie is and how it feels a bit pro-feminist yet how it definitely shows its age at the same time. We talk about the great cast, particularly the wonderful Barbara Stanwyck, Sydney Greenstreet, S.Z. "Cuddles" Sakall, Dennis Morgan, Reginald Gardiner and Una O'Connor, and how well they fit in their roles. We discuss Godfrey and his place in Hollywood, as well as his hobby as an amateur magician. And we chat about how this film fits in our holiday lists — is this one we'd put on every year or not? It's a fun, albeit dated, movie and we have a great time chatting about this movie. Give it a watch then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> It's the holiday season again which means it's time for us — Pete and Andy — to talk about another holiday classic! Join us as we talk about Peter Godfrey's screwball war comedy from 1945, "Christmas in Connecticut." We talk about how much fun the movie is and how it feels a bit pro-feminist yet how it definitely shows its age at the same time. We talk about the great cast, particularly the wonderful Barbara Stanwyck, Sydney Greenstreet, S.Z. "Cuddles" Sakall, Dennis Morgan, Reginald Gardiner and Una O'Connor, and how well they fit in their roles. We discuss Godfrey and his place in Hollywood, as well as his hobby as an amateur magician. And we chat about how this film fits in our holiday lists — is this one we'd put on every year or not? It's a fun, albeit dated, movie and we have a great time chatting about this movie. Give it a watch then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Thu, 26 Dec 2013 08:00:00 -0800 The Next Reel The Next Reel 4207 It's the holiday season again which means it's time for us — Pete and Andy — to talk about another holiday classic! Join us as we talk about Peter Godfrey's screwball war comedy from 1945, "Christmas in Connecticut." We talk about how much fun the movie is and how it feels a bit pro-feminist yet how it definitely shows its age at the same time. We talk about the great cast, particularly the wonderful Barbara Stanwyck, Sydney Greenstreet, S.Z. "Cuddles" Sakall, Dennis Morgan, Reginald Gardiner and Una O'Connor, and how well they fit in their roles. We discuss Godfrey and his place in Hollywood, as well as his hobby as an amateur magician. And we chat about how this film fits in our holiday lists — is this one we'd put on every year or not? It's a fun, albeit dated, movie and we have a great time chatting about this movie. Give it a watch then tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) It's the holiday season again which means it's time for us — Pete and Andy — to talk about another holiday classic! Join us as we talk about Peter Godfrey's screwball war comedy from 1945, "Christmas in Connecticut." We talk about how much fun the movie i film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright City of God • The Next Reel 3 3 24 24 City of God • The Next Reel full 7eeba401-f662-486d-8c2a-314813f13bd3 https://share.transistor.fm/s/496c5837 It's easy to compare "City of God" to "GoodFellas" — they both have a frenetic filmmaking style, they both revolve around youth growing up in a world of violence, and they both take that violence to awful places. Plus, they're both brilliant films. Join us — Pete Wright and Andy Nelson — this week on The Next Reel as we finish our Foreign Language series with a true highlight — Fernando Mereilles' and Katia Lund's 2002 film "City of God." We talk about the story and how it introduces us to this world of the favelas of Rio that not only gives us a sense of the time and place in the film incredibly effectively, but also connects us to characters that fit in this world and take us on a journey over several decades here, yet in a way that still feels intimate. We discuss the energetic and wild cinematography and directing style of the film and why it works so well. We chat about how the film was received around the world and why so many people have connected with it. And we talk about other projects Mereilles has done and how they differ or are similar to his style we see here. It's a great conversation about a great film. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> It's easy to compare "City of God" to "GoodFellas" — they both have a frenetic filmmaking style, they both revolve around youth growing up in a world of violence, and they both take that violence to awful places. Plus, they're both brilliant films. Join us — Pete Wright and Andy Nelson — this week on The Next Reel as we finish our Foreign Language series with a true highlight — Fernando Mereilles' and Katia Lund's 2002 film "City of God." We talk about the story and how it introduces us to this world of the favelas of Rio that not only gives us a sense of the time and place in the film incredibly effectively, but also connects us to characters that fit in this world and take us on a journey over several decades here, yet in a way that still feels intimate. We discuss the energetic and wild cinematography and directing style of the film and why it works so well. We chat about how the film was received around the world and why so many people have connected with it. And we talk about other projects Mereilles has done and how they differ or are similar to his style we see here. It's a great conversation about a great film. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 19 Dec 2013 08:00:00 -0800 The Next Reel The Next Reel 4685 It's easy to compare "City of God" to "GoodFellas" — they both have a frenetic filmmaking style, they both revolve around youth growing up in a world of violence, and they both take that violence to awful places. Plus, they're both brilliant films. Join us — [Pete Wright](https://twitter.com/petewright) and [Andy Nelson](https://twitter.com/sodacreekfilm) — this week on The Next Reel as we finish our Foreign Language series with a true highlight — Fernando Mereilles' and Katia Lund's 2002 film "City of God." We talk about the story and how it introduces us to this world of the favelas of Rio that not only gives us a sense of the time and place in the film incredibly effectively, but also connects us to characters that fit in this world and take us on a journey over several decades here, yet in a way that still feels intimate. We discuss the energetic and wild cinematography and directing style of the film and why it works so well. We chat about how the film was received around the world and why so many people have connected with it. And we talk about other projects Mereilles has done and how they differ or are similar to his style we see here. It's a great conversation about a great film. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) It's easy to compare "City of God" to "GoodFellas" — they both have a frenetic filmmaking style, they both revolve around youth growing up in a world of violence, and they both take that violence to awful places. Plus, they're both brilliant films. Join u film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Yi Yi: A One and a Two... • The Next Reel 3 3 23 23 Yi Yi: A One and a Two... • The Next Reel full b2d558bf-dba1-4071-ba07-df5b8b0bfa82 https://share.transistor.fm/s/4a46674f Even though Edward Yang's final film, "Yi Yi, A One and a Two," was critically acclaimed, it is a long film and requires patience, the right frame of mind when watching, or something similar to really connect with the film. At just shy of three hours and exploring pretty much every aspect of life in one Taipei family over the course of a year, it's certainly something that can tax some viewers, but for those who click with it, it's a masterful, powerful, poignant film. Join us — Pete Wright and Andy Nelson — as we continue our Foreign Language film series with this Taiwanese entry from 2000. We discuss what works so well in this film... for Andy and what doesn't work at all in this film... for Pete, having very interesting discourse back and forth in the struggle to explore this film. We talk about the characters in the film and what they're bringing to the story, most notably the young Yang-Yang who ends up providing the most poignant elements of the story. We chat about the New Wave of Taiwanese cinema in the 80s-90s when Yang was beginning his career and how that group and their sensibilities informed Yang's filmmaking. And we discuss what works and doesn't work for us in the cinematography and the editing, and why it works so well for Andy but not Pete. It's a fascinating exploration into a film that clearly works for some but not others, and one that's full of fun facts and interesting arguments. Watch the movie and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Even though Edward Yang's final film, "Yi Yi, A One and a Two," was critically acclaimed, it is a long film and requires patience, the right frame of mind when watching, or something similar to really connect with the film. At just shy of three hours and exploring pretty much every aspect of life in one Taipei family over the course of a year, it's certainly something that can tax some viewers, but for those who click with it, it's a masterful, powerful, poignant film. Join us — Pete Wright and Andy Nelson — as we continue our Foreign Language film series with this Taiwanese entry from 2000. We discuss what works so well in this film... for Andy and what doesn't work at all in this film... for Pete, having very interesting discourse back and forth in the struggle to explore this film. We talk about the characters in the film and what they're bringing to the story, most notably the young Yang-Yang who ends up providing the most poignant elements of the story. We chat about the New Wave of Taiwanese cinema in the 80s-90s when Yang was beginning his career and how that group and their sensibilities informed Yang's filmmaking. And we discuss what works and doesn't work for us in the cinematography and the editing, and why it works so well for Andy but not Pete. It's a fascinating exploration into a film that clearly works for some but not others, and one that's full of fun facts and interesting arguments. Watch the movie and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 12 Dec 2013 08:00:00 -0800 The Next Reel The Next Reel 5367 Even though Edward Yang's final film, "Yi Yi, A One and a Two," was critically acclaimed, it is a long film and requires patience, the right frame of mind when watching, or something similar to really connect with the film. At just shy of three hours and exploring pretty much every aspect of life in one Taipei family over the course of a year, it's certainly something that can tax some viewers, but for those who click with it, it's a masterful, powerful, poignant film. Join us — [Pete Wright](https://twitter.com/petewright) and [Andy Nelson](https://twitter.com/sodacreekfilm) — as we continue our Foreign Language film series with this Taiwanese entry from 2000. We discuss what works so well in this film... for Andy and what doesn't work at all in this film... for Pete, having very interesting discourse back and forth in the struggle to explore this film. We talk about the characters in the film and what they're bringing to the story, most notably the young Yang-Yang who ends up providing the most poignant elements of the story. We chat about the New Wave of Taiwanese cinema in the 80s-90s when Yang was beginning his career and how that group and their sensibilities informed Yang's filmmaking. And we discuss what works and doesn't work for us in the cinematography and the editing, and why it works so well for Andy but not Pete. It's a fascinating exploration into a film that clearly works for some but not others, and one that's full of fun facts and interesting arguments. Watch the movie and tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) Even though Edward Yang's final film, "Yi Yi, A One and a Two," was critically acclaimed, it is a long film and requires patience, the right frame of mind when watching, or something similar to really connect with the film. At just shy of three hours and foreignfilms, moviereview, edwardyang, movies, filmcommentary, filmreview No Andy Nelson Pete Wright Run Lola Run • The Next Reel 3 3 22 22 Run Lola Run • The Next Reel full 1629cc8c-7f7e-4c9e-a710-1f090b5178d7 https://share.transistor.fm/s/30799535 "Run Lola Run" came out during a period when lots of unique and truly fantastic films were opening up in theaters. Luckily for Lola, it was equally unique and fantastic, ensuring that it didn't get buried. Tom Tykwer's wild film, so thoroughly infused with energy and style, took a simple tale of a woman trying to (quickly) raise money for her boyfriend to ensure he doesn't get killed by the gangsters for which he works, and gave it a philosophical bent when he decided to write it in almost a video game style where we see the same situation play out three times. It's an absolutely fascinating film to watch and a very easy film to enjoy. Join us — Pete Wright and Andy Nelson — as we continue our Foreign Language Film series with this thrill of a film. We discuss the nature of the film itself and the almost avant garde dreamscape nature of it, exploring what it was Tykwer was trying to say by making the film this way. We chat about what works for us and what doesn't, and look at one sequence in particular that ended up feeling more problematic than it has in the past. We talk about the performances, notably Franke Potente and Moritz Bleibtreu, and why they work so well for us. And we chat about the style, particularly the cinematography and editing, and how they help the film achieve this level of energy not often maintained as well in other films. We both love this film, despite some problems, and have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> "Run Lola Run" came out during a period when lots of unique and truly fantastic films were opening up in theaters. Luckily for Lola, it was equally unique and fantastic, ensuring that it didn't get buried. Tom Tykwer's wild film, so thoroughly infused with energy and style, took a simple tale of a woman trying to (quickly) raise money for her boyfriend to ensure he doesn't get killed by the gangsters for which he works, and gave it a philosophical bent when he decided to write it in almost a video game style where we see the same situation play out three times. It's an absolutely fascinating film to watch and a very easy film to enjoy. Join us — Pete Wright and Andy Nelson — as we continue our Foreign Language Film series with this thrill of a film. We discuss the nature of the film itself and the almost avant garde dreamscape nature of it, exploring what it was Tykwer was trying to say by making the film this way. We chat about what works for us and what doesn't, and look at one sequence in particular that ended up feeling more problematic than it has in the past. We talk about the performances, notably Franke Potente and Moritz Bleibtreu, and why they work so well for us. And we chat about the style, particularly the cinematography and editing, and how they help the film achieve this level of energy not often maintained as well in other films. We both love this film, despite some problems, and have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 05 Dec 2013 08:00:00 -0800 The Next Reel The Next Reel 4734 "Run Lola Run" came out during a period when lots of unique and truly fantastic films were opening up in theaters. Luckily for Lola, it was equally unique and fantastic, ensuring that it didn't get buried. Tom Tykwer's wild film, so thoroughly infused with energy and style, took a simple tale of a woman trying to (quickly) raise money for her boyfriend to ensure he doesn't get killed by the gangsters for which he works, and gave it a philosophical bent when he decided to write it in almost a video game style where we see the same situation play out three times. It's an absolutely fascinating film to watch and a very easy film to enjoy. Join us — Pete Wright and Andy Nelson — as we continue our Foreign Language Film series with this thrill of a film. We discuss the nature of the film itself and the almost avant garde dreamscape nature of it, exploring what it was Tykwer was trying to say by making the film this way. We chat about what works for us and what doesn't, and look at one sequence in particular that ended up feeling more problematic than it has in the past. We talk about the performances, notably Franke Potente and Moritz Bleibtreu, and why they work so well for us. And we chat about the style, particularly the cinematography and editing, and how they help the film achieve this level of energy not often maintained as well in other films. We both love this film, despite some problems, and have a great time talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) "Run Lola Run" came out during a period when lots of unique and truly fantastic films were opening up in theaters. Luckily for Lola, it was equally unique and fantastic, ensuring that it didn't get buried. Tom Tykwer's wild film, so thoroughly infused wit moviereview, frankapotente, moritzbleibtreu, tomtykwer, movies, filmcommentary, filmreview No Andy Nelson Pete Wright The Diving Bell and the Butterfly • The Next Reel 3 3 21 21 The Diving Bell and the Butterfly • The Next Reel full 4e33471a-d2e5-4839-88ad-74ddecb536b6 https://share.transistor.fm/s/5865c19b Rarely does a film truly take you into somebody's head for almost the entire film. Sure, you get POVs here and there in films, but it's a tricky tool to use, especially for longer periods of time. When Ronald Harwood hit on this in-the-head technique for his adaptation of Jean-Dominique Bauby's biography, it was exactly what the story needed to be told as a film. Enter Julian Schnabel, an artist/filmmaker who brought his own intuitive magic to the directing of it, and you end up with 2007's "The Diving Bell and the Butterfly," a stunningly gorgeous film that's as powerful a story of human resilience and beauty as it is a difficult film to watch because of the subject — a man living with locked-in syndrome. Join us — Pete Wright and Andy Nelson — as we continue our foreign language series with this brilliant film. We talk about our feelings of the movie and how powerful it is yet how difficult it can be to watch and why. We chat about the unique techniques Schnabel brings to the table in the making of the film and why they work so well with this story. We discuss the actors — Mathieu Amalric, Max von Sydow, Emmanuelle Seigner, Marie-Josée Croze and more — and how they all bring an amazing personal strength to the film. We talk about Janusz Kaminski's beautiful cinematography and how well it lends itself to the telling of this story. We bring up the novel Bauby's widowed girlfriend wrote about her experience and talk about why she got virtually left out of the film. And we look at the critical reception this film had worldwide, even if it struggled to bring in the bucks. It's a glorious poem of a film and one worth talking about. Definitely check it out then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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]]> Rarely does a film truly take you into somebody's head for almost the entire film. Sure, you get POVs here and there in films, but it's a tricky tool to use, especially for longer periods of time. When Ronald Harwood hit on this in-the-head technique for his adaptation of Jean-Dominique Bauby's biography, it was exactly what the story needed to be told as a film. Enter Julian Schnabel, an artist/filmmaker who brought his own intuitive magic to the directing of it, and you end up with 2007's "The Diving Bell and the Butterfly," a stunningly gorgeous film that's as powerful a story of human resilience and beauty as it is a difficult film to watch because of the subject — a man living with locked-in syndrome. Join us — Pete Wright and Andy Nelson — as we continue our foreign language series with this brilliant film. We talk about our feelings of the movie and how powerful it is yet how difficult it can be to watch and why. We chat about the unique techniques Schnabel brings to the table in the making of the film and why they work so well with this story. We discuss the actors — Mathieu Amalric, Max von Sydow, Emmanuelle Seigner, Marie-Josée Croze and more — and how they all bring an amazing personal strength to the film. We talk about Janusz Kaminski's beautiful cinematography and how well it lends itself to the telling of this story. We bring up the novel Bauby's widowed girlfriend wrote about her experience and talk about why she got virtually left out of the film. And we look at the critical reception this film had worldwide, even if it struggled to bring in the bucks. It's a glorious poem of a film and one worth talking about. Definitely check it out then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

The Next Reel Family of Film Shows:

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Shop & Stream:

]]> Thu, 28 Nov 2013 08:00:00 -0800 The Next Reel The Next Reel 4586 Rarely does a film truly take you into somebody's head for almost the entire film. Sure, you get POVs here and there in films, but it's a tricky tool to use, especially for longer periods of time. When Ronald Harwood hit on this in-the-head technique for his adaptation of Jean-Dominique Bauby's biography, it was exactly what the story needed to be told as a film. Enter Julian Schnabel, an artist/filmmaker who brought his own intuitive magic to the directing of it, and you end up with 2007's "The Diving Bell and the Butterfly," a stunningly gorgeous film that's as powerful a story of human resilience and beauty as it is a difficult film to watch because of the subject — a man living with locked-in syndrome. Join us — Pete Wright and Andy Nelson — as we continue our foreign language series with this brilliant film. We talk about our feelings of the movie and how powerful it is yet how difficult it can be to watch and why. We chat about the unique techniques Schnabel brings to the table in the making of the film and why they work so well with this story. We discuss the actors — Mathieu Amalric, Max von Sydow, Emmanuelle Seigner, Marie-Josée Croze and more — and how they all bring an amazing personal strength to the film. We talk about Janusz Kaminski's beautiful cinematography and how well it lends itself to the telling of this story. We bring up the novel Bauby's widowed girlfriend wrote about her experience and talk about why she got virtually left out of the film. And we look at the critical reception this film had worldwide, even if it struggled to bring in the bucks. It's a glorious poem of a film and one worth talking about. Definitely check it out then tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) Rarely does a film truly take you into somebody's head for almost the entire film. Sure, you get POVs here and there in films, but it's a tricky tool to use, especially for longer periods of time. When Ronald Harwood hit on this in-the-head technique for maxvonsydow, mariejosecroze, julianschnabel, moviereview, emmanuelleseigner, movies, mathiewamalric, filmcommentary, filmreview No Andy Nelson Pete Wright Intacto • The Next Reel 3 3 20 20 Intacto • The Next Reel full 0060a5a2-0988-4ad8-9f0c-1fbb35bf17ed https://share.transistor.fm/s/c80541a6 Juan Carlos Fresnadillo broke onto the international scene with "28 Weeks Later," the sequel to Danny Boyle's film, and has been tied to a number of high-profile Hollywood projects since, including the just-announced "Pet Sematary" remake. But it's his feature film debut, 2002's "Intacto," that one only need look at to understand why this writer/director is in such hot demand. Join us — Pete Wright and Andy Nelson — as we begin our Foreign Language series with a show about this fascinating movie from Spain about people who gamble not to win money, but to win luck. We talk about the fantastic element of this story — the idea that luck is something that can be taken from other people through touch or photos — and how it works in the film. We discuss the problems with the script that we have and the struggle to fully understand all of it on a single viewing, even though it's so easy to look past these issues while enjoying this film. We chat about the global feel of the film and how interesting it works as a movie made by a first-time feature filmmaker, creating a project that truly gives an immense sense of scale and a complex sense of the world. And Andy goes on and on about his fascination for the Malaysian Jungle Nymph, aka the Heteropteryx dilatata, the giant bug that lands on Tomas' head in the film, and how he wants to raise his own. (Pete, on the other hand, is whole-istically against it.) It's a great way to kick off our foreign language series. If you haven't seen the movie, definitely check it out, then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Juan Carlos Fresnadillo broke onto the international scene with "28 Weeks Later," the sequel to Danny Boyle's film, and has been tied to a number of high-profile Hollywood projects since, including the just-announced "Pet Sematary" remake. But it's his feature film debut, 2002's "Intacto," that one only need look at to understand why this writer/director is in such hot demand. Join us — Pete Wright and Andy Nelson — as we begin our Foreign Language series with a show about this fascinating movie from Spain about people who gamble not to win money, but to win luck. We talk about the fantastic element of this story — the idea that luck is something that can be taken from other people through touch or photos — and how it works in the film. We discuss the problems with the script that we have and the struggle to fully understand all of it on a single viewing, even though it's so easy to look past these issues while enjoying this film. We chat about the global feel of the film and how interesting it works as a movie made by a first-time feature filmmaker, creating a project that truly gives an immense sense of scale and a complex sense of the world. And Andy goes on and on about his fascination for the Malaysian Jungle Nymph, aka the Heteropteryx dilatata, the giant bug that lands on Tomas' head in the film, and how he wants to raise his own. (Pete, on the other hand, is whole-istically against it.) It's a great way to kick off our foreign language series. If you haven't seen the movie, definitely check it out, then tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 21 Nov 2013 08:00:00 -0800 The Next Reel The Next Reel 3886 Juan Carlos Fresnadillo broke onto the international scene with "28 Weeks Later," the sequel to Danny Boyle's film, and has been tied to a number of high-profile Hollywood projects since, including the just-announced "Pet Sematary" remake. But it's his feature film debut, 2002's "Intacto," that one only need look at to understand why this writer/director is in such hot demand. Join us — Pete Wright and Andy Nelson — as we begin our Foreign Language series with a show about this fascinating movie from Spain about people who gamble not to win money, but to win luck. We talk about the fantastic element of this story — the idea that luck is something that can be taken from other people through touch or photos — and how it works in the film. We discuss the problems with the script that we have and the struggle to fully understand all of it on a single viewing, even though it's so easy to look past these issues while enjoying this film. We chat about the global feel of the film and how interesting it works as a movie made by a first-time feature filmmaker, creating a project that truly gives an immense sense of scale and a complex sense of the world. And Andy goes on and on about his fascination for the Malaysian Jungle Nymph, aka the Heteropteryx dilatata, the giant bug that lands on Tomas' head in the film, and how he wants to raise his own. (Pete, on the other hand, is whole-istically against it.) It's a great way to kick off our foreign language series. If you haven't seen the movie, definitely check it out, then tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) Juan Carlos Fresnadillo broke onto the international scene with "28 Weeks Later," the sequel to Danny Boyle's film, and has been tied to a number of high-profile Hollywood projects since, including the just-announced "Pet Sematary" remake. But it's his fe maxvonsydow, foreignfilms, juancarlosfresnadillo, moviereview, movies, filmcommentary, filmreview No Andy Nelson Pete Wright Redbelt • The Next Reel 3 3 19 19 Redbelt • The Next Reel full 1de4bb18-aee4-457a-aa3c-7786b03f8c0c https://share.transistor.fm/s/a4a3647f David Mamet's always one to put cons in his films, even when the film is a fight film taking place in the world of mixed martial arts. His 2008 film, "Redbelt," feels like a mash-up of genres — a con film, a fight film, a film noir, a samurai film, an intimate character portrait. It's a bit of all of these, and probably because it's hard to pin it down, it couldn't find its audience when it was released. Despite that, we wanted to include it in our David Mamet Directs series. Join us — Pete Wright and Andy Nelson — as we discuss the 10th film Mamet's directed. We discuss the nature of the genre mash-up and how it works for us, compared with how it worked for audiences when it came out. We talk about our opinions of the film and why it works for us, despite numerous problems. We chat about Chewie — the amazing Chiwetel Ejiofor — and not only what he brings to the role of the jiu jitsu instructor who stands by his principles against all adversity, but also how that helps make the film what it is (especially the final moments). And we talk about the amazing Robert Elswit and what he brings to the film through his stellar cinematography. It's a fascinating, wonderful film that definitely deserves to be seen by more people. Check it out and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> David Mamet's always one to put cons in his films, even when the film is a fight film taking place in the world of mixed martial arts. His 2008 film, "Redbelt," feels like a mash-up of genres — a con film, a fight film, a film noir, a samurai film, an intimate character portrait. It's a bit of all of these, and probably because it's hard to pin it down, it couldn't find its audience when it was released. Despite that, we wanted to include it in our David Mamet Directs series. Join us — Pete Wright and Andy Nelson — as we discuss the 10th film Mamet's directed. We discuss the nature of the genre mash-up and how it works for us, compared with how it worked for audiences when it came out. We talk about our opinions of the film and why it works for us, despite numerous problems. We chat about Chewie — the amazing Chiwetel Ejiofor — and not only what he brings to the role of the jiu jitsu instructor who stands by his principles against all adversity, but also how that helps make the film what it is (especially the final moments). And we talk about the amazing Robert Elswit and what he brings to the film through his stellar cinematography. It's a fascinating, wonderful film that definitely deserves to be seen by more people. Check it out and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 14 Nov 2013 08:00:00 -0800 The Next Reel The Next Reel 5561 David Mamet's always one to put cons in his films, even when the film is a fight film taking place in the world of mixed martial arts. His 2008 film, "Redbelt," feels like a mash-up of genres — a con film, a fight film, a film noir, a samurai film, an intimate character portrait. It's a bit of all of these, and probably because it's hard to pin it down, it couldn't find its audience when it was released. Despite that, we wanted to include it in our David Mamet Directs series. Join us — Pete Wright and Andy Nelson — as we discuss the 10th film Mamet's directed. We discuss the nature of the genre mash-up and how it works for us, compared with how it worked for audiences when it came out. We talk about our opinions of the film and why it works for us, despite numerous problems. We chat about Chewie — the amazing Chiwetel Ejiofor — and not only what he brings to the role of the jiu jitsu instructor who stands by his principles against all adversity, but also how that helps make the film what it is (especially the final moments). And we talk about the amazing Robert Elswit and what he brings to the film through his stellar cinematography. It's a fascinating, wonderful film that definitely deserves to be seen by more people. Check it out and tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) David Mamet's always one to put cons in his films, even when the film is a fight film taking place in the world of mixed martial arts. His 2008 film, "Redbelt," feels like a mash-up of genres — a con film, a fight film, a film noir, a samurai film, an int timallen, moviereview, movies, filmcommentary, filmreview, chiwetelejiofor, davidmamet No Andy Nelson Pete Wright The Spanish Prisoner • The Next Reel 3 3 18 18 The Spanish Prisoner • The Next Reel full 1b4d53e7-1c9f-4532-afc0-d521ba9b4b68 https://share.transistor.fm/s/45d159d9 David Mamet has made a name for himself as a playwright, as a screenwriter, as an author, and as a writer/director. His fifth film that he wrote and directed, "The Spanish Prisoner," didn't make many waves when it came out in 1998, but it seemed to impress the critics and it ended up in the black. Join us — Pete Wright and Andy Nelson — as we begin a short David Mamet Directs series by talking about this film. We talk about what makes this film work and what makes it fall apart, and how that works for us. We discuss the nature of 'Mamet speak,' the type of dialogue that Mamet is known for, and how the actors work with that dialogue in this film. We chat about the convoluted and complicated con going on in this film, and address why it is much more problematic returning to it a second time. And we talk about the nature of the problems in the film and wonder if some of it may have been intentional by Mamet. It's an interesting film, despite it's flaws, and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> David Mamet has made a name for himself as a playwright, as a screenwriter, as an author, and as a writer/director. His fifth film that he wrote and directed, "The Spanish Prisoner," didn't make many waves when it came out in 1998, but it seemed to impress the critics and it ended up in the black. Join us — Pete Wright and Andy Nelson — as we begin a short David Mamet Directs series by talking about this film. We talk about what makes this film work and what makes it fall apart, and how that works for us. We discuss the nature of 'Mamet speak,' the type of dialogue that Mamet is known for, and how the actors work with that dialogue in this film. We chat about the convoluted and complicated con going on in this film, and address why it is much more problematic returning to it a second time. And we talk about the nature of the problems in the film and wonder if some of it may have been intentional by Mamet. It's an interesting film, despite it's flaws, and we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> Thu, 07 Nov 2013 08:00:00 -0800 The Next Reel The Next Reel 3895 David Mamet has made a name for himself as a playwright, as a screenwriter, as an author, and as a writer/director. His fifth film that he wrote and directed, "The Spanish Prisoner," didn't make many waves when it came out in 1998, but it seemed to impress the critics and it ended up in the black. Join us — Pete Wright and Andy Nelson — as we begin a short David Mamet Directs series by talking about this film. We talk about what makes this film work and what makes it fall apart, and how that works for us. We discuss the nature of 'Mamet speak,' the type of dialogue that Mamet is known for, and how the actors work with that dialogue in this film. We chat about the convoluted and complicated con going on in this film, and address why it is much more problematic returning to it a second time. And we talk about the nature of the problems in the film and wonder if some of it may have been intentional by Mamet. It's an interesting film, despite it's flaws, and we have a great time talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) David Mamet has made a name for himself as a playwright, as a screenwriter, as an author, and as a writer/director. His fifth film that he wrote and directed, "The Spanish Prisoner," didn't make many waves when it came out in 1998, but it seemed to impres campbellscott, stevemartin, rebeccapidgeon, davidmamet No Andy Nelson Pete Wright Say Anything... • The Next Reel 3 3 17 17 Say Anything... • The Next Reel full e86dca41-ad26-4d4c-8d5e-881163f5b36d https://share.transistor.fm/s/640989fb In 1989, Cameron Crowe made his directorial debut with what many consider to be one of his best films, "Say Anything..." It wasn't one of the top films at the box office that year, but it certainly found its audience since then and is still hailed by many to be one of the great romantic films out there. Join us — Pete Wright and Andy Nelson — as we talk about Crowe's first film. We discuss our memories of the film when it first came out and compare it with our feelings about it today — interestingly, neither of us feel that strongly about the film anymore. We chat about the amazing roster of talent, not just in the big roles but also the supporting roles and cameos all through the film, and look at what works and what doesn't. We discuss the problems we have with the film now — notably the subplot with Diane's dad and his troubles with the IRS — and try to analyze what it is about them that's not working. And we talk about how the film uses Seattle, the city in which it was filmed, in comparison with other films, notably "Sleepless in Seattle." It's a film we found ourselves remembering more fondly for what it once meant to us rather than what it does for us today, but we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> In 1989, Cameron Crowe made his directorial debut with what many consider to be one of his best films, "Say Anything..." It wasn't one of the top films at the box office that year, but it certainly found its audience since then and is still hailed by many to be one of the great romantic films out there. Join us — Pete Wright and Andy Nelson — as we talk about Crowe's first film. We discuss our memories of the film when it first came out and compare it with our feelings about it today — interestingly, neither of us feel that strongly about the film anymore. We chat about the amazing roster of talent, not just in the big roles but also the supporting roles and cameos all through the film, and look at what works and what doesn't. We discuss the problems we have with the film now — notably the subplot with Diane's dad and his troubles with the IRS — and try to analyze what it is about them that's not working. And we talk about how the film uses Seattle, the city in which it was filmed, in comparison with other films, notably "Sleepless in Seattle." It's a film we found ourselves remembering more fondly for what it once meant to us rather than what it does for us today, but we have a great time talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 31 Oct 2013 08:00:00 -0700 The Next Reel The Next Reel 3899 In 1989, Cameron Crowe made his directorial debut with what many consider to be one of his best films, "Say Anything..." It wasn't one of the top films at the box office that year, but it certainly found its audience since then and is still hailed by many to be one of the great romantic films out there. Join us — Pete Wright and Andy Nelson — as we talk about Crowe's first film. We discuss our memories of the film when it first came out and compare it with our feelings about it today — interestingly, neither of us feel that strongly about the film anymore. We chat about the amazing roster of talent, not just in the big roles but also the supporting roles and cameos all through the film, and look at what works and what doesn't. We discuss the problems we have with the film now — notably the subplot with Diane's dad and his troubles with the IRS — and try to analyze what it is about them that's not working. And we talk about how the film uses Seattle, the city in which it was filmed, in comparison with other films, notably "Sleepless in Seattle." It's a film we found ourselves remembering more fondly for what it once meant to us rather than what it does for us today, but we have a great time talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) In 1989, Cameron Crowe made his directorial debut with what many consider to be one of his best films, "Say Anything..." It wasn't one of the top films at the box office that year, but it certainly found its audience since then and is still hailed by many cameroncrowe, ioneskye, johncusack No Andy Nelson Pete Wright Sleepless in Seattle • The Next Reel 3 3 16 16 Sleepless in Seattle • The Next Reel full 3e6756bd-a837-4ca0-bacc-c8a1f58ffa76 https://share.transistor.fm/s/4dc9a356 While romantic comedies may be dead in our current day and age, they were alive and well 20 years ago when Norah Ephron’s “Sleepless in Seattle” came out. And what sort of hurdle did they put between the couple to keep them apart until the end of the film? Why, they had them on opposite sides of the country and never actually had them meet until the very end of the film! It’s genius! Join us — Pete Wright and Andy Nelson — as we talk about this fantastic 1993 film, the latest in our romantic comedy series. We discuss the brilliant cast — Tom Hanks, Meg Ryan, Ross Malinger, Bill Pullman, Victor Garber, Rita Wilson, and more — and what they all bring to the film. We chat about the great script and how strong it is, still holding up unbelievably well today, and how it changes the landscape of romantic comedies. We talk about the music and how prevalent it is, why it works so well, and why the original composer, John Barry, left. And we discuss the nature of rom-coms today, ruminating on whether this script would’ve been able to get the greenlight in modern Hollywood. We love this film and have a wonderful time chatting about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


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]]> While romantic comedies may be dead in our current day and age, they were alive and well 20 years ago when Norah Ephron’s “Sleepless in Seattle” came out. And what sort of hurdle did they put between the couple to keep them apart until the end of the film? Why, they had them on opposite sides of the country and never actually had them meet until the very end of the film! It’s genius! Join us — Pete Wright and Andy Nelson — as we talk about this fantastic 1993 film, the latest in our romantic comedy series. We discuss the brilliant cast — Tom Hanks, Meg Ryan, Ross Malinger, Bill Pullman, Victor Garber, Rita Wilson, and more — and what they all bring to the film. We chat about the great script and how strong it is, still holding up unbelievably well today, and how it changes the landscape of romantic comedies. We talk about the music and how prevalent it is, why it works so well, and why the original composer, John Barry, left. And we discuss the nature of rom-coms today, ruminating on whether this script would’ve been able to get the greenlight in modern Hollywood. We love this film and have a wonderful time chatting about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

And for anyone interested in our fine bouquet of show hosts:


Support The Next Reel Family of Film Shows:

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]]> Thu, 24 Oct 2013 08:00:00 -0700 The Next Reel The Next Reel 4172 While romantic comedies may be dead in our current day and age, they were alive and well 20 years ago when Norah Ephron’s “Sleepless in Seattle” came out. And what sort of hurdle did they put between the couple to keep them apart until the end of the film? Why, they had them on opposite sides of the country and never actually had them meet until the very end of the film! It’s genius! Join us — Pete Wright and Andy Nelson — as we talk about this fantastic 1993 film, the latest in our romantic comedy series. We discuss the brilliant cast — Tom Hanks, Meg Ryan, Ross Malinger, Bill Pullman, Victor Garber, Rita Wilson, and more — and what they all bring to the film. We chat about the great script and how strong it is, still holding up unbelievably well today, and how it changes the landscape of romantic comedies. We talk about the music and how prevalent it is, why it works so well, and why the original composer, John Barry, left. And we discuss the nature of rom-coms today, ruminating on whether this script would’ve been able to get the greenlight in modern Hollywood. We love this film and have a wonderful time chatting about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) While romantic comedies may be dead in our current day and age, they were alive and well 20 years ago when Norah Ephron’s “Sleepless in Seattle” came out. And what sort of hurdle did they put between the couple to keep them apart until the end of the film moviereview, movies, filmcommentary, filmreview, tomhanks, megryan No Andy Nelson Pete Wright Nick & Norah's Infinite Playlist • The Next Reel 3 3 15 15 Nick & Norah's Infinite Playlist • The Next Reel full e491a3d0-6f7a-44a0-8538-f75c6167a8eb https://share.transistor.fm/s/dd6af333 Peter Sollett was an indie film director that got his 'big' Hollywood break with 2008's Nick & Norah's Infinite Playlist, a simple, honest sweet film that did well enough at the box office for him to get to continue his career as a director. This sweet film is the next in our fun-filled Horror-spectacular month of Romantic Comedy that we're right in the middle of. It's actually quite a fun series. Join us — Pete Wright and Andy Nelson — as we talk about this cute indie RomCom, possibly the first in our discussion that truly fits the genre. We talk about the cast, particularly Michael Cera and Kat Dennings, and how the two of them really embody these two characters of Nick and Norah so perfectly and why we like them in the roles — as well as problems we may have with them. We discuss the origins of the original novel and how the gum wasn't really in the novel but became such a prevalent story device in the film. We chat about the music and how music really plays an integral part of RomComs (or at least the ones we're talking about on the show). And we talk about the simplicity of the story, what works about it, and what doesn't work about it — namely why we didn't seem to connect to it as much this go-around and where this film likely will fall in our collective memories in 50 years. It's a very sweet, simple film that we both like, albeit less than we used to, and we have a great time talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Peter Sollett was an indie film director that got his 'big' Hollywood break with 2008's Nick & Norah's Infinite Playlist, a simple, honest sweet film that did well enough at the box office for him to get to continue his career as a director. This sweet film is the next in our fun-filled Horror-spectacular month of Romantic Comedy that we're right in the middle of. It's actually quite a fun series. Join us — Pete Wright and Andy Nelson — as we talk about this cute indie RomCom, possibly the first in our discussion that truly fits the genre. We talk about the cast, particularly Michael Cera and Kat Dennings, and how the two of them really embody these two characters of Nick and Norah so perfectly and why we like them in the roles — as well as problems we may have with them. We discuss the origins of the original novel and how the gum wasn't really in the novel but became such a prevalent story device in the film. We chat about the music and how music really plays an integral part of RomComs (or at least the ones we're talking about on the show). And we talk about the simplicity of the story, what works about it, and what doesn't work about it — namely why we didn't seem to connect to it as much this go-around and where this film likely will fall in our collective memories in 50 years. It's a very sweet, simple film that we both like, albeit less than we used to, and we have a great time talking about. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 17 Oct 2013 08:00:00 -0700 The Next Reel The Next Reel 3934 Peter Sollett was an indie film director that got his 'big' Hollywood break with 2008's Nick & Norah's Infinite Playlist, a simple, honest sweet film that did well enough at the box office for him to get to continue his career as a director. This sweet film is the next in our fun-filled Horror-spectacular month of Romantic Comedy that we're right in the middle of. It's actually quite a fun series. Join us — Pete Wright and Andy Nelson — as we talk about this cute indie RomCom, possibly the first in our discussion that truly fits the genre. We talk about the cast, particularly Michael Cera and Kat Dennings, and how the two of them really embody these two characters of Nick and Norah so perfectly and why we like them in the roles — as well as problems we may have with them. We discuss the origins of the original novel and how the gum wasn't really in the novel but became such a prevalent story device in the film. We chat about the music and how music really plays an integral part of RomComs (or at least the ones we're talking about on the show). And we talk about the simplicity of the story, what works about it, and what doesn't work about it — namely why we didn't seem to connect to it as much this go-around and where this film likely will fall in our collective memories in 50 years. It's a very sweet, simple film that we both like, albeit less than we used to, and we have a great time talking about. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) Peter Sollett was an indie film director that got his 'big' Hollywood break with 2008's Nick & Norah's Infinite Playlist, a simple, honest sweet film that did well enough at the box office for him to get to continue his career as a director. This swee katdennings, moviereview, michaelcera, movies, filmcommentary, filmreview No Andy Nelson Pete Wright About a Boy • The Next Reel 3 3 14 14 About a Boy • The Next Reel full 5f8a0e61-708d-46bd-b761-ee0ef2038858 https://share.transistor.fm/s/c7a1493a We continue our Romantic Comedy series with a film that really puts that genre to the test — 2002's About a Boy, directed by Chris and Paul Weitz. Is it a RomCom? Is it a comedy drama? Or a RomComDram? It's hard to say, but it is a great film that is full of honesty, heart, and human connection. Join us — Pete Wright and Andy Nelson — as we talk about this great film. We discuss Hugh Grant and Nicholas Hoult as the two leads (who both also co-narrate the film), what they bring to the film, and why they both make everything in the film feel so believable. We talk about the amazing Toni Collette who grounds the film with an amazing character turn that creates a great counterpoint to the growing friendship between Grant's and Hoult's characters. We discuss the Weitz brothers and the interesting paths their directing has taken them. We chat about the cinematography, costume designs, and production design and what they do for the world of this film. And we discuss the great ear worms in this movie. It's a great film, whatever it's genre, and we love talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> We continue our Romantic Comedy series with a film that really puts that genre to the test — 2002's About a Boy, directed by Chris and Paul Weitz. Is it a RomCom? Is it a comedy drama? Or a RomComDram? It's hard to say, but it is a great film that is full of honesty, heart, and human connection. Join us — Pete Wright and Andy Nelson — as we talk about this great film. We discuss Hugh Grant and Nicholas Hoult as the two leads (who both also co-narrate the film), what they bring to the film, and why they both make everything in the film feel so believable. We talk about the amazing Toni Collette who grounds the film with an amazing character turn that creates a great counterpoint to the growing friendship between Grant's and Hoult's characters. We discuss the Weitz brothers and the interesting paths their directing has taken them. We chat about the cinematography, costume designs, and production design and what they do for the world of this film. And we discuss the great ear worms in this movie. It's a great film, whatever it's genre, and we love talking about it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 10 Oct 2013 08:00:00 -0700 The Next Reel The Next Reel 4844 We continue our Romantic Comedy series with a film that really puts that genre to the test — 2002's About a Boy, directed by Chris and Paul Weitz. Is it a RomCom? Is it a comedy drama? Or a RomComDram? It's hard to say, but it is a great film that is full of honesty, heart, and human connection. Join us — Pete Wright and Andy Nelson — as we talk about this great film. We discuss Hugh Grant and Nicholas Hoult as the two leads (who both also co-narrate the film), what they bring to the film, and why they both make everything in the film feel so believable. We talk about the amazing Toni Collette who grounds the film with an amazing character turn that creates a great counterpoint to the growing friendship between Grant's and Hoult's characters. We discuss the Weitz brothers and the interesting paths their directing has taken them. We chat about the cinematography, costume designs, and production design and what they do for the world of this film. And we discuss the great ear worms in this movie. It's a great film, whatever it's genre, and we love talking about it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) We continue our Romantic Comedy series with a film that really puts that genre to the test — 2002's About a Boy, directed by Chris and Paul Weitz. Is it a RomCom? Is it a comedy drama? Or a RomComDram? It's hard to say, but it is a great film that is full hughgrant, moviereview, film, movies, filmcommentary, nicholashoult, filmreview No Andy Nelson Pete Wright (500) Days of Summer • The Next Reel 3 3 13 13 (500) Days of Summer • The Next Reel full 05c675d2-259d-40c6-9a75-f396551e8b39 https://share.transistor.fm/s/0d527db1 It's October, which must mean it's time for another month of horror, right? Wrong! This month, we're turning the tables on all the Freddies and Jasons and Michaels and will be spending the month talking about romantic comedies! Our first stop? Marc Webb's feature film debut, 2009's "(500) Days of Summer." Join us — Pete Wright and Andy Nelson — as we discuss one of our favorite romantic comedies out there. We talk about what a romantic comedy is and what makes this film fit it, as well as what's different about it. We discuss the nature of love and memory, how this film honestly captures emotions around relationships, and how those emotions tie into love and memory. We look at the touching and truthful performances by Joseph Gordon-Levitt and Zooey Deschanel and what they bring to the table, along with things that may not work as well. And we talk about the cinematography, the production design, the costume design, and the music and how key they all are to making this film stand out as a rom-com masterpiece. It really is a wonderful film and we're happy to be starting our rom-com month with it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> It's October, which must mean it's time for another month of horror, right? Wrong! This month, we're turning the tables on all the Freddies and Jasons and Michaels and will be spending the month talking about romantic comedies! Our first stop? Marc Webb's feature film debut, 2009's "(500) Days of Summer." Join us — Pete Wright and Andy Nelson — as we discuss one of our favorite romantic comedies out there. We talk about what a romantic comedy is and what makes this film fit it, as well as what's different about it. We discuss the nature of love and memory, how this film honestly captures emotions around relationships, and how those emotions tie into love and memory. We look at the touching and truthful performances by Joseph Gordon-Levitt and Zooey Deschanel and what they bring to the table, along with things that may not work as well. And we talk about the cinematography, the production design, the costume design, and the music and how key they all are to making this film stand out as a rom-com masterpiece. It really is a wonderful film and we're happy to be starting our rom-com month with it. Tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 03 Oct 2013 08:00:00 -0700 The Next Reel The Next Reel 4418 It's October, which must mean it's time for another month of horror, right? Wrong! This month, we're turning the tables on all the Freddies and Jasons and Michaels and will be spending the month talking about romantic comedies! Our first stop? Marc Webb's feature film debut, 2009's "(500) Days of Summer." Join us — Pete Wright and Andy Nelson — as we discuss one of our favorite romantic comedies out there. We talk about what a romantic comedy is and what makes this film fit it, as well as what's different about it. We discuss the nature of love and memory, how this film honestly captures emotions around relationships, and how those emotions tie into love and memory. We look at the touching and truthful performances by Joseph Gordon-Levitt and Zooey Deschanel and what they bring to the table, along with things that may not work as well. And we talk about the cinematography, the production design, the costume design, and the music and how key they all are to making this film stand out as a rom-com masterpiece. It really is a wonderful film and we're happy to be starting our rom-com month with it. Tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) It's October, which must mean it's time for another month of horror, right? Wrong! This month, we're turning the tables on all the Freddies and Jasons and Michaels and will be spending the month talking about romantic comedies! Our first stop? Marc Webb's moviereview, josephgordonlevitt, film, movies, filmcommentary, filmreview, zooeydeschanel No Andy Nelson Pete Wright The Blob • The Next Reel 3 3 12 12 The Blob • The Next Reel full 2246697d-e2a1-48d4-a793-0f434d8dfaa6 https://share.transistor.fm/s/8040da85 It was the genius mind of producer Jack Harris who saw potential in combining two popular 50s genres — the horror sci-fi films and the teen delinquency films — when he got Irvin Yeaworth to direct 1958s "The Blob." There were plenty of low budget midnight movies being churned out then, but somehow this one ended up hitting the winning streak by getting picked up by Paramount and distributed across the country, making a name for its star, Steve McQueen, in the process. Join us — Pete Wright and Andy Nelson — as we talk about this 50s sci-fi/horror/teen drive-in classic this week. We talk about the nature of looking at films like this and how they work — or don't work — through modern eyes. We chat about how McQueen broke onto the scene with this film and ended up having a love/hate relationship with it the rest of his life. We discuss the nature of the teen films coming out in the 50s and how this film tapped into that zeitgeist. And we chat about the production and success of this film, coming from filmmakers just trying to make a movie. It's not one of our favorites but we still have a great time talking about it. Check it out!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> It was the genius mind of producer Jack Harris who saw potential in combining two popular 50s genres — the horror sci-fi films and the teen delinquency films — when he got Irvin Yeaworth to direct 1958s "The Blob." There were plenty of low budget midnight movies being churned out then, but somehow this one ended up hitting the winning streak by getting picked up by Paramount and distributed across the country, making a name for its star, Steve McQueen, in the process. Join us — Pete Wright and Andy Nelson — as we talk about this 50s sci-fi/horror/teen drive-in classic this week. We talk about the nature of looking at films like this and how they work — or don't work — through modern eyes. We chat about how McQueen broke onto the scene with this film and ended up having a love/hate relationship with it the rest of his life. We discuss the nature of the teen films coming out in the 50s and how this film tapped into that zeitgeist. And we chat about the production and success of this film, coming from filmmakers just trying to make a movie. It's not one of our favorites but we still have a great time talking about it. Check it out!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 26 Sep 2013 08:00:00 -0700 The Next Reel The Next Reel 4307 It was the genius mind of producer Jack Harris who saw potential in combining two popular 50s genres — the horror sci-fi films and the teen delinquency films — when he got Irvin Yeaworth to direct 1958s "The Blob." There were plenty of low budget midnight movies being churned out then, but somehow this one ended up hitting the winning streak by getting picked up by Paramount and distributed across the country, making a name for its star, Steve McQueen, in the process. Join us — Pete Wright and Andy Nelson — as we talk about this 50s sci-fi/horror/teen drive-in classic this week. We talk about the nature of looking at films like this and how they work — or don't work — through modern eyes. We chat about how McQueen broke onto the scene with this film and ended up having a love/hate relationship with it the rest of his life. We discuss the nature of the teen films coming out in the 50s and how this film tapped into that zeitgeist. And we chat about the production and success of this film, coming from filmmakers just trying to make a movie. It's not one of our favorites but we still have a great time talking about it. Check it out! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) It was the genius mind of producer Jack Harris who saw potential in combining two popular 50s genres — the horror sci-fi films and the teen delinquency films — when he got Irvin Yeaworth to direct 1958s "The Blob." There were plenty of low budget midnight irvinyeaworth, moviereview, stevemcqueen, movies, filmcommentary, filmreview No Andy Nelson Pete Wright The World's End • The Next Reel 3 3 11 11 The World's End • The Next Reel full b3b6a239-5a88-4ecc-a2b8-a2a18328e87e https://share.transistor.fm/s/8524959c Hellllllloooooooooo! Welcome to episode #100 of The Next Reel, everybody! And what a better way to celebrate than to finish the Three Flavours Cornetto Trilogy series that we started in March 2012 with our episode on Edgar Wright's latest film, "The World's End." Another genre film filled with poignant character moments, riotous moments of comedy, fantastic writing from beginning to end, and solid and assured direction, Wright finishes off this pseudo trilogy (that he started with "Shaun of the Dead" and "Hot Fuzz") with a film that actually does help tie all three films together thematically while still remaining its own complete film. Join us — Pete Wright and Andy Nelson — as we delve into the frothy tale of five guys revisiting (or to some extent reliving) their past as they try to finish a 12-pub crawl they never completed before only to have it rudely interrupted by alien invaders. We talk about Edgar Wright, Simon Pegg and Nick Frost and what these gents have brought to the table in each of these 3 films, and why this film is such a treat to see because of the reversal in character types for Pegg and Frost. We discuss the rest of the actors, both familiar from Wright's other work and new to it, and what they bring to the table. We chat about the great stunt choreography and how that pairs with the fantastic cinematography to create some of the most invigorating fight scenes in a while. We go into the themes of the film and how the nature of nostalgia can affect a person negatively and how we, as people, need to keep moving forward. And we quote some of the great lines from the fantastic script by Wright and Pegg. It's a blast of a film, even if the tonal shift and disagreeable protagonist may keep some people from fully falling for it as we both clearly did. We have a great time talking about it (and thoroughly spoiling it) so go watch it and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Hellllllloooooooooo! Welcome to episode #100 of The Next Reel, everybody! And what a better way to celebrate than to finish the Three Flavours Cornetto Trilogy series that we started in March 2012 with our episode on Edgar Wright's latest film, "The World's End." Another genre film filled with poignant character moments, riotous moments of comedy, fantastic writing from beginning to end, and solid and assured direction, Wright finishes off this pseudo trilogy (that he started with "Shaun of the Dead" and "Hot Fuzz") with a film that actually does help tie all three films together thematically while still remaining its own complete film. Join us — Pete Wright and Andy Nelson — as we delve into the frothy tale of five guys revisiting (or to some extent reliving) their past as they try to finish a 12-pub crawl they never completed before only to have it rudely interrupted by alien invaders. We talk about Edgar Wright, Simon Pegg and Nick Frost and what these gents have brought to the table in each of these 3 films, and why this film is such a treat to see because of the reversal in character types for Pegg and Frost. We discuss the rest of the actors, both familiar from Wright's other work and new to it, and what they bring to the table. We chat about the great stunt choreography and how that pairs with the fantastic cinematography to create some of the most invigorating fight scenes in a while. We go into the themes of the film and how the nature of nostalgia can affect a person negatively and how we, as people, need to keep moving forward. And we quote some of the great lines from the fantastic script by Wright and Pegg. It's a blast of a film, even if the tonal shift and disagreeable protagonist may keep some people from fully falling for it as we both clearly did. We have a great time talking about it (and thoroughly spoiling it) so go watch it and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 19 Sep 2013 08:00:00 -0700 The Next Reel The Next Reel 4915 Hellllllloooooooooo! Welcome to episode #100 of The Next Reel, everybody! And what a better way to celebrate than to finish the Three Flavours Cornetto Trilogy series that we started in March 2012 with our episode on Edgar Wright's latest film, "The World's End." Another genre film filled with poignant character moments, riotous moments of comedy, fantastic writing from beginning to end, and solid and assured direction, Wright finishes off this pseudo trilogy (that he started with "Shaun of the Dead" and "Hot Fuzz") with a film that actually does help tie all three films together thematically while still remaining its own complete film. Join us — Pete Wright and Andy Nelson — as we delve into the frothy tale of five guys revisiting (or to some extent reliving) their past as they try to finish a 12-pub crawl they never completed before only to have it rudely interrupted by alien invaders. We talk about Edgar Wright, Simon Pegg and Nick Frost and what these gents have brought to the table in each of these 3 films, and why this film is such a treat to see because of the reversal in character types for Pegg and Frost. We discuss the rest of the actors, both familiar from Wright's other work and new to it, and what they bring to the table. We chat about the great stunt choreography and how that pairs with the fantastic cinematography to create some of the most invigorating fight scenes in a while. We go into the themes of the film and how the nature of nostalgia can affect a person negatively and how we, as people, need to keep moving forward. And we quote some of the great lines from the fantastic script by Wright and Pegg. It's a blast of a film, even if the tonal shift and disagreeable protagonist may keep some people from fully falling for it as we both clearly did. We have a great time talking about it (and thoroughly spoiling it) so go watch it and tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) Hellllllloooooooooo! Welcome to episode #100 of The Next Reel, everybody! And what a better way to celebrate than to finish the Three Flavours Cornetto Trilogy series that we started in March 2012 with our episode on Edgar Wright's latest film, "The World threeflavourscornetto, simonpegg, moviereview, edgarwright, film, movies, filmcommentary No Andy Nelson Pete Wright No Country for Old Men • The Next Reel 3 3 10 10 No Country for Old Men • The Next Reel full 697014af-2784-437b-adc8-6075e9b3e7e6 https://share.transistor.fm/s/3a3016ae At the 2008 Oscars, Joel and Ethan Coen pulled off what only 4 other directors had done before them, walking away that night with 3 wins. The film, of course, is "No Country for Old Men," and they won for Best Adapted Screenplay, Best Directors, and Best Picture. Javier Bardem won Best Supporting Actor for his chilling portrayal of hitman Anton Chigurh, which was well-deserved, and the film was nominated for 4 other Oscars. At the time, it was their highest grossing film, and put right at the top of many critics' best film of the year lists. Join us — Pete Wright and Andy Nelson — as we conclude our Dramas of the Brothers Coen series with a conversation about "No Country for Old Men." We discuss the nature of the landscape in this film, and how it not only fits in the context of this particular story but also how it fits in the look of the Coens' films we've included in this series. We talk about the performances from top to bottom, starting with Tommy Lee Jones, Bardem, Josh Brolin and Kelly Macdonald and going all the way through Stephen Root and Barry Corbin (as well as the amazing faces the Coens consistently cast in small roles), and how they each bring 100% authenticity to this film. We chat about the differences between the book and the film and how the Coens really treated Cormac McCarthy right with this adaptation. And we discuss the trust the storytellers put in the audience by allowing key moments to happen off-screen and by ending the film where they do. It's a master-class in filmmaking from a pair of the most interesting directors working today. Watch the film and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> At the 2008 Oscars, Joel and Ethan Coen pulled off what only 4 other directors had done before them, walking away that night with 3 wins. The film, of course, is "No Country for Old Men," and they won for Best Adapted Screenplay, Best Directors, and Best Picture. Javier Bardem won Best Supporting Actor for his chilling portrayal of hitman Anton Chigurh, which was well-deserved, and the film was nominated for 4 other Oscars. At the time, it was their highest grossing film, and put right at the top of many critics' best film of the year lists. Join us — Pete Wright and Andy Nelson — as we conclude our Dramas of the Brothers Coen series with a conversation about "No Country for Old Men." We discuss the nature of the landscape in this film, and how it not only fits in the context of this particular story but also how it fits in the look of the Coens' films we've included in this series. We talk about the performances from top to bottom, starting with Tommy Lee Jones, Bardem, Josh Brolin and Kelly Macdonald and going all the way through Stephen Root and Barry Corbin (as well as the amazing faces the Coens consistently cast in small roles), and how they each bring 100% authenticity to this film. We chat about the differences between the book and the film and how the Coens really treated Cormac McCarthy right with this adaptation. And we discuss the trust the storytellers put in the audience by allowing key moments to happen off-screen and by ending the film where they do. It's a master-class in filmmaking from a pair of the most interesting directors working today. Watch the film and tune in!

Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!!

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]]> Thu, 12 Sep 2013 08:00:00 -0700 The Next Reel The Next Reel 4953 At the 2008 Oscars, Joel and Ethan Coen pulled off what only 4 other directors had done before them, walking away that night with 3 wins. The film, of course, is "No Country for Old Men," and they won for Best Adapted Screenplay, Best Directors, and Best Picture. Javier Bardem won Best Supporting Actor for his chilling portrayal of hitman Anton Chigurh, which was well-deserved, and the film was nominated for 4 other Oscars. At the time, it was their highest grossing film, and put right at the top of many critics' best film of the year lists. Join us — Pete Wright and Andy Nelson — as we conclude our Dramas of the Brothers Coen series with a conversation about "No Country for Old Men." We discuss the nature of the landscape in this film, and how it not only fits in the context of this particular story but also how it fits in the look of the Coens' films we've included in this series. We talk about the performances from top to bottom, starting with Tommy Lee Jones, Bardem, Josh Brolin and Kelly Macdonald and going all the way through Stephen Root and Barry Corbin (as well as the amazing faces the Coens consistently cast in small roles), and how they each bring 100% authenticity to this film. We chat about the differences between the book and the film and how the Coens really treated Cormac McCarthy right with this adaptation. And we discuss the trust the storytellers put in the audience by allowing key moments to happen off-screen and by ending the film where they do. It's a master-class in filmmaking from a pair of the most interesting directors working today. Watch the film and tune in! * * * Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! - [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2) - [The Next Reel on Facebook](https://www.facebook.com/TheNextReel) - [The Next Reel on Twitter](http://twitter.com/thenextreel) - [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel) - [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/) - [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel) - [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel) And for anyone interested in our fine bouquet of show hosts: - [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm) - [Follow Pete Wright on Twitter](http://twitter.com/petewright) - [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23) - [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1) - [Follow Mike Evans on Twitter](https://twitter.com/ubersky) - [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops) At the 2008 Oscars, Joel and Ethan Coen pulled off what only 4 other directors had done before them, walking away that night with 3 wins. The film, of course, is "No Country for Old Men," and they won for Best Adapted Screenplay, Best Directors, and Best thecoenbrothers, moviereview, film, movies, filmcommentary, filmreview No Andy Nelson Pete Wright Fargo • The Next Reel 3 3 9 9 Fargo • The Next Reel full 89b89da2-8829-492b-b3c8-fc94816768b6 https://share.transistor.fm/s/45207eca Joel and Ethan Coen may have won big at Cannes with "Barton Fink," but it wasn't until 1996's "Fargo" was nominated for 7 Oscars including Best Picture, and won Best Actress (Frances McDormand) and Best Original Screenplay for the Coens that Hollywood really started believing that these guys could deliver the goods. (They did fail miserably in Hollywood with their previous effort, "The Hudsucker Proxy," after all.) Join us — Pete Wright and Andy Nelson — as we continue our Drama by the Brothers Coen series with our discussion on this homespun tale of murder, "Fargo." We talk about the nature of the setting — North Dakota and Minnesota — and what that brings to the film. We chat about the brilliant talent — from William H. Macy to McDormand to Steve Buscemi to Peter Stormare to Harve Presnell — and what each of them brings to the table. We discuss the nature of protagonist vs. antagonist in a film structured like this and what reversals do to the storytelling process. We delve into the beautiful cinematography of Roger Deakins and explore what he was doing with the camera in this film. And we go back and forth on the Mike Yanagita character as far as what it means in the context of this film. We love this film and talk at length about it. Tune in!


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]]> Joel and Ethan Coen may have won big at Cannes with "Barton Fink," but it wasn't until 1996's "Fargo" was nominated for 7 Oscars including Best Picture, and won Best Actress (Frances McDormand) and Best Original Screenplay for the Coens that Hollywood really started believing that these guys could deliver the goods. (They did fail miserably in Hollywood with their previous effort, "The Hudsucker Proxy," after all.) Join us — Pete Wright and Andy Nelson — as we continue our Drama by the Brothers Coen series with our discussion on this homespun tale of murder, "Fargo." We talk about the nature of the setting — North Dakota and Minnesota — and what that brings to the film. We chat about the brilliant talent — from William H. Macy to McDormand to Steve Buscemi to Peter Stormare to Harve Presnell — and what each of them brings to the table. We discuss the nature of protagonist vs. antagonist in a film structured like this and what reversals do to the storytelling process. We delve into the beautiful cinematography of Roger Deakins and explore what he was doing with the camera in this film. And we go back and forth on the Mike Yanagita character as far as what it means in the context of this film. We love this film and talk at length about it. Tune in!


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]]> Thu, 05 Sep 2013 08:00:00 -0700 The Next Reel The Next Reel 5486 Joel and Ethan Coen may have won big at Cannes with "Barton Fink," but it wasn't until 1996's "Fargo" was nominated for 7 Oscars including Best Picture, and won Best Actress (Frances McDormand) and Best Original Screenplay for the Coens that Hollywood really started believing that these guys could deliver the goods. (They did fail miserably in Hollywood with their previous effort, "The Hudsucker Proxy," after all.) Join us — Pete Wright and Andy Nelson — as we continue our Drama by the Brothers Coen series with our discussion on this homespun tale of murder, "Fargo." We talk about the nature of the setting — North Dakota and Minnesota — and what that brings to the film. We chat about the brilliant talent — from William H. Macy to McDormand to Steve Buscemi to Peter Stormare to Harve Presnell — and what each of them brings to the table. We discuss the nature of protagonist vs. antagonist in a film structured like this and what reversals do to the storytelling process. We delve into the beautiful cinematography of Roger Deakins and explore what he was doing with the camera in this film. And we go back and forth on the Mike Yanagita character as far as what it means in the context of this film. We love this film and talk at length about it. Tune in! Joel and Ethan Coen may have won big at Cannes with "Barton Fink," but it wasn't until 1996's "Fargo" was nominated for 7 Oscars including Best Picture, and won Best Actress (Frances McDormand) and Best Original Screenplay for the Coens that Hollywood rea film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Barton Fink • The Next Reel 3 3 8 8 Barton Fink • The Next Reel full 34a84484-b78b-4381-a36f-1bd0f85401da https://share.transistor.fm/s/02b57ce1 "Barton Fink" was the crowning glory of the Cannes Film Festival when it premiered there in May 1991. Critics heaped their praises on it. But it never really connected with the audience and hence was a box office failure. Luckily, Joel and Ethan Coen made a film that is worth rewatching and discussing, even if it's not completely decipherable. Join us — Pete Wright and Andy Nelson — as we continue our Drama of the Brothers Coen series and delve into the murky, oozing depths of "Barton Fink." We talk about the pervasive symbolism throughout the film and ask what it means, if it's too much, if it's too on the nose, or if it's worth it. We chat about the brilliant sound design and beautiful cinematography, and how those elements of the senses play such key roles in this film. We chat about the nature of honesty and ethics and what this film has to say about them. And we discuss the fascinating character portrayals, most notably Barton played by John Turturro and Charlie played by John Goodman. It's not an easy film to understand but it's clear that it's a film made by deliberate filmmakers who know what they're doing. We have a great conversation about this film, and hopefully our conversation is easier to understand than the film itself. Tune in!


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]]> "Barton Fink" was the crowning glory of the Cannes Film Festival when it premiered there in May 1991. Critics heaped their praises on it. But it never really connected with the audience and hence was a box office failure. Luckily, Joel and Ethan Coen made a film that is worth rewatching and discussing, even if it's not completely decipherable. Join us — Pete Wright and Andy Nelson — as we continue our Drama of the Brothers Coen series and delve into the murky, oozing depths of "Barton Fink." We talk about the pervasive symbolism throughout the film and ask what it means, if it's too much, if it's too on the nose, or if it's worth it. We chat about the brilliant sound design and beautiful cinematography, and how those elements of the senses play such key roles in this film. We chat about the nature of honesty and ethics and what this film has to say about them. And we discuss the fascinating character portrayals, most notably Barton played by John Turturro and Charlie played by John Goodman. It's not an easy film to understand but it's clear that it's a film made by deliberate filmmakers who know what they're doing. We have a great conversation about this film, and hopefully our conversation is easier to understand than the film itself. Tune in!


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]]> Thu, 29 Aug 2013 23:24:00 -0700 The Next Reel The Next Reel 4371 "Barton Fink" was the crowning glory of the Cannes Film Festival when it premiered there in May 1991. Critics heaped their praises on it. But it never really connected with the audience and hence was a box office failure. Luckily, Joel and Ethan Coen made a film that is worth rewatching and discussing, even if it's not completely decipherable. Join us — Pete Wright and Andy Nelson — as we continue our Drama of the Brothers Coen series and delve into the murky, oozing depths of "Barton Fink." We talk about the pervasive symbolism throughout the film and ask what it means, if it's too much, if it's too on the nose, or if it's worth it. We chat about the brilliant sound design and beautiful cinematography, and how those elements of the senses play such key roles in this film. We chat about the nature of honesty and ethics and what this film has to say about them. And we discuss the fascinating character portrayals, most notably Barton played by John Turturro and Charlie played by John Goodman. It's not an easy film to understand but it's clear that it's a film made by deliberate filmmakers who know what they're doing. We have a great conversation about this film, and hopefully our conversation is easier to understand than the film itself. Tune in! "Barton Fink" was the crowning glory of the Cannes Film Festival when it premiered there in May 1991. Critics heaped their praises on it. But it never really connected with the audience and hence was a box office failure. Luckily, Joel and Ethan Coen made thecoenbrothers, moviereview, film, movies, filmcommentary No Andy Nelson Pete Wright Miller's Crossing • The Next Reel 3 3 7 7 Miller's Crossing • The Next Reel full 30c47a24-0f66-4ca1-ba14-f6235cb47f02 https://share.transistor.fm/s/7e6e2a4a For their third film, the Coen brothers decided to again make something completely different from what they've done before. With "Miller's Crossing," they made a gangster picture that honors conventions of the genre while also twisting those conventions, just as they did with "Blood Simple." And it worked for some people while not for others (and lead to a big bomb at the box office). Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we continue our Drama by the Brothers Coen series with 1990s "Miller's Crossing." We talk about what we think of the film and why it's largely been a film that's been hard for both of us to get into over the years, yet one in which we finally connected this time — and liked quite a bit. We discuss the amazing performances from top to bottom in this film and what all of the wonderful actors — Gabriel Byrne, Marcia Gay Harden, Albert Finney, Jon Polito, John Turturro, J.E. Freeman, etc. — bring to the table. We chat about the role of the hat worn and lost time and time again by Tommy, Byrne's character, and what we think the Coens are saying with it. And we chat about some of the amazing production crew — Barry Sonnenfeld and Carter Burwell in particular — and why they stand out. (And we completely left out the amazing production designer Dennis Gassner and costume designer Richard Hornung, along with countless others — stellar work, all of you!). It's a tough film to follow but we both really got a lot out of it this time and had a great time talking about it. Check it out and tune in!


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]]> For their third film, the Coen brothers decided to again make something completely different from what they've done before. With "Miller's Crossing," they made a gangster picture that honors conventions of the genre while also twisting those conventions, just as they did with "Blood Simple." And it worked for some people while not for others (and lead to a big bomb at the box office). Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we continue our Drama by the Brothers Coen series with 1990s "Miller's Crossing." We talk about what we think of the film and why it's largely been a film that's been hard for both of us to get into over the years, yet one in which we finally connected this time — and liked quite a bit. We discuss the amazing performances from top to bottom in this film and what all of the wonderful actors — Gabriel Byrne, Marcia Gay Harden, Albert Finney, Jon Polito, John Turturro, J.E. Freeman, etc. — bring to the table. We chat about the role of the hat worn and lost time and time again by Tommy, Byrne's character, and what we think the Coens are saying with it. And we chat about some of the amazing production crew — Barry Sonnenfeld and Carter Burwell in particular — and why they stand out. (And we completely left out the amazing production designer Dennis Gassner and costume designer Richard Hornung, along with countless others — stellar work, all of you!). It's a tough film to follow but we both really got a lot out of it this time and had a great time talking about it. Check it out and tune in!


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]]> Thu, 22 Aug 2013 08:00:00 -0700 The Next Reel The Next Reel 5033 For their third film, the Coen brothers decided to again make something completely different from what they've done before. With "Miller's Crossing," they made a gangster picture that honors conventions of the genre while also twisting those conventions, just as they did with "Blood Simple." And it worked for some people while not for others (and lead to a big bomb at the box office). Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we continue our Drama by the Brothers Coen series with 1990s "Miller's Crossing." We talk about what we think of the film and why it's largely been a film that's been hard for both of us to get into over the years, yet one in which we finally connected this time — and liked quite a bit. We discuss the amazing performances from top to bottom in this film and what all of the wonderful actors — Gabriel Byrne, Marcia Gay Harden, Albert Finney, Jon Polito, John Turturro, J.E. Freeman, etc. — bring to the table. We chat about the role of the hat worn and lost time and time again by Tommy, Byrne's character, and what we think the Coens are saying with it. And we chat about some of the amazing production crew — Barry Sonnenfeld and Carter Burwell in particular — and why they stand out. (And we completely left out the amazing production designer Dennis Gassner and costume designer Richard Hornung, along with countless others — stellar work, all of you!). It's a tough film to follow but we both really got a lot out of it this time and had a great time talking about it. Check it out and tune in! For their third film, the Coen brothers decided to again make something completely different from what they've done before. With "Miller's Crossing," they made a gangster picture that honors conventions of the genre while also twisting those conventions, thecoenbrothers, moviereview, movies, filmcommentary, filmreview No Andy Nelson Pete Wright Blood Simple • The Next Reel 3 3 6 6 Blood Simple • The Next Reel full 5d101f85-b406-44cc-b3b5-eac0c0db1323 https://share.transistor.fm/s/0839fd14 "Blood Simple," released in film festivals in 1984 and theatrically in 1985, found as many detractors as it did fans initially, but no one can argue that it was all that the filmmaking duo of Joel and Ethan Coen needed to break onto the scene as fresh, quirky and sometimes violent voices in the cinema world. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we start our Drama by the Brothers Coen series. We talk about how much we love this neo-noir crime thriller and why, and debate whether it's just a film noir or really a neo-noir (and if that really means anything anyway). We chat about the performances — Dan Hedaya, Frances McDormand, John Getz and the unforgettable M. Emmett Walsh — and why they each stand out for us in different ways (most notably Walsh in his horrible yellow jacket). We discuss how this film introduced the world largely to the cinematographic eye of Barry Sonnenfeld, what it did for the film, what worked, what didn't, and why Sonnenfeld shouldn't have started directing. We chat about the nature of the story — complex and simple all at the same time in a story that honors genre conventions as much as it manipulates and breaks them. And we talk about the Coen brothers in general and why we feel there is such a pervasive split between cinema-goers as to their opinions of the Coens' films. It's a fun, bloody, dark film that just gets better with age. Check it out and listen in!


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]]> "Blood Simple," released in film festivals in 1984 and theatrically in 1985, found as many detractors as it did fans initially, but no one can argue that it was all that the filmmaking duo of Joel and Ethan Coen needed to break onto the scene as fresh, quirky and sometimes violent voices in the cinema world. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we start our Drama by the Brothers Coen series. We talk about how much we love this neo-noir crime thriller and why, and debate whether it's just a film noir or really a neo-noir (and if that really means anything anyway). We chat about the performances — Dan Hedaya, Frances McDormand, John Getz and the unforgettable M. Emmett Walsh — and why they each stand out for us in different ways (most notably Walsh in his horrible yellow jacket). We discuss how this film introduced the world largely to the cinematographic eye of Barry Sonnenfeld, what it did for the film, what worked, what didn't, and why Sonnenfeld shouldn't have started directing. We chat about the nature of the story — complex and simple all at the same time in a story that honors genre conventions as much as it manipulates and breaks them. And we talk about the Coen brothers in general and why we feel there is such a pervasive split between cinema-goers as to their opinions of the Coens' films. It's a fun, bloody, dark film that just gets better with age. Check it out and listen in!


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]]> Thu, 15 Aug 2013 08:00:00 -0700 The Next Reel The Next Reel 4292 "Blood Simple," released in film festivals in 1984 and theatrically in 1985, found as many detractors as it did fans initially, but no one can argue that it was all that the filmmaking duo of Joel and Ethan Coen needed to break onto the scene as fresh, quirky and sometimes violent voices in the cinema world. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we start our Drama by the Brothers Coen series. We talk about how much we love this neo-noir crime thriller and why, and debate whether it's just a film noir or really a neo-noir (and if that really means anything anyway). We chat about the performances — Dan Hedaya, Frances McDormand, John Getz and the unforgettable M. Emmett Walsh — and why they each stand out for us in different ways (most notably Walsh in his horrible yellow jacket). We discuss how this film introduced the world largely to the cinematographic eye of Barry Sonnenfeld, what it did for the film, what worked, what didn't, and why Sonnenfeld shouldn't have started directing. We chat about the nature of the story — complex and simple all at the same time in a story that honors genre conventions as much as it manipulates and breaks them. And we talk about the Coen brothers in general and why we feel there is such a pervasive split between cinema-goers as to their opinions of the Coens' films. It's a fun, bloody, dark film that just gets better with age. Check it out and listen in! "Blood Simple," released in film festivals in 1984 and theatrically in 1985, found as many detractors as it did fans initially, but no one can argue that it was all that the filmmaking duo of Joel and Ethan Coen needed to break onto the scene as fresh, qu thecoenbrothers, moviereview, filmcommentary, filmreview No Andy Nelson Pete Wright It Happened One Night • The Next Reel 3 3 5 5 It Happened One Night • The Next Reel full 1eb03ac3-c8ab-42cb-9b44-d6194d2c390c https://share.transistor.fm/s/381c1aac In 1934, a little film studio released what they thought would be a minor but fun little film called "It Happened One Night." That film went on to earn 5 Oscar nominations — Best Picture, Director, Actor, Actress and Screenplay — and win all 5. It also was an audience favorite and turned that little studio — Columbia Pictures — into one of the major players. Join us — Pete Wright and Andy Nelson — as we talk about Frank Capra's wonderful film "It Happened One Night." We talk about how this film, which is generally considered to be the first screwball comedy, was huge in the careers of its two stars, Clark Gable and Claudette Colbert, even if they didn't think it was a picture worth being in when they were making it. We discuss the supporting players and how Capra often filled his films with great ones — and how some in this film became the basis for various Looney Tune characters. We chat about the great work of Frank Capra but how he really was a director making films for a specific time. And we look at several specific scenes and talk about why they work so well, given the genre, the actors, and the script. It's a wonderful, fun and breezy film. Tune in!


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]]> In 1934, a little film studio released what they thought would be a minor but fun little film called "It Happened One Night." That film went on to earn 5 Oscar nominations — Best Picture, Director, Actor, Actress and Screenplay — and win all 5. It also was an audience favorite and turned that little studio — Columbia Pictures — into one of the major players. Join us — Pete Wright and Andy Nelson — as we talk about Frank Capra's wonderful film "It Happened One Night." We talk about how this film, which is generally considered to be the first screwball comedy, was huge in the careers of its two stars, Clark Gable and Claudette Colbert, even if they didn't think it was a picture worth being in when they were making it. We discuss the supporting players and how Capra often filled his films with great ones — and how some in this film became the basis for various Looney Tune characters. We chat about the great work of Frank Capra but how he really was a director making films for a specific time. And we look at several specific scenes and talk about why they work so well, given the genre, the actors, and the script. It's a wonderful, fun and breezy film. Tune in!


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]]> Thu, 08 Aug 2013 18:35:00 -0700 The Next Reel The Next Reel 4408 In 1934, a little film studio released what they thought would be a minor but fun little film called "It Happened One Night." That film went on to earn 5 Oscar nominations — Best Picture, Director, Actor, Actress and Screenplay — and win all 5. It also was an audience favorite and turned that little studio — Columbia Pictures — into one of the major players. Join us — Pete Wright and Andy Nelson — as we talk about Frank Capra's wonderful film "It Happened One Night." We talk about how this film, which is generally considered to be the first screwball comedy, was huge in the careers of its two stars, Clark Gable and Claudette Colbert, even if they didn't think it was a picture worth being in when they were making it. We discuss the supporting players and how Capra often filled his films with great ones — and how some in this film became the basis for various Looney Tune characters. We chat about the great work of Frank Capra but how he really was a director making films for a specific time. And we look at several specific scenes and talk about why they work so well, given the genre, the actors, and the script. It's a wonderful, fun and breezy film. Tune in! In 1934, a little film studio released what they thought would be a minor but fun little film called "It Happened One Night." That film went on to earn 5 Oscar nominations — Best Picture, Director, Actor, Actress and Screenplay — and win all 5. It also wa claudettecolbert, filmcommentary, filmreview, frankcapra, clarkgable No Andy Nelson Pete Wright The Night of the Hunter • The Next Reel 3 3 4 4 The Night of the Hunter • The Next Reel full 2e814760-4320-45e1-a3ed-77f8c9c592cf https://share.transistor.fm/s/74f68dc2 Charles Laughton is most known for his larger than life performances in films from the 30s through the 60s, but he did have one chance to direct which came in the form of 1955's The Night of the Hunter, a film he also co-wrote with James Agee based on the novel by Davis Grubb. Unfortunately for him, the film was a huge flop. Luckily for us, this quirky anomaly of a film has not only survived but has thrived — it is now critically praised and generally considered to be a classic film. Join us — Pete Wright and Andy Nelson — as we continue our Couples on the Run series with Laughton's The Night of the Hunter. We talk about our impressions of the film, why it works, and what are some of its potential stumbling blocks in connecting with audiences. We chat about the amazing performances, from Billy Chapin and Sally Jane Bruce playing the two kids on the run to Robert Mitchum, Shelley Winters and Lillian Gish, the three adults heading up the film. We discuss the look of the film and how it contributes to the unique vibe Laughton was going for, whether by using silent film techniques or film noir lighting styles. And we talk about the overall tone of the film — from horror to noir to comedy to fairy tale etc. — and how that helps give the film a unique tone not often seen in films. It truly is a wholly unique and special film, and we have a great time talking about it. Tune in!


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]]> Charles Laughton is most known for his larger than life performances in films from the 30s through the 60s, but he did have one chance to direct which came in the form of 1955's The Night of the Hunter, a film he also co-wrote with James Agee based on the novel by Davis Grubb. Unfortunately for him, the film was a huge flop. Luckily for us, this quirky anomaly of a film has not only survived but has thrived — it is now critically praised and generally considered to be a classic film. Join us — Pete Wright and Andy Nelson — as we continue our Couples on the Run series with Laughton's The Night of the Hunter. We talk about our impressions of the film, why it works, and what are some of its potential stumbling blocks in connecting with audiences. We chat about the amazing performances, from Billy Chapin and Sally Jane Bruce playing the two kids on the run to Robert Mitchum, Shelley Winters and Lillian Gish, the three adults heading up the film. We discuss the look of the film and how it contributes to the unique vibe Laughton was going for, whether by using silent film techniques or film noir lighting styles. And we talk about the overall tone of the film — from horror to noir to comedy to fairy tale etc. — and how that helps give the film a unique tone not often seen in films. It truly is a wholly unique and special film, and we have a great time talking about it. Tune in!


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]]> Thu, 01 Aug 2013 00:58:00 -0700 The Next Reel The Next Reel 4544 Charles Laughton is most known for his larger than life performances in films from the 30s through the 60s, but he did have one chance to direct which came in the form of 1955's The Night of the Hunter, a film he also co-wrote with James Agee based on the novel by Davis Grubb. Unfortunately for him, the film was a huge flop. Luckily for us, this quirky anomaly of a film has not only survived but has thrived — it is now critically praised and generally considered to be a classic film. Join us — Pete Wright and Andy Nelson — as we continue our Couples on the Run series with Laughton's The Night of the Hunter. We talk about our impressions of the film, why it works, and what are some of its potential stumbling blocks in connecting with audiences. We chat about the amazing performances, from Billy Chapin and Sally Jane Bruce playing the two kids on the run to Robert Mitchum, Shelley Winters and Lillian Gish, the three adults heading up the film. We discuss the look of the film and how it contributes to the unique vibe Laughton was going for, whether by using silent film techniques or film noir lighting styles. And we talk about the overall tone of the film — from horror to noir to comedy to fairy tale etc. — and how that helps give the film a unique tone not often seen in films. It truly is a wholly unique and special film, and we have a great time talking about it. Tune in! Charles Laughton is most known for his larger than life performances in films from the 30s through the 60s, but he did have one chance to direct which came in the form of 1955's The Night of the Hunter, a film he also co-wrote with James Agee based on the film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Butch Cassidy and the Sundance Kid • The Next Reel 3 3 3 3 Butch Cassidy and the Sundance Kid • The Next Reel full 1511bfcc-ad33-44ff-aef5-f70204a07dca https://share.transistor.fm/s/c9ea6963 William Goldman is often credited as the first screenwriter to sell a spec script, meaning he wrote a script without getting paid for it then sold it once he was done with it. It's common in the novel-writing world, but in the late 60s, it was unheard of in the film business. That script was "The Sundance Kid & Butch Cassidy," which legendary producer Richard D. Zanuck, who was running 20th Century Fox at the time, optioned for twice what they were allowed to, knowing it was going to be big. And he was right. We continue our Couples On the Run series with George Roy Hill's 1969 western, "Butch Cassidy & the Sundance Kid." Join us — Pete Wright and Andy Nelson — as we discuss the place this film has in the western genre and why it remains a classic to this day. We talk about the wonderful performances by Paul Newman and Robert Redford, and how Hill had to fight to get Redford on at the time because he was relatively unknown. We chat about Hill and Conrad Hall, the cinematographer, and what they both brought to the table. And we discuss Burt Bacharach's Oscar-winning turn for his score and song "Raindrops Keep Fallin' On My Head," and how well these anachronistic bits worked for us this go around. It's top-notch filmmaking and we love this movie. Tune in!


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]]> William Goldman is often credited as the first screenwriter to sell a spec script, meaning he wrote a script without getting paid for it then sold it once he was done with it. It's common in the novel-writing world, but in the late 60s, it was unheard of in the film business. That script was "The Sundance Kid & Butch Cassidy," which legendary producer Richard D. Zanuck, who was running 20th Century Fox at the time, optioned for twice what they were allowed to, knowing it was going to be big. And he was right. We continue our Couples On the Run series with George Roy Hill's 1969 western, "Butch Cassidy & the Sundance Kid." Join us — Pete Wright and Andy Nelson — as we discuss the place this film has in the western genre and why it remains a classic to this day. We talk about the wonderful performances by Paul Newman and Robert Redford, and how Hill had to fight to get Redford on at the time because he was relatively unknown. We chat about Hill and Conrad Hall, the cinematographer, and what they both brought to the table. And we discuss Burt Bacharach's Oscar-winning turn for his score and song "Raindrops Keep Fallin' On My Head," and how well these anachronistic bits worked for us this go around. It's top-notch filmmaking and we love this movie. Tune in!


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]]> Thu, 25 Jul 2013 08:00:00 -0700 The Next Reel The Next Reel 4538 William Goldman is often credited as the first screenwriter to sell a spec script, meaning he wrote a script without getting paid for it then sold it once he was done with it. It's common in the novel-writing world, but in the late 60s, it was unheard of in the film business. That script was "The Sundance Kid & Butch Cassidy," which legendary producer Richard D. Zanuck, who was running 20th Century Fox at the time, optioned for twice what they were allowed to, knowing it was going to be big. And he was right. We continue our Couples On the Run series with George Roy Hill's 1969 western, "Butch Cassidy & the Sundance Kid." Join us — Pete Wright and Andy Nelson — as we discuss the place this film has in the western genre and why it remains a classic to this day. We talk about the wonderful performances by Paul Newman and Robert Redford, and how Hill had to fight to get Redford on at the time because he was relatively unknown. We chat about Hill and Conrad Hall, the cinematographer, and what they both brought to the table. And we discuss Burt Bacharach's Oscar-winning turn for his score and song "Raindrops Keep Fallin' On My Head," and how well these anachronistic bits worked for us this go around. It's top-notch filmmaking and we love this movie. Tune in! William Goldman is often credited as the first screenwriter to sell a spec script, meaning he wrote a script without getting paid for it then sold it once he was done with it. It's common in the novel-writing world, but in the late 60s, it was unheard of film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright True Romance • The Next Reel 3 3 2 2 True Romance • The Next Reel full fa475797-c2e4-41c2-893f-70186b2da112 https://share.transistor.fm/s/19102a37 Quentin Tarantino's first script that he wrote turned out to be one he couldn't get made himself. Lucky for us (or unlucky as some Tarantino fans feel), he managed to get "True Romance" into the hands of Tony Scott. Tony gave it a linear structure and a happy ending and, in our estimation, created a magical fairy tale of a film. We're continuing our "Couples on the Run" series and are thrilled with this week's edition of "True Romance" to the list. Join us — Pete Wright and Andy Nelson — as we talk about the origins of the script and its road to becoming the film that it is. We chat about not only the incredible performances throughout the film, but also the amazing, star-studded line-up of actors playing the parts and how much we enjoy them all. We discuss the nature of the violence in the film and how it created quite a stir politically at the time though how, by today's standards, it's not too harsh. And we hit on the crazy Tarantino Universe theory and how this film ties into it. We love this film and have a great time talking about it. Tune in!


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]]> Quentin Tarantino's first script that he wrote turned out to be one he couldn't get made himself. Lucky for us (or unlucky as some Tarantino fans feel), he managed to get "True Romance" into the hands of Tony Scott. Tony gave it a linear structure and a happy ending and, in our estimation, created a magical fairy tale of a film. We're continuing our "Couples on the Run" series and are thrilled with this week's edition of "True Romance" to the list. Join us — Pete Wright and Andy Nelson — as we talk about the origins of the script and its road to becoming the film that it is. We chat about not only the incredible performances throughout the film, but also the amazing, star-studded line-up of actors playing the parts and how much we enjoy them all. We discuss the nature of the violence in the film and how it created quite a stir politically at the time though how, by today's standards, it's not too harsh. And we hit on the crazy Tarantino Universe theory and how this film ties into it. We love this film and have a great time talking about it. Tune in!


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]]> Thu, 18 Jul 2013 08:00:00 -0700 The Next Reel The Next Reel 4624 Quentin Tarantino's first script that he wrote turned out to be one he couldn't get made himself. Lucky for us (or unlucky as some Tarantino fans feel), he managed to get "True Romance" into the hands of Tony Scott. Tony gave it a linear structure and a happy ending and, in our estimation, created a magical fairy tale of a film. We're continuing our "Couples on the Run" series and are thrilled with this week's edition of "True Romance" to the list. Join us — Pete Wright and Andy Nelson — as we talk about the origins of the script and its road to becoming the film that it is. We chat about not only the incredible performances throughout the film, but also the amazing, star-studded line-up of actors playing the parts and how much we enjoy them all. We discuss the nature of the violence in the film and how it created quite a stir politically at the time though how, by today's standards, it's not too harsh. And we hit on the crazy Tarantino Universe theory and how this film ties into it. We love this film and have a great time talking about it. Tune in! Quentin Tarantino's first script that he wrote turned out to be one he couldn't get made himself. Lucky for us (or unlucky as some Tarantino fans feel), he managed to get "True Romance" into the hands of Tony Scott. Tony gave it a linear structure and a h film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Midnight Run • The Next Reel 3 3 1 1 Midnight Run • The Next Reel full 3f5160c3-7cb4-42ba-9ca7-fe54c29c5c94 https://share.transistor.fm/s/6e5251cf Infrequent filmmaker Martin Brest may have directed the box office bombs Gigli and Meet Joe Black, but he also directed the huge critical and commercial successes Beverly Hills Cop and Scent of a Woman. Somewhere in the middle of these films, he made a fantastic action-comedy about a bounty hunter taking a criminal across country to collect his reward. That's right, we're talking about Midnight Run, a part of our Couples on the Run series. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we discuss the actors in this film, particularly Robert De Niro, Charles Grodin, Joe Pantoliano, Yaphet Kotto and Dennis Farina, and how they work for us now 25 years after the film first came out — some better than others. We chat about the nature of the action-comedy film, particularly those from the 80s, and how the comedy has fared as time's worn on. We talk about the great script by George Gallo and how it stands out in its genre because of the honestly written characters that are developed well over the course of the story. And we talk about the crew who worked on it with Brest, notably Danny Elfman turning in one of his early great scores that definitely veers away from the wacky. It's a film that holds up well — mostly — and one we have a great time talking about. Listen in!


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]]> Infrequent filmmaker Martin Brest may have directed the box office bombs Gigli and Meet Joe Black, but he also directed the huge critical and commercial successes Beverly Hills Cop and Scent of a Woman. Somewhere in the middle of these films, he made a fantastic action-comedy about a bounty hunter taking a criminal across country to collect his reward. That's right, we're talking about Midnight Run, a part of our Couples on the Run series. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we discuss the actors in this film, particularly Robert De Niro, Charles Grodin, Joe Pantoliano, Yaphet Kotto and Dennis Farina, and how they work for us now 25 years after the film first came out — some better than others. We chat about the nature of the action-comedy film, particularly those from the 80s, and how the comedy has fared as time's worn on. We talk about the great script by George Gallo and how it stands out in its genre because of the honestly written characters that are developed well over the course of the story. And we talk about the crew who worked on it with Brest, notably Danny Elfman turning in one of his early great scores that definitely veers away from the wacky. It's a film that holds up well — mostly — and one we have a great time talking about. Listen in!


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]]> Thu, 11 Jul 2013 05:00:00 -0700 The Next Reel The Next Reel 3748 Infrequent filmmaker Martin Brest may have directed the box office bombs Gigli and Meet Joe Black, but he also directed the huge critical and commercial successes Beverly Hills Cop and Scent of a Woman. Somewhere in the middle of these films, he made a fantastic action-comedy about a bounty hunter taking a criminal across country to collect his reward. That's right, we're talking about Midnight Run, a part of our Couples on the Run series. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we discuss the actors in this film, particularly Robert De Niro, Charles Grodin, Joe Pantoliano, Yaphet Kotto and Dennis Farina, and how they work for us now 25 years after the film first came out — some better than others. We chat about the nature of the action-comedy film, particularly those from the 80s, and how the comedy has fared as time's worn on. We talk about the great script by George Gallo and how it stands out in its genre because of the honestly written characters that are developed well over the course of the story. And we talk about the crew who worked on it with Brest, notably Danny Elfman turning in one of his early great scores that definitely veers away from the wacky. It's a film that holds up well — mostly — and one we have a great time talking about. Listen in! Infrequent filmmaker Martin Brest may have directed the box office bombs Gigli and Meet Joe Black, but he also directed the huge critical and commercial successes Beverly Hills Cop and Scent of a Woman. Somewhere in the middle of these films, he made a fa film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Killing • The Next Reel 2 2 53 53 The Killing • The Next Reel full 3bc9e133-2680-4882-ba54-e6df22a8bd03 https://share.transistor.fm/s/5fa01287 Stanley Kubrick's 3rd film, "The Killing," was a box office bomb due to a poor release plan from United Artists and virtually no marketing. Luckily, the film was critically praised and has grown in stature since its release in 1956. It's a film noir about a race track heist gone wrong with the fantastic Sterling Hayden leading the charge, and the last film in our Heist series. Join us — Pete Wright and Andy Nelson — as we finish this series with Kubrick's early classic. We talk about the story and how revolutionary it was at the time to tell a story that was told out of chronological sequence. We discuss the actors and the roles they play in this great film, particularly Sterling Hayden, Elisha Cook Jr. and Marie Windsor. We talk about the look of the film yet how Kubrick and his cinematographer, Lucien Ballard, were at odds throughout production. And we chat about why this film was so ahead of its time and why it's largely considered an important classic that's worth discussing. It's a great finish to our current Heist series. Listen in!


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]]> Stanley Kubrick's 3rd film, "The Killing," was a box office bomb due to a poor release plan from United Artists and virtually no marketing. Luckily, the film was critically praised and has grown in stature since its release in 1956. It's a film noir about a race track heist gone wrong with the fantastic Sterling Hayden leading the charge, and the last film in our Heist series. Join us — Pete Wright and Andy Nelson — as we finish this series with Kubrick's early classic. We talk about the story and how revolutionary it was at the time to tell a story that was told out of chronological sequence. We discuss the actors and the roles they play in this great film, particularly Sterling Hayden, Elisha Cook Jr. and Marie Windsor. We talk about the look of the film yet how Kubrick and his cinematographer, Lucien Ballard, were at odds throughout production. And we chat about why this film was so ahead of its time and why it's largely considered an important classic that's worth discussing. It's a great finish to our current Heist series. Listen in!


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]]> Thu, 04 Jul 2013 05:00:00 -0700 The Next Reel The Next Reel 3406 Stanley Kubrick's 3rd film, "The Killing," was a box office bomb due to a poor release plan from United Artists and virtually no marketing. Luckily, the film was critically praised and has grown in stature since its release in 1956. It's a film noir about a race track heist gone wrong with the fantastic Sterling Hayden leading the charge, and the last film in our Heist series. Join us — Pete Wright and Andy Nelson — as we finish this series with Kubrick's early classic. We talk about the story and how revolutionary it was at the time to tell a story that was told out of chronological sequence. We discuss the actors and the roles they play in this great film, particularly Sterling Hayden, Elisha Cook Jr. and Marie Windsor. We talk about the look of the film yet how Kubrick and his cinematographer, Lucien Ballard, were at odds throughout production. And we chat about why this film was so ahead of its time and why it's largely considered an important classic that's worth discussing. It's a great finish to our current Heist series. Listen in! Stanley Kubrick's 3rd film, "The Killing," was a box office bomb due to a poor release plan from United Artists and virtually no marketing. Luckily, the film was critically praised and has grown in stature since its release in 1956. It's a film noir about film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Inside Man • The Next Reel 2 2 52 52 Inside Man • The Next Reel full c945d3a0-e0d7-44b6-bcaf-c7d661ee8b1e https://share.transistor.fm/s/ed5f1755 After director Ron Howard dropped out from "Inside Man" to instead re-team with Russell Crowe on "Cinderella Man," producer Brian Grazer ended up turning to an unlikely director to make this fun heist film — Spike Lee. Give his largest budget and a script that's more of a genre film than anything else Lee's done before, he managed to create a wild heist film with a great twist ending. Join us — Pete Wright and Andy Nelson — as we continue our Heist series this week with Lee's 2006 film "Inside Man." We talk about what works in this film and what doesn't work and how this film fits within Lee's body of work. We chat about the pacing of the film and how some elements that are problems for Andy aren't for Pete, but how Pete's problem areas aren't problems for Andy. We chat about several key members of the crew and what they're bringing to the table. And we chat about the perpetual problem Lee seems to have with female characters in his films. We still enjoy the film even with its issues, and we have a great time talking about it this week. Tune in!


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]]> After director Ron Howard dropped out from "Inside Man" to instead re-team with Russell Crowe on "Cinderella Man," producer Brian Grazer ended up turning to an unlikely director to make this fun heist film — Spike Lee. Give his largest budget and a script that's more of a genre film than anything else Lee's done before, he managed to create a wild heist film with a great twist ending. Join us — Pete Wright and Andy Nelson — as we continue our Heist series this week with Lee's 2006 film "Inside Man." We talk about what works in this film and what doesn't work and how this film fits within Lee's body of work. We chat about the pacing of the film and how some elements that are problems for Andy aren't for Pete, but how Pete's problem areas aren't problems for Andy. We chat about several key members of the crew and what they're bringing to the table. And we chat about the perpetual problem Lee seems to have with female characters in his films. We still enjoy the film even with its issues, and we have a great time talking about it this week. Tune in!


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]]> Thu, 27 Jun 2013 05:00:00 -0700 The Next Reel The Next Reel 4013 After director Ron Howard dropped out from "Inside Man" to instead re-team with Russell Crowe on "Cinderella Man," producer Brian Grazer ended up turning to an unlikely director to make this fun heist film — Spike Lee. Give his largest budget and a script that's more of a genre film than anything else Lee's done before, he managed to create a wild heist film with a great twist ending. Join us — Pete Wright and Andy Nelson — as we continue our Heist series this week with Lee's 2006 film "Inside Man." We talk about what works in this film and what doesn't work and how this film fits within Lee's body of work. We chat about the pacing of the film and how some elements that are problems for Andy aren't for Pete, but how Pete's problem areas aren't problems for Andy. We chat about several key members of the crew and what they're bringing to the table. And we chat about the perpetual problem Lee seems to have with female characters in his films. We still enjoy the film even with its issues, and we have a great time talking about it this week. Tune in! After director Ron Howard dropped out from "Inside Man" to instead re-team with Russell Crowe on "Cinderella Man," producer Brian Grazer ended up turning to an unlikely director to make this fun heist film — Spike Lee. Give his largest budget and a script film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Town • The Next Reel 2 2 51 51 The Town • The Next Reel full 89f199dc-8aad-46a4-ba14-b9b408e4262e https://share.transistor.fm/s/a3c74f9f Ben Affleck made a smart move when he decided to start directing films. He had made some bad career moves as an actor and was fizzling out. With his 2007 directorial debut "Gone Baby Gone," he proved he had chops — and that they weren't in acting. He's a great director. With "The Town," his 2010 heist film, he again shows he knows how to write and direct a great film, and can still act as long as he's in the right material. Join us — Pete Wright and Andy Nelson — as we continue our Heist Series with Affleck's great bank robber film. We talk about the amazing talent all through the film — Affleck, Jeremy Renner, Rebecca Hall, Blake Lively, Jon Hamm, Chris Cooper, Pete Postlethwaite, and more — and how they bring this world of robbers to gritty life. We chat about the changes the film went through from the original theatrical cut to the extended cut to the extended cut with alternate ending and how the alterations affected the story. We chat about the nature of the script, adapted from Chuck Hogan's novel "Prince of Thieves," and why it works so effectively even if it is formulaic. And we run through the wide array of reviews — from hating it to loving it — and deliberate on why we think the opinions vary so much with this film. It's a great and fun entry into our Heist Series and one well worth talking about. Listen in!


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]]> Ben Affleck made a smart move when he decided to start directing films. He had made some bad career moves as an actor and was fizzling out. With his 2007 directorial debut "Gone Baby Gone," he proved he had chops — and that they weren't in acting. He's a great director. With "The Town," his 2010 heist film, he again shows he knows how to write and direct a great film, and can still act as long as he's in the right material. Join us — Pete Wright and Andy Nelson — as we continue our Heist Series with Affleck's great bank robber film. We talk about the amazing talent all through the film — Affleck, Jeremy Renner, Rebecca Hall, Blake Lively, Jon Hamm, Chris Cooper, Pete Postlethwaite, and more — and how they bring this world of robbers to gritty life. We chat about the changes the film went through from the original theatrical cut to the extended cut to the extended cut with alternate ending and how the alterations affected the story. We chat about the nature of the script, adapted from Chuck Hogan's novel "Prince of Thieves," and why it works so effectively even if it is formulaic. And we run through the wide array of reviews — from hating it to loving it — and deliberate on why we think the opinions vary so much with this film. It's a great and fun entry into our Heist Series and one well worth talking about. Listen in!


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]]> Thu, 20 Jun 2013 09:54:00 -0700 The Next Reel The Next Reel 3948 Ben Affleck made a smart move when he decided to start directing films. He had made some bad career moves as an actor and was fizzling out. With his 2007 directorial debut "Gone Baby Gone," he proved he had chops — and that they weren't in acting. He's a great director. With "The Town," his 2010 heist film, he again shows he knows how to write and direct a great film, and can still act as long as he's in the right material. Join us — Pete Wright and Andy Nelson — as we continue our Heist Series with Affleck's great bank robber film. We talk about the amazing talent all through the film — Affleck, Jeremy Renner, Rebecca Hall, Blake Lively, Jon Hamm, Chris Cooper, Pete Postlethwaite, and more — and how they bring this world of robbers to gritty life. We chat about the changes the film went through from the original theatrical cut to the extended cut to the extended cut with alternate ending and how the alterations affected the story. We chat about the nature of the script, adapted from Chuck Hogan's novel "Prince of Thieves," and why it works so effectively even if it is formulaic. And we run through the wide array of reviews — from hating it to loving it — and deliberate on why we think the opinions vary so much with this film. It's a great and fun entry into our Heist Series and one well worth talking about. Listen in! Ben Affleck made a smart move when he decided to start directing films. He had made some bad career moves as an actor and was fizzling out. With his 2007 directorial debut "Gone Baby Gone," he proved he had chops — and that they weren't in acting. He's a film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Bank Job • The Next Reel 2 2 50 50 The Bank Job • The Next Reel full 572cf79c-1243-4d64-8c54-5ae2b38b3035 https://share.transistor.fm/s/7b7a32fd There's something interesting about heist films because, generally, you're rooting for criminals to pull off a heist and criminals usually aren't who you'd expect to be your protagonist. But watching Roger Donaldson's 2008 heist film The Bank Job, based on the real Baker Street Robbery in London 1971, you can't help but root for Terry Leather and his imperfect gang as they not only rob the bank and pull off one of the biggest scores in London's history, but actually get away with it too. Maybe that's because the people after them are all much worse, and maybe that's because you can't help but side with Terry played wonderfully by Jason Statham. Join us — Pete Wright and Andy Nelson — as we start our Heist series with this great movie. We discuss the story and how it fits within the true story — and what truth means in a film based on a true story anyway. We chat about the great cast and the complex script and how it all ties together perfectly. We touch on Donaldson and his career, looking at him as an effective filmmaker. And we discuss the look of the film — the cinematography, the costume design, and the production design — and how it plays an important role in bringing the swinging world of 1971 London to life. It's a fun if raunchy film to start off our series. Tune in!


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]]> There's something interesting about heist films because, generally, you're rooting for criminals to pull off a heist and criminals usually aren't who you'd expect to be your protagonist. But watching Roger Donaldson's 2008 heist film The Bank Job, based on the real Baker Street Robbery in London 1971, you can't help but root for Terry Leather and his imperfect gang as they not only rob the bank and pull off one of the biggest scores in London's history, but actually get away with it too. Maybe that's because the people after them are all much worse, and maybe that's because you can't help but side with Terry played wonderfully by Jason Statham. Join us — Pete Wright and Andy Nelson — as we start our Heist series with this great movie. We discuss the story and how it fits within the true story — and what truth means in a film based on a true story anyway. We chat about the great cast and the complex script and how it all ties together perfectly. We touch on Donaldson and his career, looking at him as an effective filmmaker. And we discuss the look of the film — the cinematography, the costume design, and the production design — and how it plays an important role in bringing the swinging world of 1971 London to life. It's a fun if raunchy film to start off our series. Tune in!


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]]> Thu, 13 Jun 2013 08:00:00 -0700 The Next Reel The Next Reel 3842 There's something interesting about heist films because, generally, you're rooting for criminals to pull off a heist and criminals usually aren't who you'd expect to be your protagonist. But watching Roger Donaldson's 2008 heist film The Bank Job, based on the real Baker Street Robbery in London 1971, you can't help but root for Terry Leather and his imperfect gang as they not only rob the bank and pull off one of the biggest scores in London's history, but actually get away with it too. Maybe that's because the people after them are all much worse, and maybe that's because you can't help but side with Terry played wonderfully by Jason Statham. Join us — Pete Wright and Andy Nelson — as we start our Heist series with this great movie. We discuss the story and how it fits within the true story — and what truth means in a film based on a true story anyway. We chat about the great cast and the complex script and how it all ties together perfectly. We touch on Donaldson and his career, looking at him as an effective filmmaker. And we discuss the look of the film — the cinematography, the costume design, and the production design — and how it plays an important role in bringing the swinging world of 1971 London to life. It's a fun if raunchy film to start off our series. Tune in! There's something interesting about heist films because, generally, you're rooting for criminals to pull off a heist and criminals usually aren't who you'd expect to be your protagonist. But watching Roger Donaldson's 2008 heist film The Bank Job, based o film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Scoop • The Next Reel 2 2 49 49 Scoop • The Next Reel full e1cdc906-5cb1-4681-ad62-8063d8513bc8 https://share.transistor.fm/s/7f0496be Woody Allen has made some great films and he's made some stinkers, but he is a man who consistently cranks films out year after year. In 2006, his film "Scoop" happened to have a stage magician in it and, because of that, we felt it was important to include in our series about films made about stage magic in 2006. But paired with the other two films in this series — "The Prestige" and "The Illusionist," this film falls flat. But that doesn't mean we don't have a great time talking about it. Join us — Pete Wright and Andy Nelson — as we wrap up our magic series with one of Allen's worst films, "Scoop." We talk about the magic, the murder mystery and the comedy in this film and how none of them particularly stand out. We discuss the actors — Scarlett Johansson, Hugh Jackman, Ian McShane and Woody Allen in particular — and what, if anything, they bring to their roles. And we chat about what works in Allen's films and why this film feels so slight and forgettable. It's not one of our favorites, but we still have a great conversation about it. Tune in!


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]]> Woody Allen has made some great films and he's made some stinkers, but he is a man who consistently cranks films out year after year. In 2006, his film "Scoop" happened to have a stage magician in it and, because of that, we felt it was important to include in our series about films made about stage magic in 2006. But paired with the other two films in this series — "The Prestige" and "The Illusionist," this film falls flat. But that doesn't mean we don't have a great time talking about it. Join us — Pete Wright and Andy Nelson — as we wrap up our magic series with one of Allen's worst films, "Scoop." We talk about the magic, the murder mystery and the comedy in this film and how none of them particularly stand out. We discuss the actors — Scarlett Johansson, Hugh Jackman, Ian McShane and Woody Allen in particular — and what, if anything, they bring to their roles. And we chat about what works in Allen's films and why this film feels so slight and forgettable. It's not one of our favorites, but we still have a great conversation about it. Tune in!


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]]> Thu, 06 Jun 2013 09:59:00 -0700 The Next Reel The Next Reel 3108 Woody Allen has made some great films and he's made some stinkers, but he is a man who consistently cranks films out year after year. In 2006, his film "Scoop" happened to have a stage magician in it and, because of that, we felt it was important to include in our series about films made about stage magic in 2006. But paired with the other two films in this series — "The Prestige" and "The Illusionist," this film falls flat. But that doesn't mean we don't have a great time talking about it. Join us — Pete Wright and Andy Nelson — as we wrap up our magic series with one of Allen's worst films, "Scoop." We talk about the magic, the murder mystery and the comedy in this film and how none of them particularly stand out. We discuss the actors — Scarlett Johansson, Hugh Jackman, Ian McShane and Woody Allen in particular — and what, if anything, they bring to their roles. And we chat about what works in Allen's films and why this film feels so slight and forgettable. It's not one of our favorites, but we still have a great conversation about it. Tune in! Woody Allen has made some great films and he's made some stinkers, but he is a man who consistently cranks films out year after year. In 2006, his film "Scoop" happened to have a stage magician in it and, because of that, we felt it was important to inclu film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Illusionist • The Next Reel 2 2 48 48 The Illusionist • The Next Reel full 93cd5a6d-f99e-4970-89d8-9f0126d66cdd https://share.transistor.fm/s/9e96ca0d 2006 was quite the year for movies about stage magicians, and as our series continues, we've decided to focus solely on the 3 films dealing with prestidigitation that came out that year. Neil Burger's The Illusionist came out a few months before Christopher Nolan's The Prestige, but it dealt with an entirely different story. True, they both take place in the world of magicians, but while Nolan's film dealt with a strong professional rivalry, Burger's dealt with an unrequited love and the fight the two lovers struggle through to be together. Join us — Pete Wright and Andy Nelson — as we talk about The Illusionist and the magical year of 2006. We chat about the performances in the film — Edward Norton, Paul Giamatti, Rufus Sewell, and Jessica Biel primarily — and how they work for us. We chat about the nature of the ending of the film and how the nature of the end works — or doesn't. We discuss the actual magic tricks performed in the film, all based on actual tricks of the period, and how the CG embellishments actually may detract from the power of the story. And we talk about the cinematography and score and the strengths and weaknesses in them. We have a great time revisiting this film. Tune in!


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]]> 2006 was quite the year for movies about stage magicians, and as our series continues, we've decided to focus solely on the 3 films dealing with prestidigitation that came out that year. Neil Burger's The Illusionist came out a few months before Christopher Nolan's The Prestige, but it dealt with an entirely different story. True, they both take place in the world of magicians, but while Nolan's film dealt with a strong professional rivalry, Burger's dealt with an unrequited love and the fight the two lovers struggle through to be together. Join us — Pete Wright and Andy Nelson — as we talk about The Illusionist and the magical year of 2006. We chat about the performances in the film — Edward Norton, Paul Giamatti, Rufus Sewell, and Jessica Biel primarily — and how they work for us. We chat about the nature of the ending of the film and how the nature of the end works — or doesn't. We discuss the actual magic tricks performed in the film, all based on actual tricks of the period, and how the CG embellishments actually may detract from the power of the story. And we talk about the cinematography and score and the strengths and weaknesses in them. We have a great time revisiting this film. Tune in!


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]]> Thu, 30 May 2013 07:06:00 -0700 The Next Reel The Next Reel 3718 2006 was quite the year for movies about stage magicians, and as our series continues, we've decided to focus solely on the 3 films dealing with prestidigitation that came out that year. Neil Burger's The Illusionist came out a few months before Christopher Nolan's The Prestige, but it dealt with an entirely different story. True, they both take place in the world of magicians, but while Nolan's film dealt with a strong professional rivalry, Burger's dealt with an unrequited love and the fight the two lovers struggle through to be together. Join us — Pete Wright and Andy Nelson — as we talk about The Illusionist and the magical year of 2006. We chat about the performances in the film — Edward Norton, Paul Giamatti, Rufus Sewell, and Jessica Biel primarily — and how they work for us. We chat about the nature of the ending of the film and how the nature of the end works — or doesn't. We discuss the actual magic tricks performed in the film, all based on actual tricks of the period, and how the CG embellishments actually may detract from the power of the story. And we talk about the cinematography and score and the strengths and weaknesses in them. We have a great time revisiting this film. Tune in! 2006 was quite the year for movies about stage magicians, and as our series continues, we've decided to focus solely on the 3 films dealing with prestidigitation that came out that year. Neil Burger's The Illusionist came out a few months before Christoph film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Prestige • The Next Reel 2 2 47 47 The Prestige • The Next Reel full 1a18bc9e-7e07-44a7-bf5d-708966d381c3 https://share.transistor.fm/s/e60b991e Right after the amazing success of Batman Begins and right before the brilliance of The Dark Knight, Christopher Nolan switched gears completely and made a fascinating period piece about two rival magicians duking it out to be the best. The Prestige wasn't the most popular film of his but certainly garnered its share of positive acclaim and audience draw. Join us — Pete Wright and Andy Nelson — as we begin the next series on The Next Reel: this time, a series about films that deal with magicians. We start with what we feel is an absolutely amazing film — The Prestige. We talk about the nature of magic tricks as defined within the film — having the pledge, the turn and the prestige — and how the film itself is structured as if it's a magic trick. We discuss the fascinating characters portrayed by Hugh Jackman and Christian Bale and the nature of what their characters need to do in order to become the best. We chat about the nature of a film structured in a nonlinear style like this one is, how that ties into the original source novel by Christopher Priest, the nature of the unreliable narrator, and why it all works so well in a film about magicians. And we contemplate the nature of rivalry and how the film not only emphasizes that aspect of competition in everything done by the two principal characters but also by the real-life scientific duelists Thomas Edison and Nicola Tesla. The Prestige is a fascinating film that is meticulously structured in a deliberate way so as to create its own magic trick and get the audience every time. We find it extremely effective and have a great time watching it as well as talking about it this week. Check it out!


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]]> Right after the amazing success of Batman Begins and right before the brilliance of The Dark Knight, Christopher Nolan switched gears completely and made a fascinating period piece about two rival magicians duking it out to be the best. The Prestige wasn't the most popular film of his but certainly garnered its share of positive acclaim and audience draw. Join us — Pete Wright and Andy Nelson — as we begin the next series on The Next Reel: this time, a series about films that deal with magicians. We start with what we feel is an absolutely amazing film — The Prestige. We talk about the nature of magic tricks as defined within the film — having the pledge, the turn and the prestige — and how the film itself is structured as if it's a magic trick. We discuss the fascinating characters portrayed by Hugh Jackman and Christian Bale and the nature of what their characters need to do in order to become the best. We chat about the nature of a film structured in a nonlinear style like this one is, how that ties into the original source novel by Christopher Priest, the nature of the unreliable narrator, and why it all works so well in a film about magicians. And we contemplate the nature of rivalry and how the film not only emphasizes that aspect of competition in everything done by the two principal characters but also by the real-life scientific duelists Thomas Edison and Nicola Tesla. The Prestige is a fascinating film that is meticulously structured in a deliberate way so as to create its own magic trick and get the audience every time. We find it extremely effective and have a great time watching it as well as talking about it this week. Check it out!


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]]> Thu, 23 May 2013 08:00:00 -0700 The Next Reel The Next Reel 4443 Right after the amazing success of Batman Begins and right before the brilliance of The Dark Knight, Christopher Nolan switched gears completely and made a fascinating period piece about two rival magicians duking it out to be the best. The Prestige wasn't the most popular film of his but certainly garnered its share of positive acclaim and audience draw. Join us — Pete Wright and Andy Nelson — as we begin the next series on The Next Reel: this time, a series about films that deal with magicians. We start with what we feel is an absolutely amazing film — The Prestige. We talk about the nature of magic tricks as defined within the film — having the pledge, the turn and the prestige — and how the film itself is structured as if it's a magic trick. We discuss the fascinating characters portrayed by Hugh Jackman and Christian Bale and the nature of what their characters need to do in order to become the best. We chat about the nature of a film structured in a nonlinear style like this one is, how that ties into the original source novel by Christopher Priest, the nature of the unreliable narrator, and why it all works so well in a film about magicians. And we contemplate the nature of rivalry and how the film not only emphasizes that aspect of competition in everything done by the two principal characters but also by the real-life scientific duelists Thomas Edison and Nicola Tesla. The Prestige is a fascinating film that is meticulously structured in a deliberate way so as to create its own magic trick and get the audience every time. We find it extremely effective and have a great time watching it as well as talking about it this week. Check it out! Right after the amazing success of Batman Begins and right before the brilliance of The Dark Knight, Christopher Nolan switched gears completely and made a fascinating period piece about two rival magicians duking it out to be the best. The Prestige wasn' film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Marty • The Next Reel 2 2 46 46 Marty • The Next Reel full 7bbfaa57-ae94-4dac-bded-c192ab4594cd https://share.transistor.fm/s/300f4bf2 After writing his teleplay for "Marty," it wasn't long before Hollywood asked Paddy Chayefsky to adapt his script for a feature film. And it's a good thing he did too — he won his first Oscar for his screenplay. Join us — Pete Wright and Andy Nelson — as we finish our Paddy Chayefsky series with Delbert Mann's 1955 film "Marty." We talk about our feelings for the film and how, while the story of a man with image issues who finally finds love is touching, it still feels very slight. We discuss the actor who plays Marty — the wonderful Ernest "the beef" Borgnine — how he's made his mark indelibly in our heads, and whether this role felt like the right one for him or not. We chat about the other actors nominated for supporting roles — Betsy Blair and Joe Mantell — and how their roles fit within the context of this story about Marty (and whether they deserved Oscar nominations for their performances). And we discuss Chayefsky's interesting writing, not just here but in all 3 films, and look at what themes he's repeating and why. It's a good film that won Best Picture in 1955 and, while perhaps not as relevant today, is still an interesting film to catch up with. We have a great time talking about it, so tune in!


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]]> After writing his teleplay for "Marty," it wasn't long before Hollywood asked Paddy Chayefsky to adapt his script for a feature film. And it's a good thing he did too — he won his first Oscar for his screenplay. Join us — Pete Wright and Andy Nelson — as we finish our Paddy Chayefsky series with Delbert Mann's 1955 film "Marty." We talk about our feelings for the film and how, while the story of a man with image issues who finally finds love is touching, it still feels very slight. We discuss the actor who plays Marty — the wonderful Ernest "the beef" Borgnine — how he's made his mark indelibly in our heads, and whether this role felt like the right one for him or not. We chat about the other actors nominated for supporting roles — Betsy Blair and Joe Mantell — and how their roles fit within the context of this story about Marty (and whether they deserved Oscar nominations for their performances). And we discuss Chayefsky's interesting writing, not just here but in all 3 films, and look at what themes he's repeating and why. It's a good film that won Best Picture in 1955 and, while perhaps not as relevant today, is still an interesting film to catch up with. We have a great time talking about it, so tune in!


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]]> Thu, 16 May 2013 09:27:00 -0700 The Next Reel The Next Reel 3413 After writing his teleplay for "Marty," it wasn't long before Hollywood asked Paddy Chayefsky to adapt his script for a feature film. And it's a good thing he did too — he won his first Oscar for his screenplay. Join us — Pete Wright and Andy Nelson — as we finish our Paddy Chayefsky series with Delbert Mann's 1955 film "Marty." We talk about our feelings for the film and how, while the story of a man with image issues who finally finds love is touching, it still feels very slight. We discuss the actor who plays Marty — the wonderful Ernest "the beef" Borgnine — how he's made his mark indelibly in our heads, and whether this role felt like the right one for him or not. We chat about the other actors nominated for supporting roles — Betsy Blair and Joe Mantell — and how their roles fit within the context of this story about Marty (and whether they deserved Oscar nominations for their performances). And we discuss Chayefsky's interesting writing, not just here but in all 3 films, and look at what themes he's repeating and why. It's a good film that won Best Picture in 1955 and, while perhaps not as relevant today, is still an interesting film to catch up with. We have a great time talking about it, so tune in! After writing his teleplay for "Marty," it wasn't long before Hollywood asked Paddy Chayefsky to adapt his script for a feature film. And it's a good thing he did too — he won his first Oscar for his screenplay. Join us — Pete Wright and Andy Nelson — as film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Hospital • The Next Reel 2 2 45 45 The Hospital • The Next Reel full e3dbde4b-6429-408a-8872-9d22cd3b14bb https://share.transistor.fm/s/07849d0a For his original script "The Hospital," Paddy Chayefsky won his second Oscar and created an enemy for himself — the US's medical institution which he was satirizing. But his script, while genius in many ways, veers off course into several strange directions that take the sting out of the satire. And that's, perhaps, why the film isn't talked about much these days. But it's still worth watching and talking about! Join us — Pete Wright and Andy Nelson — as we happily talk about this wild Chayefsky ride and continue our series on this great American writer. We talk about the brilliance of Chayefsky's satire in the script and how it works so well, and contrast that with several elements that don't seem to fit the film completely and make for a less satisfying experience. We discuss the great performances of George C. Scott, Diana Rigg, Barnard Hughes, Richard Dysart and others, and how those wonderful Chayefsky monologues really give these great actors something to chew on. And we talk about the reason Chayefsky wrote this film and how the reaction to this film may have been a partial cause of his death. It's a fascinating film to watch that has moments of brilliance paired with moments of absurdity, resulting in a film that's great to look back at and study, if not one to watch on a regular basis. We certainly have a great time discussing this film. Tune in!


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]]> For his original script "The Hospital," Paddy Chayefsky won his second Oscar and created an enemy for himself — the US's medical institution which he was satirizing. But his script, while genius in many ways, veers off course into several strange directions that take the sting out of the satire. And that's, perhaps, why the film isn't talked about much these days. But it's still worth watching and talking about! Join us — Pete Wright and Andy Nelson — as we happily talk about this wild Chayefsky ride and continue our series on this great American writer. We talk about the brilliance of Chayefsky's satire in the script and how it works so well, and contrast that with several elements that don't seem to fit the film completely and make for a less satisfying experience. We discuss the great performances of George C. Scott, Diana Rigg, Barnard Hughes, Richard Dysart and others, and how those wonderful Chayefsky monologues really give these great actors something to chew on. And we talk about the reason Chayefsky wrote this film and how the reaction to this film may have been a partial cause of his death. It's a fascinating film to watch that has moments of brilliance paired with moments of absurdity, resulting in a film that's great to look back at and study, if not one to watch on a regular basis. We certainly have a great time discussing this film. Tune in!


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]]> Thu, 09 May 2013 07:49:00 -0700 The Next Reel The Next Reel 3803 For his original script "The Hospital," Paddy Chayefsky won his second Oscar and created an enemy for himself — the US's medical institution which he was satirizing. But his script, while genius in many ways, veers off course into several strange directions that take the sting out of the satire. And that's, perhaps, why the film isn't talked about much these days. But it's still worth watching and talking about! Join us — Pete Wright and Andy Nelson — as we happily talk about this wild Chayefsky ride and continue our series on this great American writer. We talk about the brilliance of Chayefsky's satire in the script and how it works so well, and contrast that with several elements that don't seem to fit the film completely and make for a less satisfying experience. We discuss the great performances of George C. Scott, Diana Rigg, Barnard Hughes, Richard Dysart and others, and how those wonderful Chayefsky monologues really give these great actors something to chew on. And we talk about the reason Chayefsky wrote this film and how the reaction to this film may have been a partial cause of his death. It's a fascinating film to watch that has moments of brilliance paired with moments of absurdity, resulting in a film that's great to look back at and study, if not one to watch on a regular basis. We certainly have a great time discussing this film. Tune in! For his original script "The Hospital," Paddy Chayefsky won his second Oscar and created an enemy for himself — the US's medical institution which he was satirizing. But his script, while genius in many ways, veers off course into several strange directio film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Network • The Next Reel 2 2 44 44 Network • The Next Reel full 9342ca42-1a18-4736-86fb-3c42b68f3bdf https://share.transistor.fm/s/315c7caf It's easy for us on this show to talk at great length about Sidney Lumet's 1976 film "Network" as it's one of our all-time favorites. Both a scathing indictment of the TV industry and a reality check for people's feelings about the times in which they were living, this film made an indelible mark on the world of film and created one of the most iconic movie lines ever. Join us — Pete Wright and Andy Nelson — as we not only finish our series of films from 1976 but also begin a short but deliciously sweet series of films written by the amazing Paddy Chayefsky. We talk about the prescience with which Chayefsky seemed to have about the modern state of television and our media-infused culture when he wrote this film in the mid-70s, and what he's really saying with the film. We discuss the brilliant directing by Lumet and how he and his director of photography, Owen Roizman, chose to corrupt the look of the film as it progresses, taking us from a relatively normal world to one that is much more menacing. We go through the amazing cast — Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Ned Beatty, Beatrice Straight, and more — and talk about how pretty much every one of them is given their time to shine in this amazing script. And we look back on 1976's Oscars and pick our own winners if we were the only two people voting. We have a great time talking about this amazing film. If you haven't seen it, go watch it IMMEDIATELY, then come back and tune in!


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]]> It's easy for us on this show to talk at great length about Sidney Lumet's 1976 film "Network" as it's one of our all-time favorites. Both a scathing indictment of the TV industry and a reality check for people's feelings about the times in which they were living, this film made an indelible mark on the world of film and created one of the most iconic movie lines ever. Join us — Pete Wright and Andy Nelson — as we not only finish our series of films from 1976 but also begin a short but deliciously sweet series of films written by the amazing Paddy Chayefsky. We talk about the prescience with which Chayefsky seemed to have about the modern state of television and our media-infused culture when he wrote this film in the mid-70s, and what he's really saying with the film. We discuss the brilliant directing by Lumet and how he and his director of photography, Owen Roizman, chose to corrupt the look of the film as it progresses, taking us from a relatively normal world to one that is much more menacing. We go through the amazing cast — Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Ned Beatty, Beatrice Straight, and more — and talk about how pretty much every one of them is given their time to shine in this amazing script. And we look back on 1976's Oscars and pick our own winners if we were the only two people voting. We have a great time talking about this amazing film. If you haven't seen it, go watch it IMMEDIATELY, then come back and tune in!


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]]> Thu, 02 May 2013 11:27:00 -0700 The Next Reel The Next Reel 5085 It's easy for us on this show to talk at great length about Sidney Lumet's 1976 film "Network" as it's one of our all-time favorites. Both a scathing indictment of the TV industry and a reality check for people's feelings about the times in which they were living, this film made an indelible mark on the world of film and created one of the most iconic movie lines ever. Join us — Pete Wright and Andy Nelson — as we not only finish our series of films from 1976 but also begin a short but deliciously sweet series of films written by the amazing Paddy Chayefsky. We talk about the prescience with which Chayefsky seemed to have about the modern state of television and our media-infused culture when he wrote this film in the mid-70s, and what he's really saying with the film. We discuss the brilliant directing by Lumet and how he and his director of photography, Owen Roizman, chose to corrupt the look of the film as it progresses, taking us from a relatively normal world to one that is much more menacing. We go through the amazing cast — Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Ned Beatty, Beatrice Straight, and more — and talk about how pretty much every one of them is given their time to shine in this amazing script. And we look back on 1976's Oscars and pick our own winners if we were the only two people voting. We have a great time talking about this amazing film. If you haven't seen it, go watch it IMMEDIATELY, then come back and tune in! It's easy for us on this show to talk at great length about Sidney Lumet's 1976 film "Network" as it's one of our all-time favorites. Both a scathing indictment of the TV industry and a reality check for people's feelings about the times in which they wer film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Outlaw Josey Wales • The Next Reel 2 2 43 43 The Outlaw Josey Wales • The Next Reel full 70d93682-13d2-4ef7-b36c-ce041cb764b0 https://share.transistor.fm/s/27bb274b For Clint Eastwood's fifth directorial effort, he returned to one of the genres he's most well-known for — the western — and created an absolute classic, The Outlaw Josey Wales. A western affected both by the revisionist movement within the genre that had been growing for nearly a decade as well as by the overall darker, more realistic tones exhibited in 70s cinema, this film took a lot of old elements from classic westerns and turned them on their heads: the Union soldiers are the bad guys, the outlaw is the hero, the Native Americans are not just real characters but actually integral to the story, and the final shootout takes an unexpected — and ultimately very gratifying — turn. Join us — Pete Wright and Andy Nelson — as we talk about one of our favorite westerns and continue our series of films from 1976. We discuss classic western elements and look at how they shift within this sub-genre, the revisionist western, as well as discuss what this sub-genre is really all about. We talk about the wonderful collection of actors, both leads as well as unforgettable supporting roles filled by amazing character actors, and how they all lend a sense of reality to the film (even if their scruffiness can make them hard to distinguish from one another). We chat about the troubles with the making of this film and why Philip Kaufman was fired as director after a week of production. And we discuss Forrest Carter, the author of the original novel "Gone to Texas" on which the film was based, his history as a KKK leader and segregationist supporter, and how that affects our views on the film. It's a glorious western that is an interesting precursor to Eastwood's 1992 masterpiece Unforgiven, and we have a great time discussing it. Listen in!


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]]> For Clint Eastwood's fifth directorial effort, he returned to one of the genres he's most well-known for — the western — and created an absolute classic, The Outlaw Josey Wales. A western affected both by the revisionist movement within the genre that had been growing for nearly a decade as well as by the overall darker, more realistic tones exhibited in 70s cinema, this film took a lot of old elements from classic westerns and turned them on their heads: the Union soldiers are the bad guys, the outlaw is the hero, the Native Americans are not just real characters but actually integral to the story, and the final shootout takes an unexpected — and ultimately very gratifying — turn. Join us — Pete Wright and Andy Nelson — as we talk about one of our favorite westerns and continue our series of films from 1976. We discuss classic western elements and look at how they shift within this sub-genre, the revisionist western, as well as discuss what this sub-genre is really all about. We talk about the wonderful collection of actors, both leads as well as unforgettable supporting roles filled by amazing character actors, and how they all lend a sense of reality to the film (even if their scruffiness can make them hard to distinguish from one another). We chat about the troubles with the making of this film and why Philip Kaufman was fired as director after a week of production. And we discuss Forrest Carter, the author of the original novel "Gone to Texas" on which the film was based, his history as a KKK leader and segregationist supporter, and how that affects our views on the film. It's a glorious western that is an interesting precursor to Eastwood's 1992 masterpiece Unforgiven, and we have a great time discussing it. Listen in!


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]]> Thu, 25 Apr 2013 08:00:00 -0700 The Next Reel The Next Reel 4426 For Clint Eastwood's fifth directorial effort, he returned to one of the genres he's most well-known for — the western — and created an absolute classic, The Outlaw Josey Wales. A western affected both by the revisionist movement within the genre that had been growing for nearly a decade as well as by the overall darker, more realistic tones exhibited in 70s cinema, this film took a lot of old elements from classic westerns and turned them on their heads: the Union soldiers are the bad guys, the outlaw is the hero, the Native Americans are not just real characters but actually integral to the story, and the final shootout takes an unexpected — and ultimately very gratifying — turn. Join us — Pete Wright and Andy Nelson — as we talk about one of our favorite westerns and continue our series of films from 1976. We discuss classic western elements and look at how they shift within this sub-genre, the revisionist western, as well as discuss what this sub-genre is really all about. We talk about the wonderful collection of actors, both leads as well as unforgettable supporting roles filled by amazing character actors, and how they all lend a sense of reality to the film (even if their scruffiness can make them hard to distinguish from one another). We chat about the troubles with the making of this film and why Philip Kaufman was fired as director after a week of production. And we discuss Forrest Carter, the author of the original novel "Gone to Texas" on which the film was based, his history as a KKK leader and segregationist supporter, and how that affects our views on the film. It's a glorious western that is an interesting precursor to Eastwood's 1992 masterpiece Unforgiven, and we have a great time discussing it. Listen in! For Clint Eastwood's fifth directorial effort, he returned to one of the genres he's most well-known for — the western — and created an absolute classic, The Outlaw Josey Wales. A western affected both by the revisionist movement within the genre that had film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Carrie • The Next Reel 2 2 42 42 Carrie • The Next Reel full 1618674a-7ee5-44b3-9f09-769c9035816a https://share.transistor.fm/s/c05d5c64 Brian De Palma had been making feature films for almost a decade before he made Carrie in 1976, but it was this film that became his first blockbuster and really pushed him to the next level. By making an adaptation of the first book by an up-and-coming writer at the time, Stephen King, and turning it into a very effective and frightening psychological horror film, De Palma created a classic that is nearly as effective (if a bit dated) as it was when first released. Join us -- Pete Wright and Andy Nelson — as we continue our 1976 series with Carrie. We talk about De Palma and his filmmaking style, particularly how he uses the film tools at his disposal to enhance the genre in which he's working as well as to explore the boundaries of what he can with the medium. We chat about the wonderful actors, from Sissy Spacek and Piper Laurie all the way to down to Edie McClurg, and how wonderful they all are, if not quite frightening in how they represent roles in our collective bad high school memories. We discuss the nature of the filmmaking style, balancing the worlds of innocence with that of horror — good versus evil. And we talk about some of De Palma's regular collaborators and what they bring to the table, from composer Pino Donaggio to art director Jack Fisk. It's a great horror film that has stood the test of time and we have a great time chatting about it. Tune in!


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]]> Brian De Palma had been making feature films for almost a decade before he made Carrie in 1976, but it was this film that became his first blockbuster and really pushed him to the next level. By making an adaptation of the first book by an up-and-coming writer at the time, Stephen King, and turning it into a very effective and frightening psychological horror film, De Palma created a classic that is nearly as effective (if a bit dated) as it was when first released. Join us -- Pete Wright and Andy Nelson — as we continue our 1976 series with Carrie. We talk about De Palma and his filmmaking style, particularly how he uses the film tools at his disposal to enhance the genre in which he's working as well as to explore the boundaries of what he can with the medium. We chat about the wonderful actors, from Sissy Spacek and Piper Laurie all the way to down to Edie McClurg, and how wonderful they all are, if not quite frightening in how they represent roles in our collective bad high school memories. We discuss the nature of the filmmaking style, balancing the worlds of innocence with that of horror — good versus evil. And we talk about some of De Palma's regular collaborators and what they bring to the table, from composer Pino Donaggio to art director Jack Fisk. It's a great horror film that has stood the test of time and we have a great time chatting about it. Tune in!


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]]> Thu, 18 Apr 2013 08:00:00 -0700 The Next Reel The Next Reel 4190 Brian De Palma had been making feature films for almost a decade before he made Carrie in 1976, but it was this film that became his first blockbuster and really pushed him to the next level. By making an adaptation of the first book by an up-and-coming writer at the time, Stephen King, and turning it into a very effective and frightening psychological horror film, De Palma created a classic that is nearly as effective (if a bit dated) as it was when first released. Join us -- Pete Wright and Andy Nelson — as we continue our 1976 series with Carrie. We talk about De Palma and his filmmaking style, particularly how he uses the film tools at his disposal to enhance the genre in which he's working as well as to explore the boundaries of what he can with the medium. We chat about the wonderful actors, from Sissy Spacek and Piper Laurie all the way to down to Edie McClurg, and how wonderful they all are, if not quite frightening in how they represent roles in our collective bad high school memories. We discuss the nature of the filmmaking style, balancing the worlds of innocence with that of horror — good versus evil. And we talk about some of De Palma's regular collaborators and what they bring to the table, from composer Pino Donaggio to art director Jack Fisk. It's a great horror film that has stood the test of time and we have a great time chatting about it. Tune in! Brian De Palma had been making feature films for almost a decade before he made Carrie in 1976, but it was this film that became his first blockbuster and really pushed him to the next level. By making an adaptation of the first book by an up-and-coming w film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Taxi Driver • The Next Reel 2 2 41 41 Taxi Driver • The Next Reel full e57c0e51-3669-4478-a0c3-6a9761424a99 https://share.transistor.fm/s/ee52fa79 We're continuing our 1976 series with Martin Scorsese's gritty film Taxi Driver, one of his greatest and arguably most talked about films. Based on a screenplay by Paul Schrader, who set out to write about loneliness, Scorsese's film burst onto the scene with Travis Bickle as the antihero in a gritty, grimy New York full of sex and violence, very much establishing Scorsese as a filmmaking force to be reckoned with. Join us — Pete Wright and Andy Nelson — as we discuss the fascinating filmmaking techniques Scorsese employs in making this film, taking elements of experimental filmmaking and mixing it with a vibrant and alive camera to create an amazingly visual film. We talk about the performances — Robert De Niro, Jodie Foster, Albert Brooks, Cybill Shepard, Harvey Keitel — and what the actors bring to the table. We chat about the nature of a film essentially about a psychopath and how that affects its audience, and in particular Pete who now hates himself for not liking the movie (despite still appreciating it). And we expound on the majestic score by Bernard Herrmann — his last — and what it brings to the film, even if Andy can't remember his name. We have a great conversation about the film with just the right amount of disagreements thrown in for your listening pleasure. Tune in!


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]]> We're continuing our 1976 series with Martin Scorsese's gritty film Taxi Driver, one of his greatest and arguably most talked about films. Based on a screenplay by Paul Schrader, who set out to write about loneliness, Scorsese's film burst onto the scene with Travis Bickle as the antihero in a gritty, grimy New York full of sex and violence, very much establishing Scorsese as a filmmaking force to be reckoned with. Join us — Pete Wright and Andy Nelson — as we discuss the fascinating filmmaking techniques Scorsese employs in making this film, taking elements of experimental filmmaking and mixing it with a vibrant and alive camera to create an amazingly visual film. We talk about the performances — Robert De Niro, Jodie Foster, Albert Brooks, Cybill Shepard, Harvey Keitel — and what the actors bring to the table. We chat about the nature of a film essentially about a psychopath and how that affects its audience, and in particular Pete who now hates himself for not liking the movie (despite still appreciating it). And we expound on the majestic score by Bernard Herrmann — his last — and what it brings to the film, even if Andy can't remember his name. We have a great conversation about the film with just the right amount of disagreements thrown in for your listening pleasure. Tune in!


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]]> Thu, 11 Apr 2013 08:00:00 -0700 The Next Reel The Next Reel 4752 We're continuing our 1976 series with Martin Scorsese's gritty film Taxi Driver, one of his greatest and arguably most talked about films. Based on a screenplay by Paul Schrader, who set out to write about loneliness, Scorsese's film burst onto the scene with Travis Bickle as the antihero in a gritty, grimy New York full of sex and violence, very much establishing Scorsese as a filmmaking force to be reckoned with. Join us — Pete Wright and Andy Nelson — as we discuss the fascinating filmmaking techniques Scorsese employs in making this film, taking elements of experimental filmmaking and mixing it with a vibrant and alive camera to create an amazingly visual film. We talk about the performances — Robert De Niro, Jodie Foster, Albert Brooks, Cybill Shepard, Harvey Keitel — and what the actors bring to the table. We chat about the nature of a film essentially about a psychopath and how that affects its audience, and in particular Pete who now hates himself for not liking the movie (despite still appreciating it). And we expound on the majestic score by Bernard Herrmann — his last — and what it brings to the film, even if Andy can't remember his name. We have a great conversation about the film with just the right amount of disagreements thrown in for your listening pleasure. Tune in! We're continuing our 1976 series with Martin Scorsese's gritty film Taxi Driver, one of his greatest and arguably most talked about films. Based on a screenplay by Paul Schrader, who set out to write about loneliness, Scorsese's film burst onto the scene film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Marathon Man • The Next Reel 2 2 40 40 Marathon Man • The Next Reel full 25caac74-37a5-4347-b26a-195ab75eb7cd https://share.transistor.fm/s/38f6f1ea In 1976, John Schlesinger made a film adaptation of William Goldman's novel Marathon Man, and in the process, made everyone afraid to go back to their dentist. There are few things more horrifying than watching Laurence Olivier's Nazi dentist drill into Dustin Hoffman's teeth (the healthy ones because it'll hurt more, naturally). Join us — Pete Wright and Andy Nelson — as we start a new series digging into great films from 1976, a great year for cinema, and we start it off with Marathon Man. We chat about the tonal shift in films in the 70s (and mention the great documentary about 70s films, A Decade Under the Influence), and how that change affects this thriller. We discuss the nature of a world in crisis, where this film's world is after WWII, the psychology of people as passive witnesses, and the nature of paranoia itself and how all of these themes play important parts in the film. We chat about Hoffman, Roy Scheider (our favorite 70s actor), Olivier, Bill Devane, and Marthe Keller in the film, and examine what they bring to their performances, particularly in this grittier period of filmmaking. And we talk about the famous torture scene and how it holds up by today's standards. We're thrilled to be talking about 1976 and have a great conversation about this film. Check it out and tune in!


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]]> In 1976, John Schlesinger made a film adaptation of William Goldman's novel Marathon Man, and in the process, made everyone afraid to go back to their dentist. There are few things more horrifying than watching Laurence Olivier's Nazi dentist drill into Dustin Hoffman's teeth (the healthy ones because it'll hurt more, naturally). Join us — Pete Wright and Andy Nelson — as we start a new series digging into great films from 1976, a great year for cinema, and we start it off with Marathon Man. We chat about the tonal shift in films in the 70s (and mention the great documentary about 70s films, A Decade Under the Influence), and how that change affects this thriller. We discuss the nature of a world in crisis, where this film's world is after WWII, the psychology of people as passive witnesses, and the nature of paranoia itself and how all of these themes play important parts in the film. We chat about Hoffman, Roy Scheider (our favorite 70s actor), Olivier, Bill Devane, and Marthe Keller in the film, and examine what they bring to their performances, particularly in this grittier period of filmmaking. And we talk about the famous torture scene and how it holds up by today's standards. We're thrilled to be talking about 1976 and have a great conversation about this film. Check it out and tune in!


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]]> Thu, 04 Apr 2013 08:00:00 -0700 The Next Reel The Next Reel 4709 In 1976, John Schlesinger made a film adaptation of William Goldman's novel Marathon Man, and in the process, made everyone afraid to go back to their dentist. There are few things more horrifying than watching Laurence Olivier's Nazi dentist drill into Dustin Hoffman's teeth (the healthy ones because it'll hurt more, naturally). Join us — Pete Wright and Andy Nelson — as we start a new series digging into great films from 1976, a great year for cinema, and we start it off with Marathon Man. We chat about the tonal shift in films in the 70s (and mention the great documentary about 70s films, A Decade Under the Influence), and how that change affects this thriller. We discuss the nature of a world in crisis, where this film's world is after WWII, the psychology of people as passive witnesses, and the nature of paranoia itself and how all of these themes play important parts in the film. We chat about Hoffman, Roy Scheider (our favorite 70s actor), Olivier, Bill Devane, and Marthe Keller in the film, and examine what they bring to their performances, particularly in this grittier period of filmmaking. And we talk about the famous torture scene and how it holds up by today's standards. We're thrilled to be talking about 1976 and have a great conversation about this film. Check it out and tune in! In 1976, John Schlesinger made a film adaptation of William Goldman's novel Marathon Man, and in the process, made everyone afraid to go back to their dentist. There are few things more horrifying than watching Laurence Olivier's Nazi dentist drill into D film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Gattaca • The Next Reel 2 2 39 39 Gattaca • The Next Reel full 67e3b630-e8a8-42ad-b555-8efdce945055 https://share.transistor.fm/s/08b39820 We end our Original Science Fiction series with Andrew Niccol's visionary 1997 film set not too far in the future, Gattaca. Join us — Pete Wright and Andy Nelson — as we delve into not just what makes this film great and unique, but also what ties the four films from this series — Dark City, Sunshine, Moon, and Gattaca — together. We chat about the nature of science fiction films set close to where we are now and how those stories use the tools of science fiction to explore the dangers of where we could end up. We discuss the concepts of genetic manipulation as it is in the world of the film, what actual geneticists think of it, and what the filmmakers are trying to say. We talk about the great performances in the film, from Uma Thurman and Ethan Hawke to Alan Arkin to Xander Berkeley, and how they're all bringing great stuff to the table. We get into the look of the film, from the stunning production design and costume design to the marvelous cinematography, and how all of these elements came together to create an original future that certainly feels believable. And we look at the nature of being an original science fiction film and what that actually means — not just how it fits within the genre, but how those films tend to fare at the box office. It's a great film that poses interesting questions and certainly is worth watching and discussing. Tune in!


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]]> We end our Original Science Fiction series with Andrew Niccol's visionary 1997 film set not too far in the future, Gattaca. Join us — Pete Wright and Andy Nelson — as we delve into not just what makes this film great and unique, but also what ties the four films from this series — Dark City, Sunshine, Moon, and Gattaca — together. We chat about the nature of science fiction films set close to where we are now and how those stories use the tools of science fiction to explore the dangers of where we could end up. We discuss the concepts of genetic manipulation as it is in the world of the film, what actual geneticists think of it, and what the filmmakers are trying to say. We talk about the great performances in the film, from Uma Thurman and Ethan Hawke to Alan Arkin to Xander Berkeley, and how they're all bringing great stuff to the table. We get into the look of the film, from the stunning production design and costume design to the marvelous cinematography, and how all of these elements came together to create an original future that certainly feels believable. And we look at the nature of being an original science fiction film and what that actually means — not just how it fits within the genre, but how those films tend to fare at the box office. It's a great film that poses interesting questions and certainly is worth watching and discussing. Tune in!


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]]> Thu, 28 Mar 2013 08:00:00 -0700 The Next Reel The Next Reel 4655 We end our Original Science Fiction series with Andrew Niccol's visionary 1997 film set not too far in the future, Gattaca. Join us — Pete Wright and Andy Nelson — as we delve into not just what makes this film great and unique, but also what ties the four films from this series — Dark City, Sunshine, Moon, and Gattaca — together. We chat about the nature of science fiction films set close to where we are now and how those stories use the tools of science fiction to explore the dangers of where we could end up. We discuss the concepts of genetic manipulation as it is in the world of the film, what actual geneticists think of it, and what the filmmakers are trying to say. We talk about the great performances in the film, from Uma Thurman and Ethan Hawke to Alan Arkin to Xander Berkeley, and how they're all bringing great stuff to the table. We get into the look of the film, from the stunning production design and costume design to the marvelous cinematography, and how all of these elements came together to create an original future that certainly feels believable. And we look at the nature of being an original science fiction film and what that actually means — not just how it fits within the genre, but how those films tend to fare at the box office. It's a great film that poses interesting questions and certainly is worth watching and discussing. Tune in! We end our Original Science Fiction series with Andrew Niccol's visionary 1997 film set not too far in the future, Gattaca. Join us — Pete Wright and Andy Nelson — as we delve into not just what makes this film great and unique, but also what ties the fou film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Moon • The Next Reel 2 2 38 38 Moon • The Next Reel full 6475d990-c530-4aca-90bb-1bab4e1bda44 https://share.transistor.fm/s/13228173 Our original science fiction series continues with Duncan Jones' fascinating film debut from 2009, Moon. Made for a low budget, this entry into the science fiction genre showed that you didn't need a $100 million budget to tell a science fiction story that makes you think while also being a great story. Sure, it has its problems, but it's easy to forgive when it's as fascinating to watch as Moon is. Join us — Pete Wright and Andy Nelson — as we talk about it on this week's episode of The Next Reel. We talk about the low budget production of this film and what they were able to pull off to create a compelling piece of sci-fi. We chat about Sam Rockwell playing opposite Sam Rockwell, how well it works technologically-wise, how well he performs it, and what it means to the story. We delve into what the filmmakers are saying with this film and how well the message is pulled off. And we chat about the effects, both digital and physical, and how well they're blended. It's a great film, even with the issues that come up in Act 3, and one well worth talking about. Check it out!


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]]> Our original science fiction series continues with Duncan Jones' fascinating film debut from 2009, Moon. Made for a low budget, this entry into the science fiction genre showed that you didn't need a $100 million budget to tell a science fiction story that makes you think while also being a great story. Sure, it has its problems, but it's easy to forgive when it's as fascinating to watch as Moon is. Join us — Pete Wright and Andy Nelson — as we talk about it on this week's episode of The Next Reel. We talk about the low budget production of this film and what they were able to pull off to create a compelling piece of sci-fi. We chat about Sam Rockwell playing opposite Sam Rockwell, how well it works technologically-wise, how well he performs it, and what it means to the story. We delve into what the filmmakers are saying with this film and how well the message is pulled off. And we chat about the effects, both digital and physical, and how well they're blended. It's a great film, even with the issues that come up in Act 3, and one well worth talking about. Check it out!


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]]> Thu, 21 Mar 2013 07:01:00 -0700 The Next Reel The Next Reel 4171 Our original science fiction series continues with Duncan Jones' fascinating film debut from 2009, Moon. Made for a low budget, this entry into the science fiction genre showed that you didn't need a $100 million budget to tell a science fiction story that makes you think while also being a great story. Sure, it has its problems, but it's easy to forgive when it's as fascinating to watch as Moon is. Join us — Pete Wright and Andy Nelson — as we talk about it on this week's episode of The Next Reel. We talk about the low budget production of this film and what they were able to pull off to create a compelling piece of sci-fi. We chat about Sam Rockwell playing opposite Sam Rockwell, how well it works technologically-wise, how well he performs it, and what it means to the story. We delve into what the filmmakers are saying with this film and how well the message is pulled off. And we chat about the effects, both digital and physical, and how well they're blended. It's a great film, even with the issues that come up in Act 3, and one well worth talking about. Check it out! Our original science fiction series continues with Duncan Jones' fascinating film debut from 2009, Moon. Made for a low budget, this entry into the science fiction genre showed that you didn't need a $100 million budget to tell a science fiction story tha film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Sunshine • The Next Reel 2 2 37 37 Sunshine • The Next Reel full 351f0f75-609a-4e3a-9cc9-619d21bbaea1 https://share.transistor.fm/s/7e333e9f We continue our Original Science Fiction series with Danny Boyle's 2007 film, Sunshine. It's a film that stands out as a highlight in sci-fi films for its magnificent vision depicting mankind needing to travel to the sun to reignite it, but one that most people seemed to never hear about or avoid as it was a big box office disappointment. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we continue our series with this film. We talk about the fascinating discussions and explorations that arise out of this film regarding the nature of man vs. God as well as science vs. nature. We hash on the end of the film and why Andy has a problem with Danny Boyle's directing choices. We discuss the brilliant special effects and how they help the film ground us in the reality of this world and journey. And we throw in some scientific facts about the sun for good measure. It's an episode full of information, debate and fun. We have a great time talking about Sunshine. Watch the film and join us!


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]]> We continue our Original Science Fiction series with Danny Boyle's 2007 film, Sunshine. It's a film that stands out as a highlight in sci-fi films for its magnificent vision depicting mankind needing to travel to the sun to reignite it, but one that most people seemed to never hear about or avoid as it was a big box office disappointment. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we continue our series with this film. We talk about the fascinating discussions and explorations that arise out of this film regarding the nature of man vs. God as well as science vs. nature. We hash on the end of the film and why Andy has a problem with Danny Boyle's directing choices. We discuss the brilliant special effects and how they help the film ground us in the reality of this world and journey. And we throw in some scientific facts about the sun for good measure. It's an episode full of information, debate and fun. We have a great time talking about Sunshine. Watch the film and join us!


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]]> Thu, 14 Mar 2013 12:41:00 -0700 The Next Reel The Next Reel 4497 We continue our Original Science Fiction series with Danny Boyle's 2007 film, Sunshine. It's a film that stands out as a highlight in sci-fi films for its magnificent vision depicting mankind needing to travel to the sun to reignite it, but one that most people seemed to never hear about or avoid as it was a big box office disappointment. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we continue our series with this film. We talk about the fascinating discussions and explorations that arise out of this film regarding the nature of man vs. God as well as science vs. nature. We hash on the end of the film and why Andy has a problem with Danny Boyle's directing choices. We discuss the brilliant special effects and how they help the film ground us in the reality of this world and journey. And we throw in some scientific facts about the sun for good measure. It's an episode full of information, debate and fun. We have a great time talking about Sunshine. Watch the film and join us! We continue our Original Science Fiction series with Danny Boyle's 2007 film, Sunshine. It's a film that stands out as a highlight in sci-fi films for its magnificent vision depicting mankind needing to travel to the sun to reignite it, but one that most film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Dark City • The Next Reel 2 2 36 36 Dark City • The Next Reel full f02c0f11-95ce-4ab7-9b1c-25c63d295de7 https://share.transistor.fm/s/969bb79b With all the franchises, spin-offs and films based on other mediums these days, it seems rare to find original sci-fi films. That inspired us to do a series of original sci-fi films, and we're starting with one of our favorites. In 1998, Alex Proyas created a fantastic and wholly unique science fiction film, Dark City, that unfortunately bombed at the box office but has since proven to be a cult hit in the after markets. This film, a neo-noir sci-fi with a very mysterious twist, follows a man with amnesia as he tries to uncover who he is, why nothing seems to make sense, and why he woke up at the scene of a murder. Join us — Pete Wright and Andy Nelson — this week on The Next Reel as we begin our Original Sci-Fi series with Proyas' Dark City. We talk about the nature of the world, a place of puppets and puppetmasters, and what happens when a puppet realizes the world it's in. We discuss the great cast — Rufus Sewell, Jennifer Connelly, William Hurt, and Keifer Sutherland in particular — and what they bring to the table. We chat about the stunning production design and effects, as well as the shadowy noir cinematography style. And we cover the script and how it seemed to come out at a time when many stories with this similar theme were being released, like The Matrix and The Thirteenth Floor. It's a great sci-fi and we have a great time talking about it. Tune in!


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]]> With all the franchises, spin-offs and films based on other mediums these days, it seems rare to find original sci-fi films. That inspired us to do a series of original sci-fi films, and we're starting with one of our favorites. In 1998, Alex Proyas created a fantastic and wholly unique science fiction film, Dark City, that unfortunately bombed at the box office but has since proven to be a cult hit in the after markets. This film, a neo-noir sci-fi with a very mysterious twist, follows a man with amnesia as he tries to uncover who he is, why nothing seems to make sense, and why he woke up at the scene of a murder. Join us — Pete Wright and Andy Nelson — this week on The Next Reel as we begin our Original Sci-Fi series with Proyas' Dark City. We talk about the nature of the world, a place of puppets and puppetmasters, and what happens when a puppet realizes the world it's in. We discuss the great cast — Rufus Sewell, Jennifer Connelly, William Hurt, and Keifer Sutherland in particular — and what they bring to the table. We chat about the stunning production design and effects, as well as the shadowy noir cinematography style. And we cover the script and how it seemed to come out at a time when many stories with this similar theme were being released, like The Matrix and The Thirteenth Floor. It's a great sci-fi and we have a great time talking about it. Tune in!


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]]> Thu, 07 Mar 2013 13:18:00 -0800 The Next Reel The Next Reel 4433 With all the franchises, spin-offs and films based on other mediums these days, it seems rare to find original sci-fi films. That inspired us to do a series of original sci-fi films, and we're starting with one of our favorites. In 1998, Alex Proyas created a fantastic and wholly unique science fiction film, Dark City, that unfortunately bombed at the box office but has since proven to be a cult hit in the after markets. This film, a neo-noir sci-fi with a very mysterious twist, follows a man with amnesia as he tries to uncover who he is, why nothing seems to make sense, and why he woke up at the scene of a murder. Join us — Pete Wright and Andy Nelson — this week on The Next Reel as we begin our Original Sci-Fi series with Proyas' Dark City. We talk about the nature of the world, a place of puppets and puppetmasters, and what happens when a puppet realizes the world it's in. We discuss the great cast — Rufus Sewell, Jennifer Connelly, William Hurt, and Keifer Sutherland in particular — and what they bring to the table. We chat about the stunning production design and effects, as well as the shadowy noir cinematography style. And we cover the script and how it seemed to come out at a time when many stories with this similar theme were being released, like The Matrix and The Thirteenth Floor. It's a great sci-fi and we have a great time talking about it. Tune in! With all the franchises, spin-offs and films based on other mediums these days, it seems rare to find original sci-fi films. That inspired us to do a series of original sci-fi films, and we're starting with one of our favorites. In 1998, Alex Proyas creat film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Sandlot • The Next Reel 2 2 35 35 The Sandlot • The Next Reel full b053e2c1-3bfe-42f9-8503-73acfb8c1659 https://share.transistor.fm/s/a45f1232 There's something about memories of childhood and baseball that seem to go hand in hand. Perhaps it's the tradition of baseball — it feels as tied into good ol' Americana as much as fireworks on the Fourth of July or hot apple pie, things that can certainly define childhood memories. Perhaps it's just that it was one of those things you did as a kid that helped shape who you would become. Regardless, David Mickey Evans tapped into this connection for 1993's The Sandlot, his directorial debut, and ended up creating a cult favorite that will stand the test of time because of it. This week, join us — Pete Wright and Andy Nelson — as we wrap up our current baseball series with this fantastic movie that tells a simple childhood baseball story yet seduces the audience into reconnecting with their own childhood. We talk about the nature of this story and how its episodic coming-of-age nature connects it to other great films like A Christmas Story and Stand By Me. We chat about the great cast and how these Sandlot kids really work well together as a group of friends. We discuss how the film really does seduce you, as Roger Ebert said in his review, "with its memories of what really matters when you are 12." And we hit on the interesting and opposing views of baseball that this film and our last film in this series, Moneyball, take. It's a very easy and enjoyable film to watch and we have a great time talking about it. Tune in!


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]]> There's something about memories of childhood and baseball that seem to go hand in hand. Perhaps it's the tradition of baseball — it feels as tied into good ol' Americana as much as fireworks on the Fourth of July or hot apple pie, things that can certainly define childhood memories. Perhaps it's just that it was one of those things you did as a kid that helped shape who you would become. Regardless, David Mickey Evans tapped into this connection for 1993's The Sandlot, his directorial debut, and ended up creating a cult favorite that will stand the test of time because of it. This week, join us — Pete Wright and Andy Nelson — as we wrap up our current baseball series with this fantastic movie that tells a simple childhood baseball story yet seduces the audience into reconnecting with their own childhood. We talk about the nature of this story and how its episodic coming-of-age nature connects it to other great films like A Christmas Story and Stand By Me. We chat about the great cast and how these Sandlot kids really work well together as a group of friends. We discuss how the film really does seduce you, as Roger Ebert said in his review, "with its memories of what really matters when you are 12." And we hit on the interesting and opposing views of baseball that this film and our last film in this series, Moneyball, take. It's a very easy and enjoyable film to watch and we have a great time talking about it. Tune in!


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]]> Thu, 28 Feb 2013 08:05:00 -0800 The Next Reel The Next Reel 3372 There's something about memories of childhood and baseball that seem to go hand in hand. Perhaps it's the tradition of baseball — it feels as tied into good ol' Americana as much as fireworks on the Fourth of July or hot apple pie, things that can certainly define childhood memories. Perhaps it's just that it was one of those things you did as a kid that helped shape who you would become. Regardless, David Mickey Evans tapped into this connection for 1993's The Sandlot, his directorial debut, and ended up creating a cult favorite that will stand the test of time because of it. This week, join us — Pete Wright and Andy Nelson — as we wrap up our current baseball series with this fantastic movie that tells a simple childhood baseball story yet seduces the audience into reconnecting with their own childhood. We talk about the nature of this story and how its episodic coming-of-age nature connects it to other great films like A Christmas Story and Stand By Me. We chat about the great cast and how these Sandlot kids really work well together as a group of friends. We discuss how the film really does seduce you, as Roger Ebert said in his review, "with its memories of what really matters when you are 12." And we hit on the interesting and opposing views of baseball that this film and our last film in this series, Moneyball, take. It's a very easy and enjoyable film to watch and we have a great time talking about it. Tune in! There's something about memories of childhood and baseball that seem to go hand in hand. Perhaps it's the tradition of baseball — it feels as tied into good ol' Americana as much as fireworks on the Fourth of July or hot apple pie, things that can certain film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Moneyball • The Next Reel 2 2 34 34 Moneyball • The Next Reel full 53b68877-9a06-4591-a277-9b5e3a44cb17 https://share.transistor.fm/s/b2a2c164 It's spring training season again, and we're back to discuss more baseball movies! In 2011, Bennett Miller directed Moneyball, a fascinating film — one of our favorites — that details the 2002 season of the Oakland A's, and particularly how General Manager Billy Beane decided to use a new statistical approach nicknamed moneyball to buy players, bucking all tradition within the game. The film was a critical and commercial success, and received numerous awards and nominations including 6 Oscar nominations. This week, join us — Pete Wright and Andy Nelson — as we begin this year's baseball series with this amazing film. We talk about the brilliant performances, from the key performances by Brad Pitt and Jonah Hill to the supporting performances by Robin Wright and Spike Jonze (and even Derrin Ebert!). We discuss Pete's fascination with the nature of moneyball and the use of statistics to essentially better control the destiny for a team, and how that balances with the unpredictable magic that happens in the game. We chat about the amazing Wally Pfister and what he brings to the table with his cinematography. And we also chat about the struggle the screenwriters had in getting the script adapted from Michael Lewis' nonfiction book, why the film took so long to get made and who had been involved at various points in getting it made. It's a deeply engrossing film that we love, and we have a great time talking about it. Tune in!


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]]> It's spring training season again, and we're back to discuss more baseball movies! In 2011, Bennett Miller directed Moneyball, a fascinating film — one of our favorites — that details the 2002 season of the Oakland A's, and particularly how General Manager Billy Beane decided to use a new statistical approach nicknamed moneyball to buy players, bucking all tradition within the game. The film was a critical and commercial success, and received numerous awards and nominations including 6 Oscar nominations. This week, join us — Pete Wright and Andy Nelson — as we begin this year's baseball series with this amazing film. We talk about the brilliant performances, from the key performances by Brad Pitt and Jonah Hill to the supporting performances by Robin Wright and Spike Jonze (and even Derrin Ebert!). We discuss Pete's fascination with the nature of moneyball and the use of statistics to essentially better control the destiny for a team, and how that balances with the unpredictable magic that happens in the game. We chat about the amazing Wally Pfister and what he brings to the table with his cinematography. And we also chat about the struggle the screenwriters had in getting the script adapted from Michael Lewis' nonfiction book, why the film took so long to get made and who had been involved at various points in getting it made. It's a deeply engrossing film that we love, and we have a great time talking about it. Tune in!


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]]> Thu, 21 Feb 2013 08:00:00 -0800 The Next Reel The Next Reel 3275 It's spring training season again, and we're back to discuss more baseball movies! In 2011, Bennett Miller directed Moneyball, a fascinating film — one of our favorites — that details the 2002 season of the Oakland A's, and particularly how General Manager Billy Beane decided to use a new statistical approach nicknamed moneyball to buy players, bucking all tradition within the game. The film was a critical and commercial success, and received numerous awards and nominations including 6 Oscar nominations. This week, join us — Pete Wright and Andy Nelson — as we begin this year's baseball series with this amazing film. We talk about the brilliant performances, from the key performances by Brad Pitt and Jonah Hill to the supporting performances by Robin Wright and Spike Jonze (and even Derrin Ebert!). We discuss Pete's fascination with the nature of moneyball and the use of statistics to essentially better control the destiny for a team, and how that balances with the unpredictable magic that happens in the game. We chat about the amazing Wally Pfister and what he brings to the table with his cinematography. And we also chat about the struggle the screenwriters had in getting the script adapted from Michael Lewis' nonfiction book, why the film took so long to get made and who had been involved at various points in getting it made. It's a deeply engrossing film that we love, and we have a great time talking about it. Tune in! It's spring training season again, and we're back to discuss more baseball movies! In 2011, Bennett Miller directed Moneyball, a fascinating film — one of our favorites — that details the 2002 season of the Oakland A's, and particularly how General Manage film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Prizzi's Honor • The Next Reel 2 2 33 33 Prizzi's Honor • The Next Reel full 24d4dc76-3bd8-449b-b2fb-a69cd046a1f4 https://share.transistor.fm/s/1d485abb It's Valentine's Day, and what better way to end our current John Huston series than with his 1985 romantic mafia comedy, Prizzi's Honor? Huston was struggling with his health in the 80s but still a vibrant and essential director when he made this film that garnered 8 Oscar nominations. Join us — Pete Wright and Andy Nelson — as we celebrate love and death in this quirky film. We chat about what works and what doesn't with the performances in the film, particularly Jack Nicholson's and Anjelica Huston's, and how essential they are in a film with such a variety of characters like this film has. We discuss what Huston was trying to say with the film and how it fits into his body of work. We talk about the amazing crew and what they bring to the table as well as the kudos they received for their work. And we chat about the nature of the story — a mafia comedy — and what Richard Condon, who wrote the novel on which it was based, was saying with the story. It's a fun film and we have a great time talking about it. Check it out!


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]]> It's Valentine's Day, and what better way to end our current John Huston series than with his 1985 romantic mafia comedy, Prizzi's Honor? Huston was struggling with his health in the 80s but still a vibrant and essential director when he made this film that garnered 8 Oscar nominations. Join us — Pete Wright and Andy Nelson — as we celebrate love and death in this quirky film. We chat about what works and what doesn't with the performances in the film, particularly Jack Nicholson's and Anjelica Huston's, and how essential they are in a film with such a variety of characters like this film has. We discuss what Huston was trying to say with the film and how it fits into his body of work. We talk about the amazing crew and what they bring to the table as well as the kudos they received for their work. And we chat about the nature of the story — a mafia comedy — and what Richard Condon, who wrote the novel on which it was based, was saying with the story. It's a fun film and we have a great time talking about it. Check it out!


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]]> Thu, 14 Feb 2013 08:00:00 -0800 The Next Reel The Next Reel 3142 It's Valentine's Day, and what better way to end our current John Huston series than with his 1985 romantic mafia comedy, Prizzi's Honor? Huston was struggling with his health in the 80s but still a vibrant and essential director when he made this film that garnered 8 Oscar nominations. Join us — Pete Wright and Andy Nelson — as we celebrate love and death in this quirky film. We chat about what works and what doesn't with the performances in the film, particularly Jack Nicholson's and Anjelica Huston's, and how essential they are in a film with such a variety of characters like this film has. We discuss what Huston was trying to say with the film and how it fits into his body of work. We talk about the amazing crew and what they bring to the table as well as the kudos they received for their work. And we chat about the nature of the story — a mafia comedy — and what Richard Condon, who wrote the novel on which it was based, was saying with the story. It's a fun film and we have a great time talking about it. Check it out! It's Valentine's Day, and what better way to end our current John Huston series than with his 1985 romantic mafia comedy, Prizzi's Honor? Huston was struggling with his health in the 80s but still a vibrant and essential director when he made this film th film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Asphalt Jungle • The Next Reel 2 2 32 32 The Asphalt Jungle • The Next Reel full 4acfaf02-7a53-426c-a1f3-0fa68514bbdd https://share.transistor.fm/s/48b8eaeb When people list off caper films, it's a long list that comes to mind — Ocean's Eleven, Rififi, The Killing, The Ladykillers, Kelly's Heroes, The Italian Job, The Usual Suspects, even more recently Inception — but the film that really kicked it all off was 1950s masterpiece, The Asphalt Jungle. John Huston co-adapted W. R. Burnett's novel and turned it into one of his greatest directorial achievements, a story of a group of criminals working hard to pull off the perfect heist only to have everything fall apart in the end. It's not only the start of the caper subgenre, but also a master work of character development and taut filmmaking.

Join us — Pete Wright and Andy Nelson — as we continue our John Huston series with this fantastic film. We talk about how the film looks at the criminal's heist and how that balances with the character development. We chat about the amazing actors who bring the film to life — from Sterling Hayden to Marilyn Monroe. We discuss where the film fits in MGM's body of work and how it felt different for what the studio was churning out at the time. And we revel in the gorgeous black-and-white cinematography shot by Harold Rosson that gives the film a haunting, gray film noir vibe and helps define this jungle — this city beneath the city.

It's a film that quickly shot up our list of favorite films upon rewatching and is definitely worth talking about. Tune in!


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]]> When people list off caper films, it's a long list that comes to mind — Ocean's Eleven, Rififi, The Killing, The Ladykillers, Kelly's Heroes, The Italian Job, The Usual Suspects, even more recently Inception — but the film that really kicked it all off was 1950s masterpiece, The Asphalt Jungle. John Huston co-adapted W. R. Burnett's novel and turned it into one of his greatest directorial achievements, a story of a group of criminals working hard to pull off the perfect heist only to have everything fall apart in the end. It's not only the start of the caper subgenre, but also a master work of character development and taut filmmaking.

Join us — Pete Wright and Andy Nelson — as we continue our John Huston series with this fantastic film. We talk about how the film looks at the criminal's heist and how that balances with the character development. We chat about the amazing actors who bring the film to life — from Sterling Hayden to Marilyn Monroe. We discuss where the film fits in MGM's body of work and how it felt different for what the studio was churning out at the time. And we revel in the gorgeous black-and-white cinematography shot by Harold Rosson that gives the film a haunting, gray film noir vibe and helps define this jungle — this city beneath the city.

It's a film that quickly shot up our list of favorite films upon rewatching and is definitely worth talking about. Tune in!


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]]> Thu, 07 Feb 2013 08:00:00 -0800 The Next Reel The Next Reel 3603 When people list off caper films, it's a long list that comes to mind — Ocean's Eleven, Rififi, The Killing, The Ladykillers, Kelly's Heroes, The Italian Job, The Usual Suspects, even more recently Inception — but the film that really kicked it all off was 1950s masterpiece, The Asphalt Jungle. John Huston co-adapted W. R. Burnett's novel and turned it into one of his greatest directorial achievements, a story of a group of criminals working hard to pull off the perfect heist only to have everything fall apart in the end. It's not only the start of the caper subgenre, but also a master work of character development and taut filmmaking. Join us — Pete Wright and Andy Nelson — as we continue our John Huston series with this fantastic film. We talk about how the film looks at the criminal's heist and how that balances with the character development. We chat about the amazing actors who bring the film to life — from Sterling Hayden to Marilyn Monroe. We discuss where the film fits in MGM's body of work and how it felt different for what the studio was churning out at the time. And we revel in the gorgeous black-and-white cinematography shot by Harold Rosson that gives the film a haunting, gray film noir vibe and helps define this jungle — this city beneath the city. It's a film that quickly shot up our list of favorite films upon rewatching and is definitely worth talking about. Tune in! When people list off caper films, it's a long list that comes to mind — Ocean's Eleven, Rififi, The Killing, The Ladykillers, Kelly's Heroes, The Italian Job, The Usual Suspects, even more recently Inception — but the film that really kicked it all off wa film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Key Largo • The Next Reel 2 2 31 31 Key Largo • The Next Reel full 708efd66-243b-4573-a3ac-54689e44c886 https://share.transistor.fm/s/f609305e In 1948, John Huston managed to crank out two of his most well-known films — The Treasure of the Sierra Madre, a masterpiece that received many accolades but took a while to warm up at the box office, and Key Largo, a noirish crime film that takes place during a hurricane on the Florida Keys which did great at the box office but didn't create a big splash in the awards circles. Join us — Pete Wright and Andy Nelson — this week as we continue our series about John Huston with Key Largo, a film that works in many aspects for us but doesn't work in others. We talk about the actors and what we think of their performances — Humphrey Bogart, Lauren Bacall, Edward G. Robinson, Lionel Barrymore, even an appearance of Jay Silverheels who most famously played Tonto on "The Lone Ranger." And we definitely don't forget to chat about Claire Trevor, a fantastic actress who won the film's only Oscar for Best Supporting Actress, along with why we felt she won that award. We discuss the origins of the script, how Huston and his co-writer Richard Brooks reworked the original material to create something with more political subtext, and how that works for us. And we talk about the film's relationships w/both the film noir genre as well as the crime genre, and how the cinematography really works advantageously to create vibes from these genres. It's a film that, while we like it, doesn't hold up as well this go around. That being said, it's still worth watching if you haven't seen it before, and it's fun to talk about. Listen in!


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]]> In 1948, John Huston managed to crank out two of his most well-known films — The Treasure of the Sierra Madre, a masterpiece that received many accolades but took a while to warm up at the box office, and Key Largo, a noirish crime film that takes place during a hurricane on the Florida Keys which did great at the box office but didn't create a big splash in the awards circles. Join us — Pete Wright and Andy Nelson — this week as we continue our series about John Huston with Key Largo, a film that works in many aspects for us but doesn't work in others. We talk about the actors and what we think of their performances — Humphrey Bogart, Lauren Bacall, Edward G. Robinson, Lionel Barrymore, even an appearance of Jay Silverheels who most famously played Tonto on "The Lone Ranger." And we definitely don't forget to chat about Claire Trevor, a fantastic actress who won the film's only Oscar for Best Supporting Actress, along with why we felt she won that award. We discuss the origins of the script, how Huston and his co-writer Richard Brooks reworked the original material to create something with more political subtext, and how that works for us. And we talk about the film's relationships w/both the film noir genre as well as the crime genre, and how the cinematography really works advantageously to create vibes from these genres. It's a film that, while we like it, doesn't hold up as well this go around. That being said, it's still worth watching if you haven't seen it before, and it's fun to talk about. Listen in!


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]]> Thu, 31 Jan 2013 08:31:00 -0800 The Next Reel The Next Reel 3668 In 1948, John Huston managed to crank out two of his most well-known films — The Treasure of the Sierra Madre, a masterpiece that received many accolades but took a while to warm up at the box office, and Key Largo, a noirish crime film that takes place during a hurricane on the Florida Keys which did great at the box office but didn't create a big splash in the awards circles. Join us — Pete Wright and Andy Nelson — this week as we continue our series about John Huston with Key Largo, a film that works in many aspects for us but doesn't work in others. We talk about the actors and what we think of their performances — Humphrey Bogart, Lauren Bacall, Edward G. Robinson, Lionel Barrymore, even an appearance of Jay Silverheels who most famously played Tonto on "The Lone Ranger." And we definitely don't forget to chat about Claire Trevor, a fantastic actress who won the film's only Oscar for Best Supporting Actress, along with why we felt she won that award. We discuss the origins of the script, how Huston and his co-writer Richard Brooks reworked the original material to create something with more political subtext, and how that works for us. And we talk about the film's relationships w/both the film noir genre as well as the crime genre, and how the cinematography really works advantageously to create vibes from these genres. It's a film that, while we like it, doesn't hold up as well this go around. That being said, it's still worth watching if you haven't seen it before, and it's fun to talk about. Listen in! In 1948, John Huston managed to crank out two of his most well-known films — The Treasure of the Sierra Madre, a masterpiece that received many accolades but took a while to warm up at the box office, and Key Largo, a noirish crime film that takes place d film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Treasure of the Sierra Madre • The Next Reel 2 2 30 30 The Treasure of the Sierra Madre • The Next Reel full be4c5e40-3fe7-4805-b73d-6d4f11bc9dd9 https://share.transistor.fm/s/1a594819 It's a classic (and oft misquoted) line from one of the greatest films of all time, John Huston's classic film from 1948, "The Treasure of the Sierra Madre." This week, join us — Pete Wright and Andy Nelson — as we delve into this fascinating and tragic film, once considered a difficult film that received more praise from critics than it did from audiences at the time even though now it's considered one of the best films ever made. We talk about the fantastic trio of actors heading up the film—Humphrey Bogart, Tim Holt and the unforgettable Walter Huston—John's dad—who rightfully won an Oscar for his performance. We dig into the troubles of location shooting and why it was such a challenge back then. We talk about the nature of man and what the story is saying about what happens to men when large quantities of money (or in this case gold) come into play. And we chat about the mysterious B. Traven, author of the original novel, and the strange theories about who he really is. It's an absolutely fantastic film and one well worth talking about. Join us and listen in!


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]]> It's a classic (and oft misquoted) line from one of the greatest films of all time, John Huston's classic film from 1948, "The Treasure of the Sierra Madre." This week, join us — Pete Wright and Andy Nelson — as we delve into this fascinating and tragic film, once considered a difficult film that received more praise from critics than it did from audiences at the time even though now it's considered one of the best films ever made. We talk about the fantastic trio of actors heading up the film—Humphrey Bogart, Tim Holt and the unforgettable Walter Huston—John's dad—who rightfully won an Oscar for his performance. We dig into the troubles of location shooting and why it was such a challenge back then. We talk about the nature of man and what the story is saying about what happens to men when large quantities of money (or in this case gold) come into play. And we chat about the mysterious B. Traven, author of the original novel, and the strange theories about who he really is. It's an absolutely fantastic film and one well worth talking about. Join us and listen in!


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]]> Thu, 24 Jan 2013 06:24:00 -0800 The Next Reel The Next Reel 2703 It's a classic (and oft misquoted) line from one of the greatest films of all time, John Huston's classic film from 1948, "The Treasure of the Sierra Madre." This week, join us — Pete Wright and Andy Nelson — as we delve into this fascinating and tragic film, once considered a difficult film that received more praise from critics than it did from audiences at the time even though now it's considered one of the best films ever made. We talk about the fantastic trio of actors heading up the film—Humphrey Bogart, Tim Holt and the unforgettable Walter Huston—John's dad—who rightfully won an Oscar for his performance. We dig into the troubles of location shooting and why it was such a challenge back then. We talk about the nature of man and what the story is saying about what happens to men when large quantities of money (or in this case gold) come into play. And we chat about the mysterious B. Traven, author of the original novel, and the strange theories about who he really is. It's an absolutely fantastic film and one well worth talking about. Join us and listen in! It's a classic (and oft misquoted) line from one of the greatest films of all time, John Huston's classic film from 1948, "The Treasure of the Sierra Madre." This week, join us — Pete Wright and Andy Nelson — as we delve into this fascinating and tragic f film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Maltese Falcon • The Next Reel 2 2 29 29 The Maltese Falcon • The Next Reel full 93bd2acf-438e-4ac8-be4a-70c4bef2e907 https://share.transistor.fm/s/9a098f00 That's right, ladies and gentlemen, this week join us — Pete Wright and Andy Nelson — as we talk about one of the most unforgettable films in the history of cinema, "The Maltese Falcon." As a part of our periodic and ongoing John Huston series, this is a film we've looked forward to talking about for a great long while. We have a wonderful time discussing the importance of this film.

It's John Huston's directorial debut, the film that gave Humphrey Bogart his leading man status, and it's considered to be the first film in the film noir genre, a style known for its dark, gritty look; its cutting dialogue; its dark protagonist; and the lovely femme fatale. We talk about what marks this film as the first film noir. We discuss the brilliant dialogue in the film and how well the actors are suited to their parts, saying the dialogue so perfectly that it still zings today. We chat about the great cast and crew on the film and their contributions. And we talk about how edgy this film was for 1941, yet how that somehow still carries over today, keeping it relevant as a film even if its script wouldn't pass muster in today's Hollywood. It's a fantastic classic and a must-see, and we have a great time talking about it this week. Join us!


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]]> That's right, ladies and gentlemen, this week join us — Pete Wright and Andy Nelson — as we talk about one of the most unforgettable films in the history of cinema, "The Maltese Falcon." As a part of our periodic and ongoing John Huston series, this is a film we've looked forward to talking about for a great long while. We have a wonderful time discussing the importance of this film.

It's John Huston's directorial debut, the film that gave Humphrey Bogart his leading man status, and it's considered to be the first film in the film noir genre, a style known for its dark, gritty look; its cutting dialogue; its dark protagonist; and the lovely femme fatale. We talk about what marks this film as the first film noir. We discuss the brilliant dialogue in the film and how well the actors are suited to their parts, saying the dialogue so perfectly that it still zings today. We chat about the great cast and crew on the film and their contributions. And we talk about how edgy this film was for 1941, yet how that somehow still carries over today, keeping it relevant as a film even if its script wouldn't pass muster in today's Hollywood. It's a fantastic classic and a must-see, and we have a great time talking about it this week. Join us!


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]]> Thu, 17 Jan 2013 08:57:00 -0800 The Next Reel The Next Reel 3917 That's right, ladies and gentlemen, this week join us — Pete Wright and Andy Nelson — as we talk about one of the most unforgettable films in the history of cinema, "The Maltese Falcon." As a part of our periodic and ongoing John Huston series, this is a film we've looked forward to talking about for a great long while. We have a wonderful time discussing the importance of this film. That's right, ladies and gentlemen, this week join us — Pete Wright and Andy Nelson — as we talk about one of the most unforgettable films in the history of cinema, "The Maltese Falcon." As a part of our periodic and ongoing John Huston series, this is a film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Zero Dark Thirty • The Next Reel 2 2 28 28 Zero Dark Thirty • The Next Reel full 24274455-e4a0-4efa-9012-af161fd44d5c https://share.transistor.fm/s/1dfb1a33 Divisive before it even opened, Kathryn Bigelow's film Zero Dark Thirty depicts, in a very procedural way, the steps it took to find Bin Laden after the 9/11 attacks. While you can argue whether Bigelow should have received a Best Director nomination in the recent Oscar announcement, it's clear that she's a filmmaker at the top of her form making a film that tracks this decade-long manhunt through the eyes of one dedicated woman, and what it does to her in the process. It's a fascinating film and one that certainly is worthy all of the nominations and accolades it's currently receiving. Join us on this week's episode of The Next Reel as we — Pete Wright and Andy Nelson — close out our series on Bigelow with this amazing film. We talk about the context of this film in relation to what really did — or did not — happen, and how that affects audience members' interpretations of the events as depicted. We discuss the amazing performance by Jessica Chastain and the haunting portrait of Maya, the CIA operative behind this mission, as well as the rest of the crew the Bigelow brings on board, including screenwriter/producer Mark Boal, her partner on The Hurt Locker. We delve into the issue of torture as depicted in the film, how it's created a controversy, and what our opinions are on it. And we chat about the depiction and reality of the clinical (mostly) insertion of Seal Team Six into the compound, how well it was put together yet how surprised we were by how loud they were. It's a film that truly deserves its mark as one of the top films of the year and another definite high mark for Bigelow. We have a great time talking about it (and spoiling it heavily). Watch the movie then listen in!


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]]> Divisive before it even opened, Kathryn Bigelow's film Zero Dark Thirty depicts, in a very procedural way, the steps it took to find Bin Laden after the 9/11 attacks. While you can argue whether Bigelow should have received a Best Director nomination in the recent Oscar announcement, it's clear that she's a filmmaker at the top of her form making a film that tracks this decade-long manhunt through the eyes of one dedicated woman, and what it does to her in the process. It's a fascinating film and one that certainly is worthy all of the nominations and accolades it's currently receiving. Join us on this week's episode of The Next Reel as we — Pete Wright and Andy Nelson — close out our series on Bigelow with this amazing film. We talk about the context of this film in relation to what really did — or did not — happen, and how that affects audience members' interpretations of the events as depicted. We discuss the amazing performance by Jessica Chastain and the haunting portrait of Maya, the CIA operative behind this mission, as well as the rest of the crew the Bigelow brings on board, including screenwriter/producer Mark Boal, her partner on The Hurt Locker. We delve into the issue of torture as depicted in the film, how it's created a controversy, and what our opinions are on it. And we chat about the depiction and reality of the clinical (mostly) insertion of Seal Team Six into the compound, how well it was put together yet how surprised we were by how loud they were. It's a film that truly deserves its mark as one of the top films of the year and another definite high mark for Bigelow. We have a great time talking about it (and spoiling it heavily). Watch the movie then listen in!


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]]> Thu, 10 Jan 2013 23:09:00 -0800 The Next Reel The Next Reel 5396 Divisive before it even opened, Kathryn Bigelow's film Zero Dark Thirty depicts, in a very procedural way, the steps it took to find Bin Laden after the 9/11 attacks. While you can argue whether Bigelow should have received a Best Director nomination in the recent Oscar announcement, it's clear that she's a filmmaker at the top of her form making a film that tracks this decade-long manhunt through the eyes of one dedicated woman, and what it does to her in the process. It's a fascinating film and one that certainly is worthy all of the nominations and accolades it's currently receiving. Join us on this week's episode of The Next Reel as we — Pete Wright and Andy Nelson — close out our series on Bigelow with this amazing film. We talk about the context of this film in relation to what really did — or did not — happen, and how that affects audience members' interpretations of the events as depicted. We discuss the amazing performance by Jessica Chastain and the haunting portrait of Maya, the CIA operative behind this mission, as well as the rest of the crew the Bigelow brings on board, including screenwriter/producer Mark Boal, her partner on The Hurt Locker. We delve into the issue of torture as depicted in the film, how it's created a controversy, and what our opinions are on it. And we chat about the depiction and reality of the clinical (mostly) insertion of Seal Team Six into the compound, how well it was put together yet how surprised we were by how loud they were. It's a film that truly deserves its mark as one of the top films of the year and another definite high mark for Bigelow. We have a great time talking about it (and spoiling it heavily). Watch the movie then listen in! Divisive before it even opened, Kathryn Bigelow's film Zero Dark Thirty depicts, in a very procedural way, the steps it took to find Bin Laden after the 9/11 attacks. While you can argue whether Bigelow should have received a Best Director nomination in t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Hurt Locker • The Next Reel 2 2 27 27 The Hurt Locker • The Next Reel full bdeeed0a-8ec7-425f-86d7-2d9ddeec9ff6 https://share.transistor.fm/s/5d241700 Kathryn Bigelow made a big change in her career direction as a film director when she made 2009's "The Hurt Locker." While it still had the adrenaline action sensibilities she displayed in her prior films, this film was less of a Hollywood action movie and more of an honest portrayal of soldiers in a war. This week on The Next Reel, join us — Pete Wright and Andy Nelson — as we delve into Bigelow's independent war film that made her the first woman to win a Best Director Oscar. We talk about how Mark Boal discovered the story while embedded as a journalist in the war and how well it works as a film, yet also is a script not structured in typical Hollywood fashion. We discuss the actors and what they bring to the table in what is ostensibly a psychological study of these characters. We chat about how the film was shot and what it does for the feel of the film. And we talk about the reception of the film and how disappointing it is that more people haven't seen it. Truly one of our favorites, we have a fantastic time talking about this film. Listen in!


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]]> Kathryn Bigelow made a big change in her career direction as a film director when she made 2009's "The Hurt Locker." While it still had the adrenaline action sensibilities she displayed in her prior films, this film was less of a Hollywood action movie and more of an honest portrayal of soldiers in a war. This week on The Next Reel, join us — Pete Wright and Andy Nelson — as we delve into Bigelow's independent war film that made her the first woman to win a Best Director Oscar. We talk about how Mark Boal discovered the story while embedded as a journalist in the war and how well it works as a film, yet also is a script not structured in typical Hollywood fashion. We discuss the actors and what they bring to the table in what is ostensibly a psychological study of these characters. We chat about how the film was shot and what it does for the feel of the film. And we talk about the reception of the film and how disappointing it is that more people haven't seen it. Truly one of our favorites, we have a fantastic time talking about this film. Listen in!


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]]> Thu, 03 Jan 2013 11:38:00 -0800 The Next Reel The Next Reel 4973 Kathryn Bigelow made a big change in her career direction as a film director when she made 2009's "The Hurt Locker." While it still had the adrenaline action sensibilities she displayed in her prior films, this film was less of a Hollywood action movie and more of an honest portrayal of soldiers in a war. This week on The Next Reel, join us — Pete Wright and Andy Nelson — as we delve into Bigelow's independent war film that made her the first woman to win a Best Director Oscar. We talk about how Mark Boal discovered the story while embedded as a journalist in the war and how well it works as a film, yet also is a script not structured in typical Hollywood fashion. We discuss the actors and what they bring to the table in what is ostensibly a psychological study of these characters. We chat about how the film was shot and what it does for the feel of the film. And we talk about the reception of the film and how disappointing it is that more people haven't seen it. Truly one of our favorites, we have a fantastic time talking about this film. Listen in! Kathryn Bigelow made a big change in her career direction as a film director when she made 2009's "The Hurt Locker." While it still had the adrenaline action sensibilities she displayed in her prior films, this film was less of a Hollywood action movie an film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Strange Days • The Next Reel 2 2 26 26 Strange Days • The Next Reel full 081f5951-0ff1-4369-80ce-a0c16a13ba8a https://share.transistor.fm/s/69a2a243 Based on a dream James Cameron had in 1985, Strange Days came out in 1995 and strangely took place only 4 years in the future — during the 48 hours leading up to the year 2000. Cameron's ex-wife Kathryn Bigelow, helmed the film, bringing her skills at directing action to the forefront to create what at the time was a wild, mind-bending, noirish tale that looked at people in LA dealing with the latest "drug" craze — living other people's experiences through futuristic recording devices. Join us — Pete Wright and Andy Nelson — as we ring in the New Year with the first of our Kathryn Bigelow series on this week's episode of The Next Reel in which we talk about Strange Days.

We talk about what we thought of the film at the time and compare that with how we feel about the film now, noting how much the film doesn't hold up and how many problems it really had. We chat about the script and the vast amounts of expository dialogue and how clunky Cameron can often be when writing scripts. We discuss the performances, particularly Ralph Fiennes, Angela Bassett, Tom Sizemore, Vincent D'Onofrio and William Fichtner, and whether they were used effectively or not. We discuss the story elements that worked for us, notably the rape scene, and how effective it is yet how unfortunate it is that the team didn't focus solely on that element rather than force it to tie into the New Year's party story. And we praise the outstanding achievements Bigelow, DP Matthew Leonetti and their team of camera operators, stuntmen, technicians, etc. who worked hard to create — pioneer, really — the stunning work done on the POV shots throughout the film. It's a bit of a disappointment returning to it for us, but we have a great time talking about it. Tune in!


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]]> Based on a dream James Cameron had in 1985, Strange Days came out in 1995 and strangely took place only 4 years in the future — during the 48 hours leading up to the year 2000. Cameron's ex-wife Kathryn Bigelow, helmed the film, bringing her skills at directing action to the forefront to create what at the time was a wild, mind-bending, noirish tale that looked at people in LA dealing with the latest "drug" craze — living other people's experiences through futuristic recording devices. Join us — Pete Wright and Andy Nelson — as we ring in the New Year with the first of our Kathryn Bigelow series on this week's episode of The Next Reel in which we talk about Strange Days.

We talk about what we thought of the film at the time and compare that with how we feel about the film now, noting how much the film doesn't hold up and how many problems it really had. We chat about the script and the vast amounts of expository dialogue and how clunky Cameron can often be when writing scripts. We discuss the performances, particularly Ralph Fiennes, Angela Bassett, Tom Sizemore, Vincent D'Onofrio and William Fichtner, and whether they were used effectively or not. We discuss the story elements that worked for us, notably the rape scene, and how effective it is yet how unfortunate it is that the team didn't focus solely on that element rather than force it to tie into the New Year's party story. And we praise the outstanding achievements Bigelow, DP Matthew Leonetti and their team of camera operators, stuntmen, technicians, etc. who worked hard to create — pioneer, really — the stunning work done on the POV shots throughout the film. It's a bit of a disappointment returning to it for us, but we have a great time talking about it. Tune in!


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]]> Thu, 27 Dec 2012 08:00:00 -0800 The Next Reel The Next Reel 3813 Based on a dream James Cameron had in 1985, Strange Days came out in 1995 and strangely took place only 4 years in the future — during the 48 hours leading up to the year 2000. Cameron's ex-wife Kathryn Bigelow, helmed the film, bringing her skills at directing action to the forefront to create what at the time was a wild, mind-bending, noirish tale that looked at people in LA dealing with the latest "drug" craze — living other people's experiences through futuristic recording devices. Join us — Pete Wright and Andy Nelson — as we ring in the New Year with the first of our Kathryn Bigelow series on this week's episode of The Next Reel in which we talk about Strange Days. We talk about what we thought of the film at the time and compare that with how we feel about the film now, noting how much the film doesn't hold up and how many problems it really had. We chat about the script and the vast amounts of expository dialogue and how clunky Cameron can often be when writing scripts. We discuss the performances, particularly Ralph Fiennes, Angela Bassett, Tom Sizemore, Vincent D'Onofrio and William Fichtner, and whether they were used effectively or not. We discuss the story elements that worked for us, notably the rape scene, and how effective it is yet how unfortunate it is that the team didn't focus solely on that element rather than force it to tie into the New Year's party story. And we praise the outstanding achievements Bigelow, DP Matthew Leonetti and their team of camera operators, stuntmen, technicians, etc. who worked hard to create — pioneer, really — the stunning work done on the POV shots throughout the film. It's a bit of a disappointment returning to it for us, but we have a great time talking about it. Tune in! Based on a dream James Cameron had in 1985, Strange Days came out in 1995 and strangely took place only 4 years in the future — during the 48 hours leading up to the year 2000. Cameron's ex-wife Kathryn Bigelow, helmed the film, bringing her skills at dir film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Christmas in July • The Next Reel 2 2 25 25 Christmas in July • The Next Reel full a7488548-c835-4ec5-982f-8a40869e30bd https://share.transistor.fm/s/5f56076e Happy holidays, everybody! It's time for our annual holiday episode here on The Next Reel. This year, we — Pete Wright and Andy Nelson — are talking about a film that doesn't actually take place at Christmas time. In fact, it's a movie that doesn't even really have anything to do with the holiday except that the name's in the title. It's Preston Sturges' 1940 forgotten gem, "Christmas in July."

Okay, so it's full of the spirit of giving — therefore it still fits in our books as a holiday film. But it's also full of some of the best and zingiest dialogue that we've heard in ages. There's nothing like the crackling dialogue that Sturges writes, and he gets the right actors to deliver it. Join us this week as we talk about this wonderful (and brief) movie! We chat about the nature of satire in films of the time and how it came to be used, as well as who's writing the same biting satire today. We look at Preston Sturges and his wild up-and-down life. We discuss the themes of the film, from dealing with the poverty of the depression to the nature of belief in one's talent. And we enjoy laughing about the great and hilarious performances by the very talented cast. It's a simple, funny, earnest and joyous film that celebrates giving and believing in one self. We love it and know you will too. Listen in!


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]]> Happy holidays, everybody! It's time for our annual holiday episode here on The Next Reel. This year, we — Pete Wright and Andy Nelson — are talking about a film that doesn't actually take place at Christmas time. In fact, it's a movie that doesn't even really have anything to do with the holiday except that the name's in the title. It's Preston Sturges' 1940 forgotten gem, "Christmas in July."

Okay, so it's full of the spirit of giving — therefore it still fits in our books as a holiday film. But it's also full of some of the best and zingiest dialogue that we've heard in ages. There's nothing like the crackling dialogue that Sturges writes, and he gets the right actors to deliver it. Join us this week as we talk about this wonderful (and brief) movie! We chat about the nature of satire in films of the time and how it came to be used, as well as who's writing the same biting satire today. We look at Preston Sturges and his wild up-and-down life. We discuss the themes of the film, from dealing with the poverty of the depression to the nature of belief in one's talent. And we enjoy laughing about the great and hilarious performances by the very talented cast. It's a simple, funny, earnest and joyous film that celebrates giving and believing in one self. We love it and know you will too. Listen in!


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]]> Thu, 20 Dec 2012 15:05:00 -0800 The Next Reel The Next Reel 3684 Happy holidays, everybody! It's time for our annual holiday episode here on The Next Reel. This year, we — Pete Wright and Andy Nelson — are talking about a film that doesn't actually take place at Christmas time. In fact, it's a movie that doesn't even really have anything to do with the holiday except that the name's in the title. It's Preston Sturges' 1940 forgotten gem, "Christmas in July." Okay, so it's full of the spirit of giving — therefore it still fits in our books as a holiday film. But it's also full of some of the best and zingiest dialogue that we've heard in ages. There's nothing like the crackling dialogue that Sturges writes, and he gets the right actors to deliver it. Join us this week as we talk about this wonderful (and brief) movie! We chat about the nature of satire in films of the time and how it came to be used, as well as who's writing the same biting satire today. We look at Preston Sturges and his wild up-and-down life. We discuss the themes of the film, from dealing with the poverty of the depression to the nature of belief in one's talent. And we enjoy laughing about the great and hilarious performances by the very talented cast. It's a simple, funny, earnest and joyous film that celebrates giving and believing in one self. We love it and know you will too. Listen in! Happy holidays, everybody! It's time for our annual holiday episode here on The Next Reel. This year, we — Pete Wright and Andy Nelson — are talking about a film that doesn't actually take place at Christmas time. In fact, it's a movie that doesn't even r film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Fifth Element • The Next Reel 2 2 24 24 The Fifth Element • The Next Reel full 72721c69-8f68-400b-87f7-c2363dd39cc2 https://share.transistor.fm/s/1af2fcef There's something about the wacky sci-fi fantasy eye-gasm The Fifth Element that is very divisive. On one side, it's a bizarre, nonsensical, mess that hardly has a story worth talking about. On the other, it's groundbreaking in its visual effects, inventive in its production and costume design, and a romping, mind-numbing good time. While the characters who aren't weird muppet-y aliens would be better served by actually being cartoons, they're played by big-name actors who all get into their roles with undeniable fervor and relish. It's amazing how much of a mess the film is, yet a lot of people really dig it.

Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we conclude our Luc Besson series with this film that Pete really enjoys and Andy really doesn't. We talk about what doesn't work in this film, which is really a lot, yet how for so many, the film is still an utter joy to watch. We chat about all the actors, including Bruce Willis, Milla Jovovich, Ian Holm, Gary Oldman, and Chris Tucker, and what they bring to the table. We talk about the gorgeous visuals and how they really stood out at the time and still stand out as an amazing world created by a visionary director who knows how to craft images. And we talk about how this film came out of a 16-year-old Besson's imagination and really feels like that original vision he had is probably not too far from what we ended up seeing on the screen. It's an interesting mess and we have a great time talking about it. Listen in!


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]]> There's something about the wacky sci-fi fantasy eye-gasm The Fifth Element that is very divisive. On one side, it's a bizarre, nonsensical, mess that hardly has a story worth talking about. On the other, it's groundbreaking in its visual effects, inventive in its production and costume design, and a romping, mind-numbing good time. While the characters who aren't weird muppet-y aliens would be better served by actually being cartoons, they're played by big-name actors who all get into their roles with undeniable fervor and relish. It's amazing how much of a mess the film is, yet a lot of people really dig it.

Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we conclude our Luc Besson series with this film that Pete really enjoys and Andy really doesn't. We talk about what doesn't work in this film, which is really a lot, yet how for so many, the film is still an utter joy to watch. We chat about all the actors, including Bruce Willis, Milla Jovovich, Ian Holm, Gary Oldman, and Chris Tucker, and what they bring to the table. We talk about the gorgeous visuals and how they really stood out at the time and still stand out as an amazing world created by a visionary director who knows how to craft images. And we talk about how this film came out of a 16-year-old Besson's imagination and really feels like that original vision he had is probably not too far from what we ended up seeing on the screen. It's an interesting mess and we have a great time talking about it. Listen in!


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]]> Thu, 13 Dec 2012 08:00:00 -0800 The Next Reel The Next Reel 4309 There's something about the wacky sci-fi fantasy eye-gasm The Fifth Element that is very divisive. On one side, it's a bizarre, nonsensical, mess that hardly has a story worth talking about. On the other, it's groundbreaking in its visual effects, inventive in its production and costume design, and a romping, mind-numbing good time. While the characters who aren't weird muppet-y aliens would be better served by actually being cartoons, they're played by big-name actors who all get into their roles with undeniable fervor and relish. It's amazing how much of a mess the film is, yet a lot of people really dig it. There's something about the wacky sci-fi fantasy eye-gasm The Fifth Element that is very divisive. On one side, it's a bizarre, nonsensical, mess that hardly has a story worth talking about. On the other, it's groundbreaking in its visual effects, inventi film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Léon: The Professional • The Next Reel 2 2 23 23 Léon: The Professional • The Next Reel full 3fd5598f-f2d1-4d48-adb7-b88d1f706eef https://share.transistor.fm/s/2ea8c075 It's the perfect description of the awkward yet touching relationship between a simple 40-something assassin and a wise-beyond-her-years pre-teen girl, and it's at the heart of our next pick in our Luc Besson series, his first foray into English-language cinema, 1994's Leon: the Professional, or more simply just Leon. Join us — Pete Wright and Andy Nelson — as we talk about this fascinating film that we both quite enjoy, a film that is possibly Besson's best.

We discuss the fascinating hitman story and what Besson brings to the table, including his Besson-isms that aren't as prevalent as they were in Nikita but still show their face. We deliberate on the difficult waters the filmmakers were treading when telling this love-story-buried-within-a-crime-story between Natalie Portman's Mathilda (in her first movie role) and a much older hitman (the always awesome Jean Reno). We talk about the amazing talent — Reno, the amazing turn of 12-year-old Portman, and the ridiculously over the top and meme-inspiring performance of Gary Oldman as a corrupt and evil DEA agent. We chat about the powerful cinematographic moments that Besson and his DP Thierry Arbogast used to capture a few of the most powerful scenes in the film. And we again wonder why Besson feels it necessary to continue employing a composer as bad as Eric Serra. It's a film that Pete has always loved and Andy only just recently realized he likes it a lot more than he thought, and we have a great time talking about it. Listen in!


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]]> It's the perfect description of the awkward yet touching relationship between a simple 40-something assassin and a wise-beyond-her-years pre-teen girl, and it's at the heart of our next pick in our Luc Besson series, his first foray into English-language cinema, 1994's Leon: the Professional, or more simply just Leon. Join us — Pete Wright and Andy Nelson — as we talk about this fascinating film that we both quite enjoy, a film that is possibly Besson's best.

We discuss the fascinating hitman story and what Besson brings to the table, including his Besson-isms that aren't as prevalent as they were in Nikita but still show their face. We deliberate on the difficult waters the filmmakers were treading when telling this love-story-buried-within-a-crime-story between Natalie Portman's Mathilda (in her first movie role) and a much older hitman (the always awesome Jean Reno). We talk about the amazing talent — Reno, the amazing turn of 12-year-old Portman, and the ridiculously over the top and meme-inspiring performance of Gary Oldman as a corrupt and evil DEA agent. We chat about the powerful cinematographic moments that Besson and his DP Thierry Arbogast used to capture a few of the most powerful scenes in the film. And we again wonder why Besson feels it necessary to continue employing a composer as bad as Eric Serra. It's a film that Pete has always loved and Andy only just recently realized he likes it a lot more than he thought, and we have a great time talking about it. Listen in!


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]]> Thu, 06 Dec 2012 08:12:00 -0800 Pete Wright, Andy Nelson Pete Wright, Andy Nelson 3335 It's the perfect description of the awkward yet touching relationship between a simple 40-something assassin and a wise-beyond-her-years pre-teen girl, and it's at the heart of our next pick in our Luc Besson series, his first foray into English-language cinema, 1994's Leon: the Professional, or more simply just Leon. Join us — Pete Wright and Andy Nelson — as we talk about this fascinating film that we both quite enjoy, a film that is possibly Besson's best. We discuss the fascinating hitman story and what Besson brings to the table, including his Besson-isms that aren't as prevalent as they were in Nikita but still show their face. We deliberate on the difficult waters the filmmakers were treading when telling this love-story-buried-within-a-crime-story between Natalie Portman's Mathilda (in her first movie role) and a much older hitman (the always awesome Jean Reno). We talk about the amazing talent — Reno, the amazing turn of 12-year-old Portman, and the ridiculously over the top and meme-inspiring performance of Gary Oldman as a corrupt and evil DEA agent. We chat about the powerful cinematographic moments that Besson and his DP Thierry Arbogast used to capture a few of the most powerful scenes in the film. And we again wonder why Besson feels it necessary to continue employing a composer as bad as Eric Serra. It's a film that Pete has always loved and Andy only just recently realized he likes it a lot more than he thought, and we have a great time talking about it. Listen in! It's the perfect description of the awkward yet touching relationship between a simple 40-something assassin and a wise-beyond-her-years pre-teen girl, and it's at the heart of our next pick in our Luc Besson series, his first foray into English-language film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Nikita • The Next Reel 2 2 22 22 Nikita • The Next Reel full 3905b871-3d69-461f-9a74-f167b82ed359 https://share.transistor.fm/s/98085f22 We're starting off our Luc Besson series with a film that fascinates us, even if it sometimes devolves into a cartoonish atmosphere. This week, we chat about Besson's 1990 film Nikita, or La Femme Nikita if you're so inclined. Join us — Pete Wright and Andy Nelson — as we start off this series with this Pygmalion-like tale of a young woman trained to be a government assassin.

We discuss what works and what doesn't in the performances, particularly focusing on Anne Parillaud's performance of the title character. We chat about Besson and what he brings to the table, for better or for worse. We talk about the nature of this French government assassin program and why it creates an interesting idea, though that is pretty ridiculous when you think about it too long. And we talk about the amazing visual style that Besson uses to tell this story, even if the script and the direction aren't always on par with it. He's a wild director and we have a wild romp in this, the first of our Luc Besson series. Listen in!


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]]> We're starting off our Luc Besson series with a film that fascinates us, even if it sometimes devolves into a cartoonish atmosphere. This week, we chat about Besson's 1990 film Nikita, or La Femme Nikita if you're so inclined. Join us — Pete Wright and Andy Nelson — as we start off this series with this Pygmalion-like tale of a young woman trained to be a government assassin.

We discuss what works and what doesn't in the performances, particularly focusing on Anne Parillaud's performance of the title character. We chat about Besson and what he brings to the table, for better or for worse. We talk about the nature of this French government assassin program and why it creates an interesting idea, though that is pretty ridiculous when you think about it too long. And we talk about the amazing visual style that Besson uses to tell this story, even if the script and the direction aren't always on par with it. He's a wild director and we have a wild romp in this, the first of our Luc Besson series. Listen in!


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]]> Thu, 29 Nov 2012 08:47:00 -0800 The Next Reel The Next Reel 4074 We're starting off our Luc Besson series with a film that fascinates us, even if it sometimes devolves into a cartoonish atmosphere. This week, we chat about Besson's 1990 film Nikita, or La Femme Nikita if you're so inclined. Join us — Pete Wright and Andy Nelson — as we start off this series with this Pygmalion-like tale of a young woman trained to be a government assassin. We discuss what works and what doesn't in the performances, particularly focusing on Anne Parillaud's performance of the title character. We chat about Besson and what he brings to the table, for better or for worse. We talk about the nature of this French government assassin program and why it creates an interesting idea, though that is pretty ridiculous when you think about it too long. And we talk about the amazing visual style that Besson uses to tell this story, even if the script and the direction aren't always on par with it. He's a wild director and we have a wild romp in this, the first of our Luc Besson series. Listen in! We're starting off our Luc Besson series with a film that fascinates us, even if it sometimes devolves into a cartoonish atmosphere. This week, we chat about Besson's 1990 film Nikita, or La Femme Nikita if you're so inclined. Join us — Pete Wright and An film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Drive • The Next Reel 2 2 21 21 Drive • The Next Reel full 169e472b-bbf6-42bf-9daa-b2905ff8bf49 https://share.transistor.fm/s/bc1441b4 Ryan Gosling plays such a mysterious, quiet character in Nicolas Winding Refn's 2011 film, "Drive," that he's never even given a name — he's simply credited as Driver. The film has shades of noir and of 80s crime films, creating a dreamy neon quality interrupted by horribly violent outbursts that wake you up. It's a fascinating film that critics really took notice of when it was released. Join us — Pete Wright and Andy Nelson — as we talk about it in this week's episode of Movies We Like, wrapping up our Great Car Chase series.

We talk about the car chases in this film and what they bring to the story. We chat about Gosling as well as all of the other great actors, particularly Albert Brooks who's darker than we've ever seen him before. We chat about the camera used to shoot the film and what that brings to the table. And we mull over the violence as it's depicted in the film, and question what Refn could be saying by making it so violent. It's a great finish to a fun series. Listen in!


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]]> Ryan Gosling plays such a mysterious, quiet character in Nicolas Winding Refn's 2011 film, "Drive," that he's never even given a name — he's simply credited as Driver. The film has shades of noir and of 80s crime films, creating a dreamy neon quality interrupted by horribly violent outbursts that wake you up. It's a fascinating film that critics really took notice of when it was released. Join us — Pete Wright and Andy Nelson — as we talk about it in this week's episode of Movies We Like, wrapping up our Great Car Chase series.

We talk about the car chases in this film and what they bring to the story. We chat about Gosling as well as all of the other great actors, particularly Albert Brooks who's darker than we've ever seen him before. We chat about the camera used to shoot the film and what that brings to the table. And we mull over the violence as it's depicted in the film, and question what Refn could be saying by making it so violent. It's a great finish to a fun series. Listen in!


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]]> Thu, 22 Nov 2012 11:06:00 -0800 The Next Reel The Next Reel 3831 Ryan Gosling plays such a mysterious, quiet character in Nicolas Winding Refn's 2011 film, "Drive," that he's never even given a name — he's simply credited as Driver. The film has shades of noir and of 80s crime films, creating a dreamy neon quality interrupted by horribly violent outbursts that wake you up. It's a fascinating film that critics really took notice of when it was released. Join us — Pete Wright and Andy Nelson — as we talk about it in this week's episode of Movies We Like, wrapping up our Great Car Chase series. We talk about the car chases in this film and what they bring to the story. We chat about Gosling as well as all of the other great actors, particularly Albert Brooks who's darker than we've ever seen him before. We chat about the camera used to shoot the film and what that brings to the table. And we mull over the violence as it's depicted in the film, and question what Refn could be saying by making it so violent. It's a great finish to a fun series. Listen in! Ryan Gosling plays such a mysterious, quiet character in Nicolas Winding Refn's 2011 film, "Drive," that he's never even given a name — he's simply credited as Driver. The film has shades of noir and of 80s crime films, creating a dreamy neon quality inte film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Ronin • The Next Reel 2 2 20 20 Ronin • The Next Reel full 1bee42ac-b1f8-4016-a2e2-98e642988971 https://share.transistor.fm/s/5b3d0397 One of John Frankenheimer's best films came late in his career — 1998's Ronin. A seemingly simple story about a group of mercenaries who take a job trying to get a mysterious case is twisted around with double-crosses and plot twists, and becomes a perfect example of Hitchcock's MacGuffin. Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we continue our great car chase series. We talk about the great car chases in this film and how they were executed, as well as why Frankenheimer chose to film them the way he did. We discuss the script and the writers, most notably David Mamet, and how he ended up deciding to get credited as co-screenwriter under an alias. We chat about the great actors and what they bring to the film, yet how one of them never has felt right to us in his role, as great of an actor as he is. And we chat about the title of the film, the nature of ronin warriors, and what it means in context of this film. It's a great action thriller with amazing car chases and definitely a film worth talking about. Listen in!


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]]> One of John Frankenheimer's best films came late in his career — 1998's Ronin. A seemingly simple story about a group of mercenaries who take a job trying to get a mysterious case is twisted around with double-crosses and plot twists, and becomes a perfect example of Hitchcock's MacGuffin. Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we continue our great car chase series. We talk about the great car chases in this film and how they were executed, as well as why Frankenheimer chose to film them the way he did. We discuss the script and the writers, most notably David Mamet, and how he ended up deciding to get credited as co-screenwriter under an alias. We chat about the great actors and what they bring to the film, yet how one of them never has felt right to us in his role, as great of an actor as he is. And we chat about the title of the film, the nature of ronin warriors, and what it means in context of this film. It's a great action thriller with amazing car chases and definitely a film worth talking about. Listen in!


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]]> Thu, 15 Nov 2012 07:49:00 -0800 The Next Reel The Next Reel 3373 One of John Frankenheimer's best films came late in his career — 1998's Ronin. A seemingly simple story about a group of mercenaries who take a job trying to get a mysterious case is twisted around with double-crosses and plot twists, and becomes a perfect example of Hitchcock's MacGuffin. Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we continue our great car chase series. We talk about the great car chases in this film and how they were executed, as well as why Frankenheimer chose to film them the way he did. We discuss the script and the writers, most notably David Mamet, and how he ended up deciding to get credited as co-screenwriter under an alias. We chat about the great actors and what they bring to the film, yet how one of them never has felt right to us in his role, as great of an actor as he is. And we chat about the title of the film, the nature of ronin warriors, and what it means in context of this film. It's a great action thriller with amazing car chases and definitely a film worth talking about. Listen in! One of John Frankenheimer's best films came late in his career — 1998's Ronin. A seemingly simple story about a group of mercenaries who take a job trying to get a mysterious case is twisted around with double-crosses and plot twists, and becomes a perfec film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The French Connection • The Next Reel 2 2 19 19 The French Connection • The Next Reel full c998e09e-de3a-4cbf-81bc-cc8eec5d625c https://share.transistor.fm/s/fb785a1b It's our ONE YEAR ANNIVERSARY, everyone! That's right, we've been doing the "Movies We Like" podcast for one year now, and what better way to celebrate than with the next in our Great Car Chase series—William Friedkin's 1971 Best Picture Oscar-winner, "The French Connection." Join us—Pete Wright and Andy Nelson—as we celebrate one of our absolute favorite films. We talk about the fantastic car chase in this film and how Friedkin and his producer Philip D'Antoni—who also produced "Bullitt"—worked hard to come up with a way to kick it up a notch and create what is now regarded one of the best car chases in cinema history. We chat about Friedkin's documentary background and what he brought to the table, creating a gritty vibe and a new style of filmmaking that would change the nature of cop films for years to come. We discuss the fantastic performances all through the film—Gene Hackman, Roy Scheider, Fernando Rey, etc.—and how they tapped into this gritty realism by working with their real-life counterparts. We also, of course, talk about the real French connection case that this was based on, who was involved, how they helped with this film, and how the film and the real story differ. And we look at 1971's other cop films and Oscar nominees to see how this film compares. It's top-notch filmmaking and certainly a movie we like. We have a blast talking about it and hope you enjoy listening.


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]]> It's our ONE YEAR ANNIVERSARY, everyone! That's right, we've been doing the "Movies We Like" podcast for one year now, and what better way to celebrate than with the next in our Great Car Chase series—William Friedkin's 1971 Best Picture Oscar-winner, "The French Connection." Join us—Pete Wright and Andy Nelson—as we celebrate one of our absolute favorite films. We talk about the fantastic car chase in this film and how Friedkin and his producer Philip D'Antoni—who also produced "Bullitt"—worked hard to come up with a way to kick it up a notch and create what is now regarded one of the best car chases in cinema history. We chat about Friedkin's documentary background and what he brought to the table, creating a gritty vibe and a new style of filmmaking that would change the nature of cop films for years to come. We discuss the fantastic performances all through the film—Gene Hackman, Roy Scheider, Fernando Rey, etc.—and how they tapped into this gritty realism by working with their real-life counterparts. We also, of course, talk about the real French connection case that this was based on, who was involved, how they helped with this film, and how the film and the real story differ. And we look at 1971's other cop films and Oscar nominees to see how this film compares. It's top-notch filmmaking and certainly a movie we like. We have a blast talking about it and hope you enjoy listening.


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]]> Thu, 08 Nov 2012 19:30:00 -0800 The Next Reel The Next Reel 4572 It's our ONE YEAR ANNIVERSARY, everyone! That's right, we've been doing the "Movies We Like" podcast for one year now, and what better way to celebrate than with the next in our Great Car Chase series—William Friedkin's 1971 Best Picture Oscar-winner, "The French Connection." Join us—Pete Wright and Andy Nelson—as we celebrate one of our absolute favorite films. We talk about the fantastic car chase in this film and how Friedkin and his producer Philip D'Antoni—who also produced "Bullitt"—worked hard to come up with a way to kick it up a notch and create what is now regarded one of the best car chases in cinema history. We chat about Friedkin's documentary background and what he brought to the table, creating a gritty vibe and a new style of filmmaking that would change the nature of cop films for years to come. We discuss the fantastic performances all through the film—Gene Hackman, Roy Scheider, Fernando Rey, etc.—and how they tapped into this gritty realism by working with their real-life counterparts. We also, of course, talk about the real French connection case that this was based on, who was involved, how they helped with this film, and how the film and the real story differ. And we look at 1971's other cop films and Oscar nominees to see how this film compares. It's top-notch filmmaking and certainly a movie we like. We have a blast talking about it and hope you enjoy listening. It's our ONE YEAR ANNIVERSARY, everyone! That's right, we've been doing the "Movies We Like" podcast for one year now, and what better way to celebrate than with the next in our Great Car Chase series—William Friedkin's 1971 Best Picture Oscar-winner, "Th film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Bullitt • The Next Reel 2 2 18 18 Bullitt • The Next Reel full db0e2100-69bf-4220-9e92-686e7c3605c3 https://share.transistor.fm/s/7cf2d7b0 Steve McQueen was one of the coolest actors out there. He brought amazing performances to the screen time and time again. The Magnificent Seven. Papillon. The Thomas Crowne Affair. The Great Escape. The Getaway. The Sand Pebbles. The list goes on. In 1968, he played Frank Bullitt in Peter Yates' film Bullitt, and brought incredible realism, sensitivity and intelligence to the role of a San Francisco policeman. He also brought his desire to create realistic car chases, and because of this ended up a part the granddaddy of all car chases put on film.

Join us—Pete Wright and Andy Nelson—for this week's episode of Rash Pixel's "Movies We Like" as we begin our Great Car Chase Series with this fun film. We talk about what works in the film (performances, real locations, stunts) and what doesn't (the story). We chat about the great performers all through the film, as well as the amazing crew helping put it together. And we chat about the car chase, what it's done for the world of stuntwork, as well as what the cars were that were involved in the dramatic 10-minute chase. It's a fun chat starting us off in a new series. Listen in!


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]]> Steve McQueen was one of the coolest actors out there. He brought amazing performances to the screen time and time again. The Magnificent Seven. Papillon. The Thomas Crowne Affair. The Great Escape. The Getaway. The Sand Pebbles. The list goes on. In 1968, he played Frank Bullitt in Peter Yates' film Bullitt, and brought incredible realism, sensitivity and intelligence to the role of a San Francisco policeman. He also brought his desire to create realistic car chases, and because of this ended up a part the granddaddy of all car chases put on film.

Join us—Pete Wright and Andy Nelson—for this week's episode of Rash Pixel's "Movies We Like" as we begin our Great Car Chase Series with this fun film. We talk about what works in the film (performances, real locations, stunts) and what doesn't (the story). We chat about the great performers all through the film, as well as the amazing crew helping put it together. And we chat about the car chase, what it's done for the world of stuntwork, as well as what the cars were that were involved in the dramatic 10-minute chase. It's a fun chat starting us off in a new series. Listen in!


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]]> Thu, 01 Nov 2012 08:00:00 -0700 The Next Reel The Next Reel 4148 Steve McQueen was one of the coolest actors out there. He brought amazing performances to the screen time and time again. The Magnificent Seven. Papillon. The Thomas Crowne Affair. The Great Escape. The Getaway. The Sand Pebbles. The list goes on. In 1968, he played Frank Bullitt in Peter Yates' film Bullitt, and brought incredible realism, sensitivity and intelligence to the role of a San Francisco policeman. He also brought his desire to create realistic car chases, and because of this ended up a part the granddaddy of all car chases put on film. Steve McQueen was one of the coolest actors out there. He brought amazing performances to the screen time and time again. The Magnificent Seven. Papillon. The Thomas Crowne Affair. The Great Escape. The Getaway. The Sand Pebbles. The list goes on. In 1968 film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Descent • The Next Reel 2 2 17 17 The Descent • The Next Reel full 0eccc911-3ca9-4637-9a37-abd68eef5240 https://share.transistor.fm/s/a05b6466 "Hey, there's something down here."

These aren't words you want to hear when you're stuck on a spelunking trip, particularly when you find out that the "something" that's down here wants to eat you. That's what happens to the cast of six ladies on an adventure trip in Neil Marshall's 2005 film, "The Descent." It's the final episode in our month of horror series, and what a way to end! Join us—Pete Wright and Andy Nelson—as we talk about one of the greatest horror films of the last decade on this week's episode of Rash Pixel's "Movies We Like."

We chat about why this movie works so well, both as a horror movie and as a metaphor for someone descending into madness. We discuss the great cast and how well they work within Marshall's smartly written script. We talk about the crawlers, the monsters in the film, hypothesize their origins and discuss why they are so effective. We talk about the amazing look of the film (dark is the key word) and the haunting music. And we break down the two different endings and what the original/extended ending really adds to the film with its presence. It's a fantastic film and DEFINITELY a movie we like. Listen in!


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]]> "Hey, there's something down here."

These aren't words you want to hear when you're stuck on a spelunking trip, particularly when you find out that the "something" that's down here wants to eat you. That's what happens to the cast of six ladies on an adventure trip in Neil Marshall's 2005 film, "The Descent." It's the final episode in our month of horror series, and what a way to end! Join us—Pete Wright and Andy Nelson—as we talk about one of the greatest horror films of the last decade on this week's episode of Rash Pixel's "Movies We Like."

We chat about why this movie works so well, both as a horror movie and as a metaphor for someone descending into madness. We discuss the great cast and how well they work within Marshall's smartly written script. We talk about the crawlers, the monsters in the film, hypothesize their origins and discuss why they are so effective. We talk about the amazing look of the film (dark is the key word) and the haunting music. And we break down the two different endings and what the original/extended ending really adds to the film with its presence. It's a fantastic film and DEFINITELY a movie we like. Listen in!


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]]> Thu, 25 Oct 2012 07:56:00 -0700 The Next Reel The Next Reel 3935 These aren't words you want to hear when you're stuck on a spelunking trip, particularly when you find out that the "something" that's down here wants to eat you. These aren't words you want to hear when you're stuck on a spelunking trip, particularly when you find out that the "something" that's down here wants to eat you. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Dawn of the Dead (2004) • The Next Reel 2 2 16 16 Dawn of the Dead (2004) • The Next Reel full fe38c19a-182c-4924-9594-193189ba8163 https://share.transistor.fm/s/78f915b0 "Is everyone there dead?"

"Yeah, in the sense that they all sort of fell down, and then... got up and... started eating each other."

Zack Snyder's 2004 "Dawn of the Dead" remake of George A. Romero's 1978 zombie classic may not be trying to say much, but it sure provides a good, fun scare. Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we continue our October Horror series with this film. We talk about the differences between the original and this remake, what works in the remake and what doesn't. We talk about the great effects work, as well as Snyder and his career. We discuss the great actors in this film and the inherent problem of having too many characters for us to have to pay attention to, as well as what characters and relationships ended up being the ones we latched onto. We chat about the interesting connection Heather "A Nightmare on Elm Street" Langenkamp has to this film. And we talk about our favorite moments in the film—the ones that always work and create great zombie moments, regardless of how ridiculous they may be. It's a fun and scary film, and the penultimate in our month of horror movies. Listen in!


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]]> "Is everyone there dead?"

"Yeah, in the sense that they all sort of fell down, and then... got up and... started eating each other."

Zack Snyder's 2004 "Dawn of the Dead" remake of George A. Romero's 1978 zombie classic may not be trying to say much, but it sure provides a good, fun scare. Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we continue our October Horror series with this film. We talk about the differences between the original and this remake, what works in the remake and what doesn't. We talk about the great effects work, as well as Snyder and his career. We discuss the great actors in this film and the inherent problem of having too many characters for us to have to pay attention to, as well as what characters and relationships ended up being the ones we latched onto. We chat about the interesting connection Heather "A Nightmare on Elm Street" Langenkamp has to this film. And we talk about our favorite moments in the film—the ones that always work and create great zombie moments, regardless of how ridiculous they may be. It's a fun and scary film, and the penultimate in our month of horror movies. Listen in!


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]]> Thu, 18 Oct 2012 09:11:00 -0700 The Next Reel The Next Reel 3528 Zack Snyder's 2004 "Dawn of the Dead" remake of George A. Romero's 1978 zombie classic may not be trying to say much, but it sure provides a good, fun scare. Zack Snyder's 2004 "Dawn of the Dead" remake of George A. Romero's 1978 zombie classic may not be trying to say much, but it sure provides a good, fun scare. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright 28 Days Later • The Next Reel 2 2 15 15 28 Days Later • The Next Reel full 558395d2-9372-4360-a6f8-720daba45d5b https://share.transistor.fm/s/3d0c4792 "This is what I've seen in the four weeks since infection: people killing people, which is much what I saw in the four weeks before infection and the four weeks before that and before that as far back as I care to remember. People killing people."

Zombies had notoriously been slow entities—let's face it, the walking dead just don't move so fast. But then Danny Boyle came along and, with writer Alex Garland, injected the zombie sub-genre with speed in their film "28 Days Later." The zombies became fast creatures. And all the more terrifying because of it.

Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we continue our October Horror series by delving into this 2002 film that revolutionized zombie films to come. We talk about how the movie not only altered what people think of zombies and zombie movies, but also how the filmmaking style has since influenced countless low-budget horror filmmakers, including many who shoot projects in the first person film style. We chat about the great actors inhabiting the film, as well as some of the fabulous production people involved. And we also talk about the shift in the third act, how that works for us and really what the filmmakers are trying to say with the story taking the direction it does. It's a bloody and bloody brilliant film, and definitely a movie we like. Listen in!


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]]> "This is what I've seen in the four weeks since infection: people killing people, which is much what I saw in the four weeks before infection and the four weeks before that and before that as far back as I care to remember. People killing people."

Zombies had notoriously been slow entities—let's face it, the walking dead just don't move so fast. But then Danny Boyle came along and, with writer Alex Garland, injected the zombie sub-genre with speed in their film "28 Days Later." The zombies became fast creatures. And all the more terrifying because of it.

Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we continue our October Horror series by delving into this 2002 film that revolutionized zombie films to come. We talk about how the movie not only altered what people think of zombies and zombie movies, but also how the filmmaking style has since influenced countless low-budget horror filmmakers, including many who shoot projects in the first person film style. We chat about the great actors inhabiting the film, as well as some of the fabulous production people involved. And we also talk about the shift in the third act, how that works for us and really what the filmmakers are trying to say with the story taking the direction it does. It's a bloody and bloody brilliant film, and definitely a movie we like. Listen in!


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]]> Thu, 11 Oct 2012 11:06:00 -0700 The Next Reel The Next Reel 4225 Zombies had notoriously been slow entities—let's face it, the walking dead just don't move so fast. But then Danny Boyle came along and, with writer Alex Garland, injected the zombie sub-genre with speed in their film "28 Days Later." Zombies had notoriously been slow entities—let's face it, the walking dead just don't move so fast. But then Danny Boyle came along and, with writer Alex Garland, injected the zombie sub-genre with speed in their film "28 Days Later." film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Thing • The Next Reel 2 2 14 14 The Thing • The Next Reel full 192e5e71-4adc-455b-9ad8-868edc720ed7 https://share.transistor.fm/s/8cfb1f5d In 1982, John Carpenter's "The Thing" was released but had a tough time competing against other big sci-fi films released at the same time—E.T. the Extra Terrestrial and Blade Runner. It also was viewed by critics as being overly gory and wretched. With time, however, the film has gained a big cult following, big enough to warrant a prequel, a comic book series, a video game and a potential sequel. Now, it's considered by many to be one of the great horror films of all time.

Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" (our 50th!) as we start our October horror series with this fantastic film. We talk about why it's one of our favorites and the memories of seeing it for the first time. We chat about the amazing cast and the stellar "thing" designed by FX master Rob Bottin. We talk about Ennio Morricone's music and why this film has gained popularity over time, becoming such a staple in horror, and how that's lead to all of the subsequent spin-offs. It's a marvelous horror film and a great one to start our horror series. Listen in! Oh, and did you know that The Thing is regularly viewed by members of the winter crew down at the Asmundsen-Scott South Pole Station after the last flight out? How fittingly morbid of them...


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]]> In 1982, John Carpenter's "The Thing" was released but had a tough time competing against other big sci-fi films released at the same time—E.T. the Extra Terrestrial and Blade Runner. It also was viewed by critics as being overly gory and wretched. With time, however, the film has gained a big cult following, big enough to warrant a prequel, a comic book series, a video game and a potential sequel. Now, it's considered by many to be one of the great horror films of all time.

Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" (our 50th!) as we start our October horror series with this fantastic film. We talk about why it's one of our favorites and the memories of seeing it for the first time. We chat about the amazing cast and the stellar "thing" designed by FX master Rob Bottin. We talk about Ennio Morricone's music and why this film has gained popularity over time, becoming such a staple in horror, and how that's lead to all of the subsequent spin-offs. It's a marvelous horror film and a great one to start our horror series. Listen in! Oh, and did you know that The Thing is regularly viewed by members of the winter crew down at the Asmundsen-Scott South Pole Station after the last flight out? How fittingly morbid of them...


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]]> Thu, 04 Oct 2012 23:27:00 -0700 The Next Reel The Next Reel 4480 In 1982, John Carpenter's "The Thing" was released but had a tough time competing against other big sci-fi films released at the same time—E.T. the Extra Terrestrial and Blade Runner. It also was viewed by critics as being overly gory and wretched. In 1982, John Carpenter's "The Thing" was released but had a tough time competing against other big sci-fi films released at the same time—E.T. the Extra Terrestrial and Blade Runner. It also was viewed by critics as being overly gory and wretched. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Sweeney Todd: The Demon Barber of Fleet Street • The Next Reel 2 2 13 13 Sweeney Todd: The Demon Barber of Fleet Street • The Next Reel full b215b3a3-1647-429b-9dfc-a2d142595046 https://share.transistor.fm/s/67790440 "You are young. Life has been kind to you. You will learn."

With these words early on in Tim Burton's 2007 film adaptation of Sweeney Todd: The Demon Barber of Fleet Street, we instantly get a sense of the dark place that the character of Sweeney Todd, played marvelously by Johnny Depp, has come from. This isn't your typical happy-go-lucky musical. No, this is dark and bloody and beautifully grim. It's the perfect story for Burton and ends up being one of our favorite films of his, the final film in our Richard D. Zanuck series. Join us—Pete Wright and Andy Nelson—for this episode of Rash Pixel's "Movies We Like" as we delve into everything about this film.

We chat about the stellar performances by Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall and everyone else. We discuss the amazing Stephen Sondheim and the surprisingly long history of the story of Todd. We chat about the blood and the grand guignol style Burton uses for the film, but also about the melancholy and heartbreak present in the story. We bring up Depp's singing and what it does for the film and talk about the rain of blood in the title sequence and how it perfectly sets us up for the film. And, of course, we talk about Zanuck, his involvement in the film, and how challenging it was to get the film made. It's a horror and it's a marvel, and it's definitely a movie we like. Listen in!


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]]> "You are young. Life has been kind to you. You will learn."

With these words early on in Tim Burton's 2007 film adaptation of Sweeney Todd: The Demon Barber of Fleet Street, we instantly get a sense of the dark place that the character of Sweeney Todd, played marvelously by Johnny Depp, has come from. This isn't your typical happy-go-lucky musical. No, this is dark and bloody and beautifully grim. It's the perfect story for Burton and ends up being one of our favorite films of his, the final film in our Richard D. Zanuck series. Join us—Pete Wright and Andy Nelson—for this episode of Rash Pixel's "Movies We Like" as we delve into everything about this film.

We chat about the stellar performances by Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall and everyone else. We discuss the amazing Stephen Sondheim and the surprisingly long history of the story of Todd. We chat about the blood and the grand guignol style Burton uses for the film, but also about the melancholy and heartbreak present in the story. We bring up Depp's singing and what it does for the film and talk about the rain of blood in the title sequence and how it perfectly sets us up for the film. And, of course, we talk about Zanuck, his involvement in the film, and how challenging it was to get the film made. It's a horror and it's a marvel, and it's definitely a movie we like. Listen in!


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]]> Thu, 27 Sep 2012 08:00:00 -0700 The Next Reel The Next Reel 4851 "You are young. Life has been kind to you. You will learn." With these words early on in Tim Burton's 2007 film adaptation of Sweeney Todd: The Demon Barber of Fleet Street, we instantly get a sense of the dark place that the character of Sweeney Todd, played marvelously by Johnny Depp, has come from. "You are young. Life has been kind to you. You will learn." With these words early on in Tim Burton's 2007 film adaptation of Sweeney Todd: The Demon Barber of Fleet Street, we instantly get a sense of the dark place that the character of Sweeney Todd, pl film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Big Fish • The Next Reel 2 2 12 12 Big Fish • The Next Reel full 04e08cda-514e-43aa-966e-8cd06f6f5c95 https://share.transistor.fm/s/50966eb7 "You know about icebergs, Dad?"

"Do I? I saw an iceberg once. They were hauling it down to Texas for drinking water. They didn't count on there being an elephant frozen inside. The wooly kind. A mammoth!"

The only thing better than a great story is a great storyteller, and Edward Bloom certainly fits the bill. Not a moment goes by in Tim Burton's 2003 film "Big Fish" when young Edward, played by Ewan McGregor, isn't living one of his fantastical stories or old Edward, played by Albert Finney, isn't spinning one of his wild yarns, and that's the hook that pulls us so readily into the film.

Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we dive into this quirky and personal story by Burton, the next in our Richard D. Zanuck series. We talk through things that work for us and things that don't within the film. We discuss screenwriter John August's role in bringing the film to light, latching onto it before Daniel Wallace's original novel that it's based on was even published, as well as what we think of August in general. We talk about Burton and his crazy, auteur style. We discuss the great performances in the film—McGregor and Finney certainly, but also Jessica Lange, Alison Lohman, Robert Guillaume, the late Matthew McGrory, Steve Buscemi... the list goes on and on. We chat about Danny Elfman's music for the film and his connection with Burton. And we also talk about Zanuck and how he came to the film with Burton after they worked on "Planet of the Apes" together. It's a touching film dealing with the relationship between parents and their children, and certainly a movie we like. Listen in!


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]]> "You know about icebergs, Dad?"

"Do I? I saw an iceberg once. They were hauling it down to Texas for drinking water. They didn't count on there being an elephant frozen inside. The wooly kind. A mammoth!"

The only thing better than a great story is a great storyteller, and Edward Bloom certainly fits the bill. Not a moment goes by in Tim Burton's 2003 film "Big Fish" when young Edward, played by Ewan McGregor, isn't living one of his fantastical stories or old Edward, played by Albert Finney, isn't spinning one of his wild yarns, and that's the hook that pulls us so readily into the film.

Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we dive into this quirky and personal story by Burton, the next in our Richard D. Zanuck series. We talk through things that work for us and things that don't within the film. We discuss screenwriter John August's role in bringing the film to light, latching onto it before Daniel Wallace's original novel that it's based on was even published, as well as what we think of August in general. We talk about Burton and his crazy, auteur style. We discuss the great performances in the film—McGregor and Finney certainly, but also Jessica Lange, Alison Lohman, Robert Guillaume, the late Matthew McGrory, Steve Buscemi... the list goes on and on. We chat about Danny Elfman's music for the film and his connection with Burton. And we also talk about Zanuck and how he came to the film with Burton after they worked on "Planet of the Apes" together. It's a touching film dealing with the relationship between parents and their children, and certainly a movie we like. Listen in!


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]]> Thu, 20 Sep 2012 11:14:00 -0700 The Next Reel The Next Reel 3931 The only thing better than a great story is a great storyteller, and Edward Bloom certainly fits the bill. Not a moment goes by in Tim Burton's 2003 film "Big Fish" when young Edward, played by Ewan McGregor, isn't living one of his fantastical stories or old Edward, played by Albert Finney, isn't spinning one of his wild yarns, and that's the hook that pulls us so readily into the film. The only thing better than a great story is a great storyteller, and Edward Bloom certainly fits the bill. Not a moment goes by in Tim Burton's 2003 film "Big Fish" when young Edward, played by Ewan McGregor, isn't living one of his fantastical stories or film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Rush • The Next Reel 2 2 11 11 Rush • The Next Reel full 4ffd60b4-db3f-4d1d-ba65-148e40d0f58b https://share.transistor.fm/s/cc2e14fe "Pretty soon you be feeling all unnecessary."

In 1991, Richard D. Zanuck and his wife, Lili Fini Zanuck, produced her directorial debut, "Rush," a story of two undercover cops trying to bring down a big drug dealer in a small Texas town and in the process become addicts themselves. Our memory of the film, unfortunately, was a bit better than the film itself (even if one of us disliked it less than the other).

Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we talk about this financial failure for the Zanucks. We talk about the troubles with the script and how it may have been a better film if they stuck to the truth of the story it was based on. We chat about the actors, particularly the leads Jason Patric and Jennifer Jason Leigh, and how she really is the one who grounds the film, providing something to latch onto. There's also Sam Elliott and Max Perlich providing great moments and Gregg Allman looking very serious. We chat about the camera work, particularly the long shots that Lili uses periodically, and how they work for the story. And we discuss where this falls in the Zanuck line-up and where they go from here.

Despite the movie not being everything we remember from 1991, we have a great time talking about it. Listen in!


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]]> "Pretty soon you be feeling all unnecessary."

In 1991, Richard D. Zanuck and his wife, Lili Fini Zanuck, produced her directorial debut, "Rush," a story of two undercover cops trying to bring down a big drug dealer in a small Texas town and in the process become addicts themselves. Our memory of the film, unfortunately, was a bit better than the film itself (even if one of us disliked it less than the other).

Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we talk about this financial failure for the Zanucks. We talk about the troubles with the script and how it may have been a better film if they stuck to the truth of the story it was based on. We chat about the actors, particularly the leads Jason Patric and Jennifer Jason Leigh, and how she really is the one who grounds the film, providing something to latch onto. There's also Sam Elliott and Max Perlich providing great moments and Gregg Allman looking very serious. We chat about the camera work, particularly the long shots that Lili uses periodically, and how they work for the story. And we discuss where this falls in the Zanuck line-up and where they go from here.

Despite the movie not being everything we remember from 1991, we have a great time talking about it. Listen in!


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]]> Thu, 13 Sep 2012 09:33:00 -0700 The Next Reel The Next Reel 4216 "Pretty soon you be feeling all unnecessary." In 1991, Richard D. Zanuck and his wife, Lili Fini Zanuck, produced her directorial debut, "Rush," a story of two undercover cops trying to bring down a big drug dealer in a small Texas town and in the process become addicts themselves. Our memory of the film, unfortunately, was a bit better than the film itself (even if one of us disliked it less than the other). Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we talk about this financial failure for the Zanucks. We talk about the troubles with the script and how it may have been a better film if they stuck to the truth of the story it was based on. We chat about the actors, particularly the leads Jason Patric and Jennifer Jason Leigh, and how she really is the one who grounds the film, providing something to latch onto. There's also Sam Elliott and Max Perlich providing great moments and Gregg Allman looking very serious. We chat about the camera work, particularly the long shots that Lili uses periodically, and how they work for the story. And we discuss where this falls in the Zanuck line-up and where they go from here. Despite the movie not being everything we remember from 1991, we have a great time talking about it. Listen in! "Pretty soon you be feeling all unnecessary." In 1991, Richard D. Zanuck and his wife, Lili Fini Zanuck, produced her directorial debut, "Rush," a story of two undercover cops trying to bring down a big drug dealer in a small Texas town and in the proces film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Driving Miss Daisy • The Next Reel 2 2 10 10 Driving Miss Daisy • The Next Reel full 8a86c8d0-ef90-42b6-b6ab-cd6b337c1522 https://share.transistor.fm/s/82a2997f Driving Miss Daisy was a perfect story choice for Richard D. Zanuck to produce. Sure, it was difficult to get made but for a film that only cost $7.5 million dollars to produce, it raked in over $100 million at the domestic box office, putting it in the top 10 of the year with the likes of Batman and Lethal Weapon 2. Topping that off, it led Zanuck, along with his wife, Lili Fini Zanuck, to win the Best Picture award at the Oscars.

But this 1989 film, which deals with prejudice and friendship in the relationship between an old Jewish woman in the south and her African American driver, stands out for many people as a perfect example of what's wrong with the Oscars because it came out the same year as Spike Lee's Do the Right Thing, a film that deals with race relations in a much more intense and direct way, and what many feel should have won the Best Picture award.

Regardless of your position on which is the better film or which should have won, Bruce Beresford's film Driving Miss Daisy, written by Alfred Uhry based on his Pulitzer prize-winning play, is a beautiful, simple, and sweet story of two people who are the most unlikely to develop a friendship, yet they do just that. And it's heartwarming.

Join us — Pete Wright and Andy Nelson — on this week's episode of Rash Pixel's Movies We Like as we discuss the amazing performances — Morgan Freeman, Jessica Tandy, and Dan Aykroyd are all fantastic. We chat about what the film is saying about race and look at in context of the 25 years over which the story takes place. We look at the films it was up against at the Oscars that year (as well as those that weren't nominated). And we discuss the amazing or horrible Hans Zimmer music, depending on your taste for his 80s synthesized scores. It's a discussion that ranges all over the map as we talk about this wonderful film, the fourth in our Richard D. Zanuck series. We have a great time talking about it, and hope you have a great time listening to it. Listen in!


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]]> Driving Miss Daisy was a perfect story choice for Richard D. Zanuck to produce. Sure, it was difficult to get made but for a film that only cost $7.5 million dollars to produce, it raked in over $100 million at the domestic box office, putting it in the top 10 of the year with the likes of Batman and Lethal Weapon 2. Topping that off, it led Zanuck, along with his wife, Lili Fini Zanuck, to win the Best Picture award at the Oscars.

But this 1989 film, which deals with prejudice and friendship in the relationship between an old Jewish woman in the south and her African American driver, stands out for many people as a perfect example of what's wrong with the Oscars because it came out the same year as Spike Lee's Do the Right Thing, a film that deals with race relations in a much more intense and direct way, and what many feel should have won the Best Picture award.

Regardless of your position on which is the better film or which should have won, Bruce Beresford's film Driving Miss Daisy, written by Alfred Uhry based on his Pulitzer prize-winning play, is a beautiful, simple, and sweet story of two people who are the most unlikely to develop a friendship, yet they do just that. And it's heartwarming.

Join us — Pete Wright and Andy Nelson — on this week's episode of Rash Pixel's Movies We Like as we discuss the amazing performances — Morgan Freeman, Jessica Tandy, and Dan Aykroyd are all fantastic. We chat about what the film is saying about race and look at in context of the 25 years over which the story takes place. We look at the films it was up against at the Oscars that year (as well as those that weren't nominated). And we discuss the amazing or horrible Hans Zimmer music, depending on your taste for his 80s synthesized scores. It's a discussion that ranges all over the map as we talk about this wonderful film, the fourth in our Richard D. Zanuck series. We have a great time talking about it, and hope you have a great time listening to it. Listen in!


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]]> Thu, 06 Sep 2012 09:00:00 -0700 The Next Reel The Next Reel 4681 Driving Miss Daisy was a perfect story choice for Richard D. Zanuck to produce. Sure, it was difficult to get made but for a film that only cost $7.5 million dollars to produce, it raked in over $100 million at the domestic box office, putting it in the top 10 of the year with the likes of Batman and Lethal Weapon 2. Topping that off, it led Zanuck, along with his wife, Lili Fini Zanuck, to win the Best Picture award at the Oscars. But this 1989 film, which deals with prejudice and friendship in the relationship between an old Jewish woman in the south and her African American driver, stands out for many people as a perfect example of what's wrong with the Oscars because it came out the same year as Spike Lee's Do the Right Thing, a film that deals with race relations in a much more intense and direct way, and what many feel should have won the Best Picture award. Regardless of your position on which is the better film or which should have won, Bruce Beresford's film Driving Miss Daisy, written by Alfred Uhry based on his Pulitzer prize-winning play, is a beautiful, simple, and sweet story of two people who are the most unlikely to develop a friendship, yet they do just that. And it's heartwarming. Join us — Pete Wright and Andy Nelson — on this week's episode of Rash Pixel's Movies We Like as we discuss the amazing performances — Morgan Freeman, Jessica Tandy, and Dan Aykroyd are all fantastic. We chat about what the film is saying about race and look at in context of the 25 years over which the story takes place. We look at the films it was up against at the Oscars that year (as well as those that weren't nominated). And we discuss the amazing or horrible Hans Zimmer music, depending on your taste for his 80s synthesized scores. It's a discussion that ranges all over the map as we talk about this wonderful film, the fourth in our Richard D. Zanuck series. We have a great time talking about it, and hope you have a great time listening to it. Listen in! Driving Miss Daisy was a perfect story choice for Richard D. Zanuck to produce. Sure, it was difficult to get made but for a film that only cost $7.5 million dollars to produce, it raked in over $100 million at the domestic box office, putting it in the t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Jaws • The Next Reel 2 2 9 9 Jaws • The Next Reel full bb921b5c-0c5c-4169-9c88-0576ec7cbba8 https://share.transistor.fm/s/c01c0687 "I used to hate the water."

"I can't imagine why."

When someone says the word 'jaws' to you, it inevitably conjures up the man-eating great white shark in Steven Spielberg's 1975 thriller masterpiece. It's hard to imagine a time when the word 'jaws' didn't do this. But that's what Spielberg's film "Jaws" did, as well as birth the notion of the summer blockbuster and make people not want to swim in the ocean.

Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we chat about this film, the next in our Richard D. Zanuck series. We talk about why this film works so well and how it tapped into people's natural fears. We discuss the unfortunate repercussion this film had on people's understanding of sharks and how Peter Benchley, the author of the book and co-screenwriter, now wishes he hadn't written the book for that very reason. We talk about the great cast headed up by Roy Scheider, Richard Dreyfuss, and Robert Shaw, and what they bring to the table as well as the technical mastery the crew added to this film, from the amazing cinematography to the sound and, of course, John Williams' unforgettable score. And we discuss the amazing new Blu-ray that Universal just released, creating a finished product that looks like it could have been shot yesterday. It's one of the greatest films out there and well worth talking about. Listen in!


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]]> "I used to hate the water."

"I can't imagine why."

When someone says the word 'jaws' to you, it inevitably conjures up the man-eating great white shark in Steven Spielberg's 1975 thriller masterpiece. It's hard to imagine a time when the word 'jaws' didn't do this. But that's what Spielberg's film "Jaws" did, as well as birth the notion of the summer blockbuster and make people not want to swim in the ocean.

Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we chat about this film, the next in our Richard D. Zanuck series. We talk about why this film works so well and how it tapped into people's natural fears. We discuss the unfortunate repercussion this film had on people's understanding of sharks and how Peter Benchley, the author of the book and co-screenwriter, now wishes he hadn't written the book for that very reason. We talk about the great cast headed up by Roy Scheider, Richard Dreyfuss, and Robert Shaw, and what they bring to the table as well as the technical mastery the crew added to this film, from the amazing cinematography to the sound and, of course, John Williams' unforgettable score. And we discuss the amazing new Blu-ray that Universal just released, creating a finished product that looks like it could have been shot yesterday. It's one of the greatest films out there and well worth talking about. Listen in!


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]]> Thu, 30 Aug 2012 07:45:00 -0700 The Next Reel The Next Reel 4578 "I used to hate the water." "I can't imagine why." When someone says the word 'jaws' to you, it inevitably conjures up the man-eating great white shark in Steven Spielberg's 1975 thriller masterpiece. It's hard to imagine a time when the word 'jaws' didn't do this. But that's what Spielberg's film "Jaws" did, as well as birth the notion of the summer blockbuster and make people not want to swim in the ocean. Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we chat about this film, the next in our Richard D. Zanuck series. We talk about why this film works so well and how it tapped into people's natural fears. We discuss the unfortunate repercussion this film had on people's understanding of sharks and how Peter Benchley, the author of the book and co-screenwriter, now wishes he hadn't written the book for that very reason. We talk about the great cast headed up by Roy Scheider, Richard Dreyfuss, and Robert Shaw, and what they bring to the table as well as the technical mastery the crew added to this film, from the amazing cinematography to the sound and, of course, John Williams' unforgettable score. And we discuss the amazing new Blu-ray that Universal just released, creating a finished product that looks like it could have been shot yesterday. It's one of the greatest films out there and well worth talking about. Listen in! "I used to hate the water." "I can't imagine why." When someone says the word 'jaws' to you, it inevitably conjures up the man-eating great white shark in Steven Spielberg's 1975 thriller masterpiece. It's hard to imagine a time when the word 'jaws' did film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Sting • The Next Reel 2 2 8 8 The Sting • The Next Reel full 26e31a6b-6d24-49e7-ba8c-e81e0164ca10 https://share.transistor.fm/s/9492f965 After his father fired him from 20th Century Fox and a short stint at Warner Bros., Richard D. Zanuck joined forces with his buddy David Brown from his Fox days and the two joined forces as the independent producing duo under the banner The Zanuck/Brown Company. For their first film? They found possibly one of the greatest scripts ever written -- David S. Ward's "The Sting" -- got George Roy Hill to direct with Paul Newman and Robert Redford heading up the stellar cast and ended up producing the Best Picture winner of 1973, as well as one of the greatest films ever made. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" for the second in our Richard D. Zanuck series as we discuss (and maybe gush a little bit because of our overwhelming love for this film) everything that makes "The Sting" great. We chat about David S. Ward's amazing script and why it works so well, as well as the world of con men and how this film does such a stellar job of welcoming us into this world. We talk about George Roy Hill and what he brings to the table, particularly with Newman and Redford, two amazing actors with whom he worked a few years earlier in "Butch Cassidy and the Sundance Kid." We discuss the rest of the team and their invaluable contributions as well as the 7 Oscars the film took home for those contributions. And we revel in the amazing Scott Joplin ragtime tunes that fill the film from beginning to end, wonderfully arranged by the late, great Marvin Hamlisch. It's a fantastic film -- one of our favorites -- and one that really put Richard D. Zanuck on the map as an independent producer in his own right, helping him get out from under his father's immense shadow. Listen in!


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]]> After his father fired him from 20th Century Fox and a short stint at Warner Bros., Richard D. Zanuck joined forces with his buddy David Brown from his Fox days and the two joined forces as the independent producing duo under the banner The Zanuck/Brown Company. For their first film? They found possibly one of the greatest scripts ever written -- David S. Ward's "The Sting" -- got George Roy Hill to direct with Paul Newman and Robert Redford heading up the stellar cast and ended up producing the Best Picture winner of 1973, as well as one of the greatest films ever made. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" for the second in our Richard D. Zanuck series as we discuss (and maybe gush a little bit because of our overwhelming love for this film) everything that makes "The Sting" great. We chat about David S. Ward's amazing script and why it works so well, as well as the world of con men and how this film does such a stellar job of welcoming us into this world. We talk about George Roy Hill and what he brings to the table, particularly with Newman and Redford, two amazing actors with whom he worked a few years earlier in "Butch Cassidy and the Sundance Kid." We discuss the rest of the team and their invaluable contributions as well as the 7 Oscars the film took home for those contributions. And we revel in the amazing Scott Joplin ragtime tunes that fill the film from beginning to end, wonderfully arranged by the late, great Marvin Hamlisch. It's a fantastic film -- one of our favorites -- and one that really put Richard D. Zanuck on the map as an independent producer in his own right, helping him get out from under his father's immense shadow. Listen in!


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]]> Thu, 23 Aug 2012 08:32:00 -0700 The Next Reel The Next Reel 3971 After his father fired him from 20th Century Fox and a short stint at Warner Bros., Richard D. Zanuck joined forces with his buddy David Brown from his Fox days and the two joined forces as the independent producing duo under the banner The Zanuck/Brown Company. For their first film? They found possibly one of the greatest scripts ever written -- David S. Ward's "The Sting" -- got George Roy Hill to direct with Paul Newman and Robert Redford heading up the stellar cast and ended up producing the Best Picture winner of 1973, as well as one of the greatest films ever made. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" for the second in our Richard D. Zanuck series as we discuss (and maybe gush a little bit because of our overwhelming love for this film) everything that makes "The Sting" great. We chat about David S. Ward's amazing script and why it works so well, as well as the world of con men and how this film does such a stellar job of welcoming us into this world. We talk about George Roy Hill and what he brings to the table, particularly with Newman and Redford, two amazing actors with whom he worked a few years earlier in "Butch Cassidy and the Sundance Kid." We discuss the rest of the team and their invaluable contributions as well as the 7 Oscars the film took home for those contributions. And we revel in the amazing Scott Joplin ragtime tunes that fill the film from beginning to end, wonderfully arranged by the late, great Marvin Hamlisch. It's a fantastic film -- one of our favorites -- and one that really put Richard D. Zanuck on the map as an independent producer in his own right, helping him get out from under his father's immense shadow. Listen in! After his father fired him from 20th Century Fox and a short stint at Warner Bros., Richard D. Zanuck joined forces with his buddy David Brown from his Fox days and the two joined forces as the independent producing duo under the banner The Zanuck/Brown C film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Compulsion • The Next Reel 2 2 7 7 Compulsion • The Next Reel full 51edf33a-79c0-47aa-80e2-b4874ae5ca5b https://share.transistor.fm/s/052cdc31 "Murder's nothing. It's just a simple experience. Murder and rape. Do you know what beauty there is in evil?" It's the start of our Richard D. Zanuck tribute series, ladies and gentlemen, and what better way to begin than with the first film he produced for his father, Darryl F. Zanuck, 1959's "Compulsion." Based on the book of the same name by Meyer Levin about the Leopold/Loeb murder from 1924, Richard D. Zanuck puts together a top notch team of cast and crew, headed up by director Richard Fleischer, to create a film that comes in under budget and ahead of schedule. It's a fascinating story about two young geniuses who are convinced they can commit the perfect crime and they do -- except one of them accidentally drops his glasses at the scene of the crime. The true story is horrifying, and it's equally so in this honest film depiction. With neither of us having seen this film before preparing for this episode, we stumbled upon a rare gem that deserves more viewers. We chat about the incredible cast headed up by Dean Stockwell and Bradford Dillman as the two murderers, Orson Welles as their lawyer, E.G. Marshall as the DA prosecuting them, Gavin MacLeod as his assistant, and Diane Varsi and Martin Milner as the friends caught up in the whole mess. We discuss Fleischer and what he brought to the table, along with William C. Mellor, the DP. We also discuss the interesting homosexual and sadomasochistic subtexts the film broaches, as well as rape and capital punishment, which for 1959 was a pretty big deal. It's an amazing film to stumble across and the perfect start for our Richard D. Zanuck tribute series. Check the movie out on Amazon and listen in!


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]]> "Murder's nothing. It's just a simple experience. Murder and rape. Do you know what beauty there is in evil?" It's the start of our Richard D. Zanuck tribute series, ladies and gentlemen, and what better way to begin than with the first film he produced for his father, Darryl F. Zanuck, 1959's "Compulsion." Based on the book of the same name by Meyer Levin about the Leopold/Loeb murder from 1924, Richard D. Zanuck puts together a top notch team of cast and crew, headed up by director Richard Fleischer, to create a film that comes in under budget and ahead of schedule. It's a fascinating story about two young geniuses who are convinced they can commit the perfect crime and they do -- except one of them accidentally drops his glasses at the scene of the crime. The true story is horrifying, and it's equally so in this honest film depiction. With neither of us having seen this film before preparing for this episode, we stumbled upon a rare gem that deserves more viewers. We chat about the incredible cast headed up by Dean Stockwell and Bradford Dillman as the two murderers, Orson Welles as their lawyer, E.G. Marshall as the DA prosecuting them, Gavin MacLeod as his assistant, and Diane Varsi and Martin Milner as the friends caught up in the whole mess. We discuss Fleischer and what he brought to the table, along with William C. Mellor, the DP. We also discuss the interesting homosexual and sadomasochistic subtexts the film broaches, as well as rape and capital punishment, which for 1959 was a pretty big deal. It's an amazing film to stumble across and the perfect start for our Richard D. Zanuck tribute series. Check the movie out on Amazon and listen in!


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]]> Thu, 16 Aug 2012 23:50:00 -0700 The Next Reel The Next Reel 3808 "Murder's nothing. It's just a simple experience. Murder and rape. Do you know what beauty there is in evil?" It's the start of our Richard D. Zanuck tribute series, ladies and gentlemen, and what better way to begin than with the first film he produced for his father, Darryl F. Zanuck, 1959's "Compulsion." Based on the book of the same name by Meyer Levin about the Leopold/Loeb murder from 1924, Richard D. Zanuck puts together a top notch team of cast and crew, headed up by director Richard Fleischer, to create a film that comes in under budget and ahead of schedule. It's a fascinating story about two young geniuses who are convinced they can commit the perfect crime and they do -- except one of them accidentally drops his glasses at the scene of the crime. The true story is horrifying, and it's equally so in this honest film depiction. With neither of us having seen this film before preparing for this episode, we stumbled upon a rare gem that deserves more viewers. We chat about the incredible cast headed up by Dean Stockwell and Bradford Dillman as the two murderers, Orson Welles as their lawyer, E.G. Marshall as the DA prosecuting them, Gavin MacLeod as his assistant, and Diane Varsi and Martin Milner as the friends caught up in the whole mess. We discuss Fleischer and what he brought to the table, along with William C. Mellor, the DP. We also discuss the interesting homosexual and sadomasochistic subtexts the film broaches, as well as rape and capital punishment, which for 1959 was a pretty big deal. It's an amazing film to stumble across and the perfect start for our Richard D. Zanuck tribute series. Check the movie out on Amazon and listen in! "Murder's nothing. It's just a simple experience. Murder and rape. Do you know what beauty there is in evil?" It's the start of our Richard D. Zanuck tribute series, ladies and gentlemen, and what better way to begin than with the first film he produced f film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Bourne Legacy • The Next Reel 2 2 6 6 The Bourne Legacy • The Next Reel full c096b278-6d49-4135-8da1-62d95fe4a4b3 https://share.transistor.fm/s/f072796d "Jason Bourne was just the tip of the iceberg."

We always knew there were other operatives out there, and when the producers couldn't get Matt Damon and Paul Greengrass to return to do another Jason Bourne movie, they did the right thing by bringing in the man who's been with the series from the start—Tony Gilroy—to not only write but also direct this latest entry into the franchise, "The Bourne Legacy."

Tony Gilroy opens up the world of these supersoldier spies and builds on the already complex levels of secret government programs to bring us another operative from one of Treadstone's sister programs. This time, it's Aaron Cross played with intensity and intelligence by Jeremy Renner. Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we delve into the complex and globetrotting story.

We discuss what the new actors to the franchise—Renner, Rachel Weisz, Edward Norton, and Stacy Keach—bring to the table. We talk about the fascinating way Gilroy makes a film that actually takes place in parallel to "The Bourne Ultimatum" and how that enhances the size of this universe. We chat about the stunts and chase sequences in the film and how the work and don't work, and we cover the elements that work for us as well as those that don't. On the whole, it's a great entry into the Bourne franchise and one that we're happy to talk about. Listen in!


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]]> "Jason Bourne was just the tip of the iceberg."

We always knew there were other operatives out there, and when the producers couldn't get Matt Damon and Paul Greengrass to return to do another Jason Bourne movie, they did the right thing by bringing in the man who's been with the series from the start—Tony Gilroy—to not only write but also direct this latest entry into the franchise, "The Bourne Legacy."

Tony Gilroy opens up the world of these supersoldier spies and builds on the already complex levels of secret government programs to bring us another operative from one of Treadstone's sister programs. This time, it's Aaron Cross played with intensity and intelligence by Jeremy Renner. Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we delve into the complex and globetrotting story.

We discuss what the new actors to the franchise—Renner, Rachel Weisz, Edward Norton, and Stacy Keach—bring to the table. We talk about the fascinating way Gilroy makes a film that actually takes place in parallel to "The Bourne Ultimatum" and how that enhances the size of this universe. We chat about the stunts and chase sequences in the film and how the work and don't work, and we cover the elements that work for us as well as those that don't. On the whole, it's a great entry into the Bourne franchise and one that we're happy to talk about. Listen in!


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]]> Thu, 09 Aug 2012 09:05:00 -0700 The Next Reel The Next Reel 4255 "Jason Bourne was just the tip of the iceberg." We always knew there were other operatives out there, and when the producers couldn't get Matt Damon and Paul Greengrass to return to do another Jason Bourne movie, they did the right thing by bringing in the man who's been with the series from the start—Tony Gilroy—to not only write but also direct this latest entry into the franchise, "The Bourne Legacy." Tony Gilroy opens up the world of these supersoldier spies and builds on the already complex levels of secret government programs to bring us another operative from one of Treadstone's sister programs. This time, it's Aaron Cross played with intensity and intelligence by Jeremy Renner. Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we delve into the complex and globetrotting story. We discuss what the new actors to the franchise—Renner, Rachel Weisz, Edward Norton, and Stacy Keach—bring to the table. We talk about the fascinating way Gilroy makes a film that actually takes place in parallel to "The Bourne Ultimatum" and how that enhances the size of this universe. We chat about the stunts and chase sequences in the film and how the work and don't work, and we cover the elements that work for us as well as those that don't. On the whole, it's a great entry into the Bourne franchise and one that we're happy to talk about. Listen in! "Jason Bourne was just the tip of the iceberg." We always knew there were other operatives out there, and when the producers couldn't get Matt Damon and Paul Greengrass to return to do another Jason Bourne movie, they did the right thing by bringing in t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Bourne Ultimatum • The Next Reel 2 2 5 5 The Bourne Ultimatum • The Next Reel full 845e0ea0-7c31-4226-a20a-0a6c4eaca2b5 https://share.transistor.fm/s/0b11bd2e "You start down this path, where does it end?" "It ends when we've won." Frightening words coming from a CIA agent more intent on keeping his team's illegal program under wraps than in saving American lives. And that's the man intent on preventing Jason Bourne from learning about his past, because that man, Noah Vosen -- played wonderfully by the ever-brilliant David Strathairn -- knows it will lead to his own downfall. It's time, ladies and gentlemen, for the final chapter in the Jason Bourne trilogy, even if it's not the end of the Bourne series. Jason finally works to dig up where he came from, no matter how ugly it is, and come to terms with it. It's a great film and an awesome end to this trilogy, even if the jiggly monkey cam does make people literally vomit in the aisles. Listen in as we -- Pete Wright and Andy Nelson -- talk about it this week on Rash Pixel's "Movies We Like!" We chat about Jason Bourne's and Matt Damon's character growth/performance over the course of these three films and how it matures. We discuss the nature of the camerawork and how it seems to get progressively shakier as the series progresses. We discuss the top notch editing and stuntwork in this film. And we talk about its place in the Bourne franchise. We have a great time discussing this film as we lead up to the release of The Bourne Legacy. Join us!


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]]> "You start down this path, where does it end?" "It ends when we've won." Frightening words coming from a CIA agent more intent on keeping his team's illegal program under wraps than in saving American lives. And that's the man intent on preventing Jason Bourne from learning about his past, because that man, Noah Vosen -- played wonderfully by the ever-brilliant David Strathairn -- knows it will lead to his own downfall. It's time, ladies and gentlemen, for the final chapter in the Jason Bourne trilogy, even if it's not the end of the Bourne series. Jason finally works to dig up where he came from, no matter how ugly it is, and come to terms with it. It's a great film and an awesome end to this trilogy, even if the jiggly monkey cam does make people literally vomit in the aisles. Listen in as we -- Pete Wright and Andy Nelson -- talk about it this week on Rash Pixel's "Movies We Like!" We chat about Jason Bourne's and Matt Damon's character growth/performance over the course of these three films and how it matures. We discuss the nature of the camerawork and how it seems to get progressively shakier as the series progresses. We discuss the top notch editing and stuntwork in this film. And we talk about its place in the Bourne franchise. We have a great time discussing this film as we lead up to the release of The Bourne Legacy. Join us!


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]]> Thu, 02 Aug 2012 12:16:00 -0700 The Next Reel The Next Reel 3766 "You start down this path, where does it end?" "It ends when we've won." Frightening words coming from a CIA agent more intent on keeping his team's illegal program under wraps than in saving American lives. And that's the man intent on preventing Jason Bourne from learning about his past, because that man, Noah Vosen -- played wonderfully by the ever-brilliant David Strathairn -- knows it will lead to his own downfall. It's time, ladies and gentlemen, for the final chapter in the Jason Bourne trilogy, even if it's not the end of the Bourne series. Jason finally works to dig up where he came from, no matter how ugly it is, and come to terms with it. It's a great film and an awesome end to this trilogy, even if the jiggly monkey cam does make people literally vomit in the aisles. Listen in as we -- Pete Wright and Andy Nelson -- talk about it this week on Rash Pixel's "Movies We Like!" We chat about Jason Bourne's and Matt Damon's character growth/performance over the course of these three films and how it matures. We discuss the nature of the camerawork and how it seems to get progressively shakier as the series progresses. We discuss the top notch editing and stuntwork in this film. And we talk about its place in the Bourne franchise. We have a great time discussing this film as we lead up to the release of The Bourne Legacy. Join us! "You start down this path, where does it end?" "It ends when we've won." Frightening words coming from a CIA agent more intent on keeping his team's illegal program under wraps than in saving American lives. And that's the man intent on preventing Jason B film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Bourne Supremacy • The Next Reel 2 2 4 4 The Bourne Supremacy • The Next Reel full cc4f2458-6f76-4277-b86b-65be498ae080 https://share.transistor.fm/s/658a072f "Word in the ether was you'd lost your memory."

Jason Bourne's back, still trying to figure out his past as a government assassin while struggling to stay ahead of both the good and bad guys as they attempt to take him out. This week, we're covering the 2004 film, "The Bourne Supremacy", the second in the Bourne franchise. Paul Greengrass took over as director after Doug Liman's struggles with the studio brass on the first film, and he does a bang-up job -- quite literally, in fact. He brings a much more in-the-action style to the story, making it feel like you're in the fights with Jason Bourne. Or for some people, just making them nauseated -- there's a reason some people call this style "queasicam". Join us as we -- Pete Wright and Andy Nelson -- talk about the movie this week on Rash Pixel's "Movies We Like". We discuss the directing styles of Greengrass vs. Liman and the cohesiveness of the two styles in the series. We chat about the amazing stuntwork and how it really brings a level of reality to the story. We cover the amazing actors and performances in the film, as well as talk about the amazing crew who brought it all together. We talk more about Bourne versus Bond. We discuss the complicated plot twists in the overall story, even if they don't entirely work. And we also give props to a few people we forgot to mention in the last episode, other key players who helped make "The Bourne Identity" what it was. Listen in!


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]]> "Word in the ether was you'd lost your memory."

Jason Bourne's back, still trying to figure out his past as a government assassin while struggling to stay ahead of both the good and bad guys as they attempt to take him out. This week, we're covering the 2004 film, "The Bourne Supremacy", the second in the Bourne franchise. Paul Greengrass took over as director after Doug Liman's struggles with the studio brass on the first film, and he does a bang-up job -- quite literally, in fact. He brings a much more in-the-action style to the story, making it feel like you're in the fights with Jason Bourne. Or for some people, just making them nauseated -- there's a reason some people call this style "queasicam". Join us as we -- Pete Wright and Andy Nelson -- talk about the movie this week on Rash Pixel's "Movies We Like". We discuss the directing styles of Greengrass vs. Liman and the cohesiveness of the two styles in the series. We chat about the amazing stuntwork and how it really brings a level of reality to the story. We cover the amazing actors and performances in the film, as well as talk about the amazing crew who brought it all together. We talk more about Bourne versus Bond. We discuss the complicated plot twists in the overall story, even if they don't entirely work. And we also give props to a few people we forgot to mention in the last episode, other key players who helped make "The Bourne Identity" what it was. Listen in!


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]]> Thu, 26 Jul 2012 07:51:00 -0700 The Next Reel The Next Reel 3496 "Word in the ether was you'd lost your memory." Jason Bourne's back, still trying to figure out his past as a government assassin while struggling to stay ahead of both the good and bad guys as they attempt to take him out. This week, we're covering the 2004 film, "The Bourne Supremacy", the second in the Bourne franchise. Paul Greengrass took over as director after Doug Liman's struggles with the studio brass on the first film, and he does a bang-up job -- quite literally, in fact. He brings a much more in-the-action style to the story, making it feel like you're in the fights with Jason Bourne. Or for some people, just making them nauseated -- there's a reason some people call this style "queasicam". Join us as we -- Pete Wright and Andy Nelson -- talk about the movie this week on Rash Pixel's "Movies We Like". We discuss the directing styles of Greengrass vs. Liman and the cohesiveness of the two styles in the series. We chat about the amazing stuntwork and how it really brings a level of reality to the story. We cover the amazing actors and performances in the film, as well as talk about the amazing crew who brought it all together. We talk more about Bourne versus Bond. We discuss the complicated plot twists in the overall story, even if they don't entirely work. And we also give props to a few people we forgot to mention in the last episode, other key players who helped make "The Bourne Identity" what it was. Listen in! "Word in the ether was you'd lost your memory." Jason Bourne's back, still trying to figure out his past as a government assassin while struggling to stay ahead of both the good and bad guys as they attempt to take him out. This week, we're covering the film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Bourne Identity • The Next Reel 2 2 3 3 The Bourne Identity • The Next Reel full bd781796-f4eb-493a-93a5-3b422d22ea1a https://share.transistor.fm/s/5f896b13 "I can tell you the license plate numbers of all six cars outside. I can tell you that our waitress is left-handed and the guy sitting up at the counter weighs two hundred fifteen pounds and knows how to handle himself. I know the best place to look for a gun is the cab of the gray truck outside, and at this altitude, I can run flat out for a half mile before my hands start shaking. Now why would I know that? How can I know that and not know who I am?"

This week, movie lovers, we begin our series on the Bourne movies, starting here with Doug Liman's 2002 film, The Bourne Identity. Born from Robert Ludlum's classic spy thriller, this movie came out a time when the spy film genre was feeling a little... overstuffed. This film, as well as the two that followed it, proved that a spy film could be more than just action scenes loosely strung together with threads of a weak story. Join us—Pete Wright and Andy Nelson—as we build to the upcoming The Bourne Legacy with this week's episode of Rash Pixel's Movies We Like. We chat about the Bourne series and Robert Ludlum who created it. We discuss the theory of the modern action filmmaking style, Chaos Cinema, and how it plays into the series. We also touch on this film as compared to the James Bond film of the same year, Die Another Day. It's a fun film and well worth watching. Join us as we begin digging into the empty pockets of Jason Bourne's mind!


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]]> "I can tell you the license plate numbers of all six cars outside. I can tell you that our waitress is left-handed and the guy sitting up at the counter weighs two hundred fifteen pounds and knows how to handle himself. I know the best place to look for a gun is the cab of the gray truck outside, and at this altitude, I can run flat out for a half mile before my hands start shaking. Now why would I know that? How can I know that and not know who I am?"

This week, movie lovers, we begin our series on the Bourne movies, starting here with Doug Liman's 2002 film, The Bourne Identity. Born from Robert Ludlum's classic spy thriller, this movie came out a time when the spy film genre was feeling a little... overstuffed. This film, as well as the two that followed it, proved that a spy film could be more than just action scenes loosely strung together with threads of a weak story. Join us—Pete Wright and Andy Nelson—as we build to the upcoming The Bourne Legacy with this week's episode of Rash Pixel's Movies We Like. We chat about the Bourne series and Robert Ludlum who created it. We discuss the theory of the modern action filmmaking style, Chaos Cinema, and how it plays into the series. We also touch on this film as compared to the James Bond film of the same year, Die Another Day. It's a fun film and well worth watching. Join us as we begin digging into the empty pockets of Jason Bourne's mind!


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]]> Thu, 19 Jul 2012 23:28:00 -0700 The Next Reel The Next Reel 4572 "I can tell you the license plate numbers of all six cars outside. I can tell you that our waitress is left-handed and the guy sitting up at the counter weighs two hundred fifteen pounds and knows how to handle himself. I know the best place to look for a gun is the cab of the gray truck outside, and at this altitude, I can run flat out for a half mile before my hands start shaking. Now why would I know that? How can I know that and not know who I am?" This week, movie lovers, we begin our series on the Bourne movies, starting here with Doug Liman's 2002 film, The Bourne Identity. Born from Robert Ludlum's classic spy thriller, this movie came out a time when the spy film genre was feeling a little... overstuffed. This film, as well as the two that followed it, proved that a spy film could be more than just action scenes loosely strung together with threads of a weak story. Join us—Pete Wright and Andy Nelson—as we build to the upcoming The Bourne Legacy with this week's episode of Rash Pixel's Movies We Like. We chat about the Bourne series and Robert Ludlum who created it. We discuss the theory of the modern action filmmaking style, Chaos Cinema, and how it plays into the series. We also touch on this film as compared to the James Bond film of the same year, Die Another Day. It's a fun film and well worth watching. Join us as we begin digging into the empty pockets of Jason Bourne's mind! "I can tell you the license plate numbers of all six cars outside. I can tell you that our waitress is left-handed and the guy sitting up at the counter weighs two hundred fifteen pounds and knows how to handle himself. I know the best place to look for a film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The African Queen • The Next Reel 2 2 2 2 The African Queen • The Next Reel full cf2472a7-0acb-4994-9e48-66e476a16af5 https://share.transistor.fm/s/b0d0fae2 "What a time we had, Rosie. What a time we had." This week on Rash Pixel's "Movies We Like," we're finishing up our far-too-short series on cinematographer Jack Cardiff with the wonderful 1951 film, "The African Queen". John Huston co-wrote and directed it, choosing to shoot as much as he possibly could in Africa. While many said it couldn't be done -- shooting a story on location about two characters typically considered much too old for a love story -- John Huston proved them wrong. His choice of Jack Cardiff as cinematographer goes a long way in showing all of the reasons why shooting in Africa was right for the story, and his decision to cast Humphrey Bogart and Katharine Hepburn as Charlie Allnut and Rose Sayer allowed the story to be played authentically by actors who knew what they were doing and made it real. The film went on to earn buckets of money, critical praise, and award recognition. It's truly a film that has stood the test of time as well, and we -- Pete Wright and Andy Nelson -- have a great time talking about it. Join us as we talk about Jack Cardiff's role in making cinematography what it is today. We chat about the rough time everyone had on the production, not to mention the pre-production. We discuss the story and the wonderful actors in it, and we talk about why it still works so well. It's a fantastic film and we love talking about it. Listen in!


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]]> "What a time we had, Rosie. What a time we had." This week on Rash Pixel's "Movies We Like," we're finishing up our far-too-short series on cinematographer Jack Cardiff with the wonderful 1951 film, "The African Queen". John Huston co-wrote and directed it, choosing to shoot as much as he possibly could in Africa. While many said it couldn't be done -- shooting a story on location about two characters typically considered much too old for a love story -- John Huston proved them wrong. His choice of Jack Cardiff as cinematographer goes a long way in showing all of the reasons why shooting in Africa was right for the story, and his decision to cast Humphrey Bogart and Katharine Hepburn as Charlie Allnut and Rose Sayer allowed the story to be played authentically by actors who knew what they were doing and made it real. The film went on to earn buckets of money, critical praise, and award recognition. It's truly a film that has stood the test of time as well, and we -- Pete Wright and Andy Nelson -- have a great time talking about it. Join us as we talk about Jack Cardiff's role in making cinematography what it is today. We chat about the rough time everyone had on the production, not to mention the pre-production. We discuss the story and the wonderful actors in it, and we talk about why it still works so well. It's a fantastic film and we love talking about it. Listen in!


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]]> Thu, 12 Jul 2012 08:14:00 -0700 The Next Reel The Next Reel 3823 "What a time we had, Rosie. What a time we had." This week on Rash Pixel's "Movies We Like," we're finishing up our far-too-short series on cinematographer Jack Cardiff with the wonderful 1951 film, "The African Queen". John Huston co-wrote and directed it, choosing to shoot as much as he possibly could in Africa. While many said it couldn't be done -- shooting a story on location about two characters typically considered much too old for a love story -- John Huston proved them wrong. His choice of Jack Cardiff as cinematographer goes a long way in showing all of the reasons why shooting in Africa was right for the story, and his decision to cast Humphrey Bogart and Katharine Hepburn as Charlie Allnut and Rose Sayer allowed the story to be played authentically by actors who knew what they were doing and made it real. The film went on to earn buckets of money, critical praise, and award recognition. It's truly a film that has stood the test of time as well, and we -- Pete Wright and Andy Nelson -- have a great time talking about it. Join us as we talk about Jack Cardiff's role in making cinematography what it is today. We chat about the rough time everyone had on the production, not to mention the pre-production. We discuss the story and the wonderful actors in it, and we talk about why it still works so well. It's a fantastic film and we love talking about it. Listen in! "What a time we had, Rosie. What a time we had." This week on Rash Pixel's "Movies We Like," we're finishing up our far-too-short series on cinematographer Jack Cardiff with the wonderful 1951 film, "The African Queen". John Huston co-wrote and directed i film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Red Shoes • The Next Reel 2 2 1 1 The Red Shoes • The Next Reel full 21389a63-b889-44c8-99b9-3f56aa5f3619 https://share.transistor.fm/s/b30deba7 "You cannot have it both ways. A dancer who relies upon the doubtful comforts of human love can never be a great dancer. Never." And thus sums up the battle within Michael Powell's and Emeric Pressburger's 1948 film, "The Red Shoes" -- the battle between love and art. Can the two exist together? Or will one always win out and destroy the other? It's a fascinating question posed in a beautiful and sumptuous film that we -- Pete Wright and Andy Nelson -- talk about this week on Rash Pixel's "Movies We Like." Join us as we talk about the movie and what it's come to mean in the world of film. We talk about the fans of this film, particularly Martin Scorsese, and how they came together to restore this film into the mindbogglingly gorgeous version we have today. We chat about the amazing performances led by Anton Walbrook as the dark and controlling ballet impresario and Moira Shearer as the prima ballerina torn between love and dance. We discuss the amazing look of the film, focusing primarily on Jack Cardiff's stunning 3-strip technicolor cinematography. We talk about the realism and how it turns almost magical after the ballet of the Red Shoes midway through the film leading us to the inevitable and heartbreaking conclusion. And we talk about the nature of Hans Christian Andersen's original fairy tale and how it enhances and defines this film. It's an amazing film to watch. Join us this week as we catch up on this classic!


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]]> "You cannot have it both ways. A dancer who relies upon the doubtful comforts of human love can never be a great dancer. Never." And thus sums up the battle within Michael Powell's and Emeric Pressburger's 1948 film, "The Red Shoes" -- the battle between love and art. Can the two exist together? Or will one always win out and destroy the other? It's a fascinating question posed in a beautiful and sumptuous film that we -- Pete Wright and Andy Nelson -- talk about this week on Rash Pixel's "Movies We Like." Join us as we talk about the movie and what it's come to mean in the world of film. We talk about the fans of this film, particularly Martin Scorsese, and how they came together to restore this film into the mindbogglingly gorgeous version we have today. We chat about the amazing performances led by Anton Walbrook as the dark and controlling ballet impresario and Moira Shearer as the prima ballerina torn between love and dance. We discuss the amazing look of the film, focusing primarily on Jack Cardiff's stunning 3-strip technicolor cinematography. We talk about the realism and how it turns almost magical after the ballet of the Red Shoes midway through the film leading us to the inevitable and heartbreaking conclusion. And we talk about the nature of Hans Christian Andersen's original fairy tale and how it enhances and defines this film. It's an amazing film to watch. Join us this week as we catch up on this classic!


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]]> Thu, 05 Jul 2012 12:06:00 -0700 The Next Reel The Next Reel 4358 "You cannot have it both ways. A dancer who relies upon the doubtful comforts of human love can never be a great dancer. Never." And thus sums up the battle within Michael Powell's and Emeric Pressburger's 1948 film, "The Red Shoes" -- the battle between love and art. Can the two exist together? Or will one always win out and destroy the other? It's a fascinating question posed in a beautiful and sumptuous film that we -- Pete Wright and Andy Nelson -- talk about this week on Rash Pixel's "Movies We Like." Join us as we talk about the movie and what it's come to mean in the world of film. We talk about the fans of this film, particularly Martin Scorsese, and how they came together to restore this film into the mindbogglingly gorgeous version we have today. We chat about the amazing performances led by Anton Walbrook as the dark and controlling ballet impresario and Moira Shearer as the prima ballerina torn between love and dance. We discuss the amazing look of the film, focusing primarily on Jack Cardiff's stunning 3-strip technicolor cinematography. We talk about the realism and how it turns almost magical after the ballet of the Red Shoes midway through the film leading us to the inevitable and heartbreaking conclusion. And we talk about the nature of Hans Christian Andersen's original fairy tale and how it enhances and defines this film. It's an amazing film to watch. Join us this week as we catch up on this classic! "You cannot have it both ways. A dancer who relies upon the doubtful comforts of human love can never be a great dancer. Never." And thus sums up the battle within Michael Powell's and Emeric Pressburger's 1948 film, "The Red Shoes" -- the battle between film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Up in the Air • The Next Reel 1 1 34 34 Up in the Air • The Next Reel full 53b9fe80-e411-4921-bad4-17c87d6555cd https://share.transistor.fm/s/6b59a0d7 "We are here to make limbo tolerable, to ferry wounded souls across the river of dread, and to point where hope is dimly visible. And then we stop the boat, shove them in the water and make them swim." This week, ladies and gentlemen, we -- Pete Wright and Andy Nelson -- talk about Jason Reitman's third, and arguably best, film: 2009's Up in the Air. It's an amazing film that deals in a heavy issue of our time -- the economic downturn and widespread downsizing. What's even more amazing is how the film ends up, for the most part, leaving you with a feeling of hope. Sure, there are tragic elements, but overall, it's the message of connection with others that resounds by the film's end. Join us this week as we chat about all the great performances in the film led by George Clooney, Vera Farmiga, and Anna Kendrick, as well as the amazing technical hands working behind the scenes. We talk about the unique decision to cast all those let go in the film with real-world people who had, in fact, recently been let go. And we cover the themes of the story and what Reitman and before him Walter Kirn, upon whose 2001 novel the film is based, are getting across in the film. It's a beautiful film, well deserving of all the accolades it received upon its release. Connect with us this week as we talk about it!


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]]> "We are here to make limbo tolerable, to ferry wounded souls across the river of dread, and to point where hope is dimly visible. And then we stop the boat, shove them in the water and make them swim." This week, ladies and gentlemen, we -- Pete Wright and Andy Nelson -- talk about Jason Reitman's third, and arguably best, film: 2009's Up in the Air. It's an amazing film that deals in a heavy issue of our time -- the economic downturn and widespread downsizing. What's even more amazing is how the film ends up, for the most part, leaving you with a feeling of hope. Sure, there are tragic elements, but overall, it's the message of connection with others that resounds by the film's end. Join us this week as we chat about all the great performances in the film led by George Clooney, Vera Farmiga, and Anna Kendrick, as well as the amazing technical hands working behind the scenes. We talk about the unique decision to cast all those let go in the film with real-world people who had, in fact, recently been let go. And we cover the themes of the story and what Reitman and before him Walter Kirn, upon whose 2001 novel the film is based, are getting across in the film. It's a beautiful film, well deserving of all the accolades it received upon its release. Connect with us this week as we talk about it!


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]]> Thu, 28 Jun 2012 19:53:00 -0700 The Next Reel The Next Reel 3558 "We are here to make limbo tolerable, to ferry wounded souls across the river of dread, and to point where hope is dimly visible. And then we stop the boat, shove them in the water and make them swim." This week, ladies and gentlemen, we -- Pete Wright and Andy Nelson -- talk about Jason Reitman's third, and arguably best, film: 2009's Up in the Air. It's an amazing film that deals in a heavy issue of our time -- the economic downturn and widespread downsizing. What's even more amazing is how the film ends up, for the most part, leaving you with a feeling of hope. Sure, there are tragic elements, but overall, it's the message of connection with others that resounds by the film's end. Join us this week as we chat about all the great performances in the film led by George Clooney, Vera Farmiga, and Anna Kendrick, as well as the amazing technical hands working behind the scenes. We talk about the unique decision to cast all those let go in the film with real-world people who had, in fact, recently been let go. And we cover the themes of the story and what Reitman and before him Walter Kirn, upon whose 2001 novel the film is based, are getting across in the film. It's a beautiful film, well deserving of all the accolades it received upon its release. Connect with us this week as we talk about it! "We are here to make limbo tolerable, to ferry wounded souls across the river of dread, and to point where hope is dimly visible. And then we stop the boat, shove them in the water and make them swim." This week, ladies and gentlemen, we -- Pete Wright an film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Thank You For Smoking • The Next Reel 1 1 33 33 Thank You For Smoking • The Next Reel full c71f6b8f-c9de-40f9-bacf-c5b695601e18 https://share.transistor.fm/s/edb3c32e "Michael Jordan plays ball. Charles Mason kills people. I talk. Everyone has a talent." It's a movie about spin and the spin doctors who spin it -- Jason Reitman's fantastic 2006 satire Thank You for Smoking. Join us -- Pete Wright and Andy Nelson -- as we talk about it this week on Rash Pixel's Movies We Like. It's a fantastic film and we both love it. We chat about how the film was received and what people likely thought when comparing it to the book it was based on -- the 1994 novel of the same name by Christopher Buckley. We talk about the nature of satire and the nature of spin. We chat about the role the son plays in this film and the direction -- if any -- that Nick Naylor grows as protagonist (or is he an antihero?). And we chat about how Jason Reitman, Ivan's son, managed to get this -- his first -- film made. It's an absolutely fabulous film, especially as a first film, and we have a great time talking about it this week. Join us!


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]]> "Michael Jordan plays ball. Charles Mason kills people. I talk. Everyone has a talent." It's a movie about spin and the spin doctors who spin it -- Jason Reitman's fantastic 2006 satire Thank You for Smoking. Join us -- Pete Wright and Andy Nelson -- as we talk about it this week on Rash Pixel's Movies We Like. It's a fantastic film and we both love it. We chat about how the film was received and what people likely thought when comparing it to the book it was based on -- the 1994 novel of the same name by Christopher Buckley. We talk about the nature of satire and the nature of spin. We chat about the role the son plays in this film and the direction -- if any -- that Nick Naylor grows as protagonist (or is he an antihero?). And we chat about how Jason Reitman, Ivan's son, managed to get this -- his first -- film made. It's an absolutely fabulous film, especially as a first film, and we have a great time talking about it this week. Join us!


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]]> Thu, 21 Jun 2012 22:29:00 -0700 The Next Reel The Next Reel 3749 "Michael Jordan plays ball. Charles Mason kills people. I talk. Everyone has a talent." It's a movie about spin and the spin doctors who spin it -- Jason Reitman's fantastic 2006 satire Thank You for Smoking. Join us -- Pete Wright and Andy Nelson -- as we talk about it this week on Rash Pixel's Movies We Like. It's a fantastic film and we both love it. We chat about how the film was received and what people likely thought when comparing it to the book it was based on -- the 1994 novel of the same name by Christopher Buckley. We talk about the nature of satire and the nature of spin. We chat about the role the son plays in this film and the direction -- if any -- that Nick Naylor grows as protagonist (or is he an antihero?). And we chat about how Jason Reitman, Ivan's son, managed to get this -- his first -- film made. It's an absolutely fabulous film, especially as a first film, and we have a great time talking about it this week. Join us! "Michael Jordan plays ball. Charles Mason kills people. I talk. Everyone has a talent." It's a movie about spin and the spin doctors who spin it -- Jason Reitman's fantastic 2006 satire Thank You for Smoking. Join us -- Pete Wright and Andy Nelson -- as w film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Prometheus • The Next Reel 1 1 32 32 Prometheus • The Next Reel full 68079b7d-f1cb-4aca-b16d-f674a131c64e https://share.transistor.fm/s/bb0f4d5d "Big things have small beginnings."

Well, not when envisioned by Ridley Scott and written by Jon Spaihts and Damon Lindelof. "Prometheus," the non-prequel to "Alien" is anything but a small beginning to this universe and, while ambitious, leaves us with a lot of unanswered questions and problems that shouldn't have been there in the first place. It's a frustrating film to talk about, movie lovers, but one that we have a great time discussing. Join us -- Pete Wright and Andy Nelson -- in this week's episode of Rash Pixel's "Movies We Like" as we really dig into this film and discuss everything about it, from the stunning visuals to the problematic script. We talk about the team who put together these visuals and who rightfully should all receive numerous accolades. We talk about the cast, particularly the stand-out performance of Michael Fassbender as David. We also look at his relationship with the other androids in the Alien anthology. We chat about the fundamental script problems in this film and the trickle-down effect they have on the rest of the film. We also talk about how, despite those problems, the script and the film still pose some fascinating questions that are worth talking about long after the film's been watched. It's a fascinating film, albeit problematic, and one worth discussion -- preferably over a slice of pie -- so join us this week on "Movies We Like" to listen in!


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]]> "Big things have small beginnings."

Well, not when envisioned by Ridley Scott and written by Jon Spaihts and Damon Lindelof. "Prometheus," the non-prequel to "Alien" is anything but a small beginning to this universe and, while ambitious, leaves us with a lot of unanswered questions and problems that shouldn't have been there in the first place. It's a frustrating film to talk about, movie lovers, but one that we have a great time discussing. Join us -- Pete Wright and Andy Nelson -- in this week's episode of Rash Pixel's "Movies We Like" as we really dig into this film and discuss everything about it, from the stunning visuals to the problematic script. We talk about the team who put together these visuals and who rightfully should all receive numerous accolades. We talk about the cast, particularly the stand-out performance of Michael Fassbender as David. We also look at his relationship with the other androids in the Alien anthology. We chat about the fundamental script problems in this film and the trickle-down effect they have on the rest of the film. We also talk about how, despite those problems, the script and the film still pose some fascinating questions that are worth talking about long after the film's been watched. It's a fascinating film, albeit problematic, and one worth discussion -- preferably over a slice of pie -- so join us this week on "Movies We Like" to listen in!


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]]> Thu, 14 Jun 2012 23:06:00 -0700 The Next Reel The Next Reel 4667 "Big things have small beginnings." Well, not when envisioned by Ridley Scott and written by Jon Spaihts and Damon Lindelof. "Prometheus," the non-prequel to "Alien" is anything but a small beginning to this universe and, while ambitious, leaves us with a lot of unanswered questions and problems that shouldn't have been there in the first place. It's a frustrating film to talk about, movie lovers, but one that we have a great time discussing. Join us -- Pete Wright and Andy Nelson -- in this week's episode of Rash Pixel's "Movies We Like" as we really dig into this film and discuss everything about it, from the stunning visuals to the problematic script. We talk about the team who put together these visuals and who rightfully should all receive numerous accolades. We talk about the cast, particularly the stand-out performance of Michael Fassbender as David. We also look at his relationship with the other androids in the Alien anthology. We chat about the fundamental script problems in this film and the trickle-down effect they have on the rest of the film. We also talk about how, despite those problems, the script and the film still pose some fascinating questions that are worth talking about long after the film's been watched. It's a fascinating film, albeit problematic, and one worth discussion -- preferably over a slice of pie -- so join us this week on "Movies We Like" to listen in! "Big things have small beginnings." Well, not when envisioned by Ridley Scott and written by Jon Spaihts and Damon Lindelof. "Prometheus," the non-prequel to "Alien" is anything but a small beginning to this universe and, while ambitious, leaves us with film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Alien: Resurrection • The Next Reel 1 1 31 31 Alien: Resurrection • The Next Reel full 71399468-58b9-4d30-8702-d41d28148ddd https://share.transistor.fm/s/8edc358d It's the end of our conversation about the Alien anthology, ladies and gentlemen, and this week, we discuss Alien: Resurrection, a tough film to watch and an unfortunate end to the anthology (that took a further unfortunate turn by leading the franchise into the Alien Vs. Predator films). And while it's a hard to film to categorize as a movie we like, we still have a great conversation about what worked, what didn't, and a great many other things tangentially (or not) related to the franchise. Join us -- Pete Wright and Andy Nelson -- on this week's episode of Rash Pixel's "Movies We Like" as we chat about the great actors, the director, the writer, and others on the crew who we love but who somehow ended up tied into this mess. We chat about our overall thoughts of the anthology, how we think it ties into Prometheus and the nature of making films that take place in the same universe but don't tie together necessarily (Marvel, anyone?). Finally, we touch on some fun bits of trivia from the franchise. It's a fun conversation about a movie that doesn't really work but that had a lot going for it. Listen in!


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]]> It's the end of our conversation about the Alien anthology, ladies and gentlemen, and this week, we discuss Alien: Resurrection, a tough film to watch and an unfortunate end to the anthology (that took a further unfortunate turn by leading the franchise into the Alien Vs. Predator films). And while it's a hard to film to categorize as a movie we like, we still have a great conversation about what worked, what didn't, and a great many other things tangentially (or not) related to the franchise. Join us -- Pete Wright and Andy Nelson -- on this week's episode of Rash Pixel's "Movies We Like" as we chat about the great actors, the director, the writer, and others on the crew who we love but who somehow ended up tied into this mess. We chat about our overall thoughts of the anthology, how we think it ties into Prometheus and the nature of making films that take place in the same universe but don't tie together necessarily (Marvel, anyone?). Finally, we touch on some fun bits of trivia from the franchise. It's a fun conversation about a movie that doesn't really work but that had a lot going for it. Listen in!


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]]> Thu, 07 Jun 2012 23:33:00 -0700 The Next Reel The Next Reel 4316 It's the end of our conversation about the Alien anthology, ladies and gentlemen, and this week, we discuss Alien: Resurrection, a tough film to watch and an unfortunate end to the anthology (that took a further unfortunate turn by leading the franchise into the Alien Vs. Predator films). And while it's a hard to film to categorize as a movie we like, we still have a great conversation about what worked, what didn't, and a great many other things tangentially (or not) related to the franchise. Join us -- Pete Wright and Andy Nelson -- on this week's episode of Rash Pixel's "Movies We Like" as we chat about the great actors, the director, the writer, and others on the crew who we love but who somehow ended up tied into this mess. We chat about our overall thoughts of the anthology, how we think it ties into Prometheus and the nature of making films that take place in the same universe but don't tie together necessarily (Marvel, anyone?). Finally, we touch on some fun bits of trivia from the franchise. It's a fun conversation about a movie that doesn't really work but that had a lot going for it. Listen in! It's the end of our conversation about the Alien anthology, ladies and gentlemen, and this week, we discuss Alien: Resurrection, a tough film to watch and an unfortunate end to the anthology (that took a further unfortunate turn by leading the franchise i film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Alien 3 • The Next Reel 1 1 30 30 Alien 3 • The Next Reel full 0e4650e3-8d9e-4123-8ca8-d176401bf818 https://share.transistor.fm/s/d3914fbd "When they first heard about this thing, it was 'Crew Expendable'. The next time, they sent in marines. They were expendable too. What makes you think they're gonna care about a bunch of lifers who found God at the ass-end of space?" The third time may not be a charm for the Alien anthology, movie lovers, but it turns out to be a better film than many people gave it credit for back in 1992. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" as we talk about David Fincher's first film, Alien 3 (also conveniently and belatedly finishing up our Benjamin Button-style Fincher Fest). In this episode, we talk about what we thought of the film back then versus what we think now. We chat about the immense script and production problems this film went through all along its journey to theaters, and also talk about what was cut out and eventually put back into the 2003 Assembly Cut. We talk about the troubles David Fincher had, yet contrast that with what he was still able to get up on screen. We hash through the special effects, discussing how great they were back then but how they certainly haven't aged well. We touch on the fantastic cast and debate whether there was enough new story for the Ripley character to play out in this or if she'd already run her course. We talk about the budget and how, even with all of its immense overages, the film still managed to rake in a healthy chunk of dough. We touch on Elliot Goldenthal's music, creating a haunting, eerie score that fits the film well. And are you curious as to what Meryl Streep's connection is to this film, movie lovers? Listen in to find out!


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]]> "When they first heard about this thing, it was 'Crew Expendable'. The next time, they sent in marines. They were expendable too. What makes you think they're gonna care about a bunch of lifers who found God at the ass-end of space?" The third time may not be a charm for the Alien anthology, movie lovers, but it turns out to be a better film than many people gave it credit for back in 1992. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" as we talk about David Fincher's first film, Alien 3 (also conveniently and belatedly finishing up our Benjamin Button-style Fincher Fest). In this episode, we talk about what we thought of the film back then versus what we think now. We chat about the immense script and production problems this film went through all along its journey to theaters, and also talk about what was cut out and eventually put back into the 2003 Assembly Cut. We talk about the troubles David Fincher had, yet contrast that with what he was still able to get up on screen. We hash through the special effects, discussing how great they were back then but how they certainly haven't aged well. We touch on the fantastic cast and debate whether there was enough new story for the Ripley character to play out in this or if she'd already run her course. We talk about the budget and how, even with all of its immense overages, the film still managed to rake in a healthy chunk of dough. We touch on Elliot Goldenthal's music, creating a haunting, eerie score that fits the film well. And are you curious as to what Meryl Streep's connection is to this film, movie lovers? Listen in to find out!


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]]> Thu, 31 May 2012 10:00:00 -0700 The Next Reel The Next Reel 4148 "When they first heard about this thing, it was 'Crew Expendable'. The next time, they sent in marines. They were expendable too. What makes you think they're gonna care about a bunch of lifers who found God at the ass-end of space?" The third time may not be a charm for the Alien anthology, movie lovers, but it turns out to be a better film than many people gave it credit for back in 1992. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" as we talk about David Fincher's first film, Alien 3 (also conveniently and belatedly finishing up our Benjamin Button-style Fincher Fest). In this episode, we talk about what we thought of the film back then versus what we think now. We chat about the immense script and production problems this film went through all along its journey to theaters, and also talk about what was cut out and eventually put back into the 2003 Assembly Cut. We talk about the troubles David Fincher had, yet contrast that with what he was still able to get up on screen. We hash through the special effects, discussing how great they were back then but how they certainly haven't aged well. We touch on the fantastic cast and debate whether there was enough new story for the Ripley character to play out in this or if she'd already run her course. We talk about the budget and how, even with all of its immense overages, the film still managed to rake in a healthy chunk of dough. We touch on Elliot Goldenthal's music, creating a haunting, eerie score that fits the film well. And are you curious as to what Meryl Streep's connection is to this film, movie lovers? Listen in to find out! "When they first heard about this thing, it was 'Crew Expendable'. The next time, they sent in marines. They were expendable too. What makes you think they're gonna care about a bunch of lifers who found God at the ass-end of space?" The third time may no film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Aliens • The Next Reel 1 1 29 29 Aliens • The Next Reel full 664b848d-812d-4dff-b3a2-0a3015e47349 https://share.transistor.fm/s/14d6a167 "Game over, man! Game over!" There are few sequels that can stand up to the originals as well asAliens can to its predecessor, and it's clear that we -- Pete Wright and Andy Nelson -- really like this film. Join us this week on Rash Pixel's "Movies We Like" as we talk about why we truly like this film and what it means to us. We chat about the relationship this 1986 James Cameron film has with Ridley Scott's original Alien, how Cameron got the job to do it and what his vision for the film was. We also talk about the differences between the original cut and the director's cut that came out under a decade later. We chat about the amazing cast, the incredible crew, and the ALIENS -- damn, they're impressive in this film. We talk about the lengths Cameron, Stan Winston and the rest of the team went to so that they could create what appears to be hundreds of aliens, and none of them moving like they're just a man in a costume. We talk about the nature and possible controversy of the Alien Queen, and how the addition of the character messes up the intentions of the additional footage in the Alien director's cut (if it does at all). We also talk about why this film works so well and how it fits as a partnership pairing with the first film. It's a great movie and we love talking about it this week on "Movies We Like!" Listen in!


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]]> "Game over, man! Game over!" There are few sequels that can stand up to the originals as well asAliens can to its predecessor, and it's clear that we -- Pete Wright and Andy Nelson -- really like this film. Join us this week on Rash Pixel's "Movies We Like" as we talk about why we truly like this film and what it means to us. We chat about the relationship this 1986 James Cameron film has with Ridley Scott's original Alien, how Cameron got the job to do it and what his vision for the film was. We also talk about the differences between the original cut and the director's cut that came out under a decade later. We chat about the amazing cast, the incredible crew, and the ALIENS -- damn, they're impressive in this film. We talk about the lengths Cameron, Stan Winston and the rest of the team went to so that they could create what appears to be hundreds of aliens, and none of them moving like they're just a man in a costume. We talk about the nature and possible controversy of the Alien Queen, and how the addition of the character messes up the intentions of the additional footage in the Alien director's cut (if it does at all). We also talk about why this film works so well and how it fits as a partnership pairing with the first film. It's a great movie and we love talking about it this week on "Movies We Like!" Listen in!


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]]> Thu, 24 May 2012 11:00:00 -0700 The Next Reel The Next Reel 4948 "Game over, man! Game over!" There are few sequels that can stand up to the originals as well asAliens can to its predecessor, and it's clear that we -- Pete Wright and Andy Nelson -- really like this film. Join us this week on Rash Pixel's "Movies We Like" as we talk about why we truly like this film and what it means to us. We chat about the relationship this 1986 James Cameron film has with Ridley Scott's original Alien, how Cameron got the job to do it and what his vision for the film was. We also talk about the differences between the original cut and the director's cut that came out under a decade later. We chat about the amazing cast, the incredible crew, and the ALIENS -- damn, they're impressive in this film. We talk about the lengths Cameron, Stan Winston and the rest of the team went to so that they could create what appears to be hundreds of aliens, and none of them moving like they're just a man in a costume. We talk about the nature and possible controversy of the Alien Queen, and how the addition of the character messes up the intentions of the additional footage in the Alien director's cut (if it does at all). We also talk about why this film works so well and how it fits as a partnership pairing with the first film. It's a great movie and we love talking about it this week on "Movies We Like!" Listen in! "Game over, man! Game over!" There are few sequels that can stand up to the originals as well asAliens can to its predecessor, and it's clear that we -- Pete Wright and Andy Nelson -- really like this film. Join us this week on Rash Pixel's "Movies We Lik film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Alien 1 1 28 28 Alien full 8d3a7eab-f514-4195-8e6a-f44a16c9ed5a https://share.transistor.fm/s/ef5abf16 Ridley Scott's "Alien" arrived in 1979 as the anti-Star Wars: grimy, claustrophobic, and rooted in biological dread rather than adventure. The film follows the seven-member crew of the Nostromo—led by warrant officer Ripley, played by Sigourney Weaver in her breakout role, alongside Tom Skerritt as the ship's captain Dallas and John Hurt as the crew member who makes the film's most unforgettable exit—as they investigate a distress signal that leads them to something no one aboard is equipped to survive. What Scott and his team built around that premise, from H.R. Giger's biomechanical creature design to Jerry Goldsmith's unsettling score, redefined both science fiction and horror.

Pete and Andy dig into the full production history: how screenwriter Dan O'Bannon discovered H.R. Giger's artwork at a European art show during a failed Dune adaptation and brought the artist into the production, and how that discovery shaped everything from the xenomorph's design to the derelict ship's construction. They trace the screenplay credit dispute—O'Bannon and Ronald Shusett versus producers David Giler and Walter Hill, settled by Writers Guild arbitration—and the pivotal contribution Giler and Hill made by adding the android character Ash, played by Ian Holm. They also cover the John Hurt casting story: John Finch was originally cast as Kane, fell ill on the first day of shooting, and Hurt stepped in after being refused entry to apartheid-era South Africa.

The conversation gets into the chestburster dinner scene—its position at the exact halfway point of the film, and the cast's unrehearsed reactions when the gore was far beyond what they'd been told to expect. Andy breaks down Goldsmith's score in detail: the Echoplex echo device, the serpent, didgeridoo, and conch shells, and the behind-the-scenes conflict with the editor over how the cues were used. Pete and Andy also weigh in on the 2003 director's cut versus the 1979 original—and why Scott himself considers the theatrical version the real director's cut. This is the first episode of The Next Reel's Alien series—when the movie ends, our conversation begins!

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]]> Ridley Scott's "Alien" arrived in 1979 as the anti-Star Wars: grimy, claustrophobic, and rooted in biological dread rather than adventure. The film follows the seven-member crew of the Nostromo—led by warrant officer Ripley, played by Sigourney Weaver in her breakout role, alongside Tom Skerritt as the ship's captain Dallas and John Hurt as the crew member who makes the film's most unforgettable exit—as they investigate a distress signal that leads them to something no one aboard is equipped to survive. What Scott and his team built around that premise, from H.R. Giger's biomechanical creature design to Jerry Goldsmith's unsettling score, redefined both science fiction and horror.

Pete and Andy dig into the full production history: how screenwriter Dan O'Bannon discovered H.R. Giger's artwork at a European art show during a failed Dune adaptation and brought the artist into the production, and how that discovery shaped everything from the xenomorph's design to the derelict ship's construction. They trace the screenplay credit dispute—O'Bannon and Ronald Shusett versus producers David Giler and Walter Hill, settled by Writers Guild arbitration—and the pivotal contribution Giler and Hill made by adding the android character Ash, played by Ian Holm. They also cover the John Hurt casting story: John Finch was originally cast as Kane, fell ill on the first day of shooting, and Hurt stepped in after being refused entry to apartheid-era South Africa.

The conversation gets into the chestburster dinner scene—its position at the exact halfway point of the film, and the cast's unrehearsed reactions when the gore was far beyond what they'd been told to expect. Andy breaks down Goldsmith's score in detail: the Echoplex echo device, the serpent, didgeridoo, and conch shells, and the behind-the-scenes conflict with the editor over how the cues were used. Pete and Andy also weigh in on the 2003 director's cut versus the 1979 original—and why Scott himself considers the theatrical version the real director's cut. This is the first episode of The Next Reel's Alien series—when the movie ends, our conversation begins!

Want more from The Next Reel? Become a member of the TruStory FM family and get early access to ad-free episodes, monthly bonus episodes, exclusive Discord channels, and voting rights on future member picks. Join at trustory.fm/join.

Full episode resources here.


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]]> Thu, 17 May 2012 06:54:00 -0700 The Next Reel The Next Reel 4407 Ridley Scott's Alien redefined sci-fi and horror in 1979. Pete and Andy dig into Giger's design, Goldsmith's score, and more in The Next Reel's Alien series. Ridley Scott's Alien redefined sci-fi and horror in 1979. Pete and Andy dig into Giger's design, Goldsmith's score, and more in The Next Reel's Alien series. Alien, Ridley Scott, 1979, 1970s No Andy Nelson Pete Wright Field of Dreams • The Next Reel 1 1 27 27 Field of Dreams • The Next Reel full 79768ce1-53f1-4740-b1a1-903e671cfc5d https://share.transistor.fm/s/7373137c It's the end of our baseball series, movie fans, and what a better way to end it than by talking about Phil Alden Robinson's fantastic fantasy film from 1989, "Field of Dreams." Considering Pete's disdain of Kevin Costner (at least in Bull Durham), it's a refreshing surprise to hear that he really likes this movie. On the other hand, it's a bit disturbing to hear Andy talk about why he loves it so much. Regardless, it's clearly a great movie with a fascinating script about a character who is a grownup on a hero's journey to becoming a man. Powerful stuff. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" as we discuss the great Oscar-nominated script by Robinson and why it has such an interesting structure, setting us up right out of the gate for this fantasy world we're in. We talk about the mythos it creates, both in the film and in the real world. And we chat about the crew, the great actors and James Earl Jones' amazing speech. It's one worth talking about, so listen in! In addition, we touch on the amazing week The Avengers has had and what it could mean for Joss Whedon. We also discuss Captain America's possible strange tie to Ronald Reagan. We discuss some pretty-bad-but-entertaining-nonetheless movies, and we talk about the possibility of maybe doing an episode in the future using Google+ hangouts. It's a great week! Come on in!


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]]> It's the end of our baseball series, movie fans, and what a better way to end it than by talking about Phil Alden Robinson's fantastic fantasy film from 1989, "Field of Dreams." Considering Pete's disdain of Kevin Costner (at least in Bull Durham), it's a refreshing surprise to hear that he really likes this movie. On the other hand, it's a bit disturbing to hear Andy talk about why he loves it so much. Regardless, it's clearly a great movie with a fascinating script about a character who is a grownup on a hero's journey to becoming a man. Powerful stuff. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" as we discuss the great Oscar-nominated script by Robinson and why it has such an interesting structure, setting us up right out of the gate for this fantasy world we're in. We talk about the mythos it creates, both in the film and in the real world. And we chat about the crew, the great actors and James Earl Jones' amazing speech. It's one worth talking about, so listen in! In addition, we touch on the amazing week The Avengers has had and what it could mean for Joss Whedon. We also discuss Captain America's possible strange tie to Ronald Reagan. We discuss some pretty-bad-but-entertaining-nonetheless movies, and we talk about the possibility of maybe doing an episode in the future using Google+ hangouts. It's a great week! Come on in!


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]]> Thu, 10 May 2012 08:00:00 -0700 The Next Reel The Next Reel 4170 It's the end of our baseball series, movie fans, and what a better way to end it than by talking about Phil Alden Robinson's fantastic fantasy film from 1989, "Field of Dreams." Considering Pete's disdain of Kevin Costner (at least in Bull Durham), it's a refreshing surprise to hear that he really likes this movie. On the other hand, it's a bit disturbing to hear Andy talk about why he loves it so much. Regardless, it's clearly a great movie with a fascinating script about a character who is a grownup on a hero's journey to becoming a man. Powerful stuff. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" as we discuss the great Oscar-nominated script by Robinson and why it has such an interesting structure, setting us up right out of the gate for this fantasy world we're in. We talk about the mythos it creates, both in the film and in the real world. And we chat about the crew, the great actors and James Earl Jones' amazing speech. It's one worth talking about, so listen in! In addition, we touch on the amazing week The Avengers has had and what it could mean for Joss Whedon. We also discuss Captain America's possible strange tie to Ronald Reagan. We discuss some pretty-bad-but-entertaining-nonetheless movies, and we talk about the possibility of maybe doing an episode in the future using Google+ hangouts. It's a great week! Come on in! It's the end of our baseball series, movie fans, and what a better way to end it than by talking about Phil Alden Robinson's fantastic fantasy film from 1989, "Field of Dreams." Considering Pete's disdain of Kevin Costner (at least in Bull Durham), it's a film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Bull Durham • The Next Reel 1 1 26 26 Bull Durham • The Next Reel full 6a44f67e-95ef-48e5-a351-bc03fed32f5a https://share.transistor.fm/s/a6548d8b "Man, that ball got outta here in a hurry." It's time for more 80s baseball movies, ladies and gentlemen! This week, we're talking about Bull Durham, Ron Shelton's 1988 tribute to the minor leagues. If there ever was a film to compare religion to baseball to sex, this would be that film. Join us -- Pete Wright and Andy Nelson -- as we talk about what works (the script), what doesn't (the actors, at least two in particular for Pete), and why this film goes down in the pantheon of greatest sports films made. Aside from Pete's problems with Susan Sarandon in this film and Kevin Costner in most films, we discuss the great Tim Robbins and how much he's really bringing to the table as "Nuke" Laloosh. We discuss Ron Shelton, how he got to the point where he was able to make this film, and where he is now. We also chat about where this film fits as far as genre and what Shelton's really doing with this film -- it's much more a character piece than a story about a team trying to win the big game (or a romantic comedy sports movie -- romcomspofi -- as Wikipedia claims). While we're at odds about the43 acting, we both think the script is solid, and are happy to discuss it this week. Listen in!


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]]> "Man, that ball got outta here in a hurry." It's time for more 80s baseball movies, ladies and gentlemen! This week, we're talking about Bull Durham, Ron Shelton's 1988 tribute to the minor leagues. If there ever was a film to compare religion to baseball to sex, this would be that film. Join us -- Pete Wright and Andy Nelson -- as we talk about what works (the script), what doesn't (the actors, at least two in particular for Pete), and why this film goes down in the pantheon of greatest sports films made. Aside from Pete's problems with Susan Sarandon in this film and Kevin Costner in most films, we discuss the great Tim Robbins and how much he's really bringing to the table as "Nuke" Laloosh. We discuss Ron Shelton, how he got to the point where he was able to make this film, and where he is now. We also chat about where this film fits as far as genre and what Shelton's really doing with this film -- it's much more a character piece than a story about a team trying to win the big game (or a romantic comedy sports movie -- romcomspofi -- as Wikipedia claims). While we're at odds about the43 acting, we both think the script is solid, and are happy to discuss it this week. Listen in!


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]]> Thu, 03 May 2012 09:37:00 -0700 The Next Reel The Next Reel 3588 "Man, that ball got outta here in a hurry." It's time for more 80s baseball movies, ladies and gentlemen! This week, we're talking about Bull Durham, Ron Shelton's 1988 tribute to the minor leagues. If there ever was a film to compare religion to baseball to sex, this would be that film. Join us -- Pete Wright and Andy Nelson -- as we talk about what works (the script), what doesn't (the actors, at least two in particular for Pete), and why this film goes down in the pantheon of greatest sports films made. Aside from Pete's problems with Susan Sarandon in this film and Kevin Costner in most films, we discuss the great Tim Robbins and how much he's really bringing to the table as "Nuke" Laloosh. We discuss Ron Shelton, how he got to the point where he was able to make this film, and where he is now. We also chat about where this film fits as far as genre and what Shelton's really doing with this film -- it's much more a character piece than a story about a team trying to win the big game (or a romantic comedy sports movie -- romcomspofi -- as Wikipedia claims). While we're at odds about the43 acting, we both think the script is solid, and are happy to discuss it this week. Listen in! "Man, that ball got outta here in a hurry." It's time for more 80s baseball movies, ladies and gentlemen! This week, we're talking about Bull Durham, Ron Shelton's 1988 tribute to the minor leagues. If there ever was a film to compare religion to baseball film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Major League • The Next Reel 1 1 25 25 Major League • The Next Reel full 451e00f6-c63e-48da-82bc-ae4ffed2514e https://share.transistor.fm/s/3209911e "Juuuuust a bit outside." That's right, ladies and gentlemen -- we're switching things up a bit this week on Rash Pixel's "Movies We Like" -- instead of "Bull Durham" as promised, we're pulling a switcheroo and flipflopping that with 1989's baseball comedy classic, "Major League." Sure, it's a bit dated, but man, it's still a fun and funny film. Join us -- Pete Wright and Andy Nelson -- this week as we talk about this comedy gem from David S. Ward, Academy Award-winning writer/director. We jaw about the importance of casting actors who know how to play the game -- and how it's not just something they can "act" their way through. We chat about the backgrounds of Ward and his all-star (at the time) cast as well as discuss Ward's lifetime love of the Cleveland Indians and why he chose to write and direct this movie. We talk about the Indians and their long and sordid history (and yes, Andy even works his great-great uncle back into the conversation). And we discuss why this film still works so well, but also why some of it doesn't work, namely the music that dates it. It's a blast to reconnect with old memories and talk about this movie again. Listen in, baseball and baseball movie lovers!


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]]> "Juuuuust a bit outside." That's right, ladies and gentlemen -- we're switching things up a bit this week on Rash Pixel's "Movies We Like" -- instead of "Bull Durham" as promised, we're pulling a switcheroo and flipflopping that with 1989's baseball comedy classic, "Major League." Sure, it's a bit dated, but man, it's still a fun and funny film. Join us -- Pete Wright and Andy Nelson -- this week as we talk about this comedy gem from David S. Ward, Academy Award-winning writer/director. We jaw about the importance of casting actors who know how to play the game -- and how it's not just something they can "act" their way through. We chat about the backgrounds of Ward and his all-star (at the time) cast as well as discuss Ward's lifetime love of the Cleveland Indians and why he chose to write and direct this movie. We talk about the Indians and their long and sordid history (and yes, Andy even works his great-great uncle back into the conversation). And we discuss why this film still works so well, but also why some of it doesn't work, namely the music that dates it. It's a blast to reconnect with old memories and talk about this movie again. Listen in, baseball and baseball movie lovers!


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]]> Thu, 26 Apr 2012 07:51:00 -0700 The Next Reel The Next Reel 3763 "Juuuuust a bit outside." That's right, ladies and gentlemen -- we're switching things up a bit this week on Rash Pixel's "Movies We Like" -- instead of "Bull Durham" as promised, we're pulling a switcheroo and flipflopping that with 1989's baseball comedy classic, "Major League." Sure, it's a bit dated, but man, it's still a fun and funny film. Join us -- Pete Wright and Andy Nelson -- this week as we talk about this comedy gem from David S. Ward, Academy Award-winning writer/director. We jaw about the importance of casting actors who know how to play the game -- and how it's not just something they can "act" their way through. We chat about the backgrounds of Ward and his all-star (at the time) cast as well as discuss Ward's lifetime love of the Cleveland Indians and why he chose to write and direct this movie. We talk about the Indians and their long and sordid history (and yes, Andy even works his great-great uncle back into the conversation). And we discuss why this film still works so well, but also why some of it doesn't work, namely the music that dates it. It's a blast to reconnect with old memories and talk about this movie again. Listen in, baseball and baseball movie lovers! "Juuuuust a bit outside." That's right, ladies and gentlemen -- we're switching things up a bit this week on Rash Pixel's "Movies We Like" -- instead of "Bull Durham" as promised, we're pulling a switcheroo and flipflopping that with 1989's baseball comed film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Natural • The Next Reel 1 1 24 24 The Natural • The Next Reel full d7e3ff46-67ea-4023-8bc9-9725b777dd32 https://share.transistor.fm/s/c0e51321 Baseball. Just like apple pie, it's an intrinsic part of America. Movies about baseball, on the other hand, didn't really become popular forms of entertainment until 1984's "The Natural", which is what we're talking about this week on Rash Pixel's "Movies We Like" podcast. Join us -- Pete Wright and Andy Nelson -- as we expound on the mythos of this film and what makes it so great. Is it the amazing (and surprisingly dark) source material written by Bernard Malamud? Or the brilliant performances headed up by Robert Redford? The stunning and timeless score by Randy Newman? Or is it the nature of the game itself? It's hard to say, ladies and gentlemen, but we cover all of it. We talk about the amazing and Oscar-nominated cinematography and art direction. We talk about what makes baseball movies great -- possibly better than other sports movies as a whole (except Caddyshack). We chat about how Barry Levinson and his team came together to make this, the first film for Tri-Star Pictures, a brand new studio (until Sony swallowed it up). We touch on the history of baseball movies, and even mention Andy's tie to the history of the sport itself (even if he can't get his facts straight). It's a wonderful film about a true hero's journey that can make grown men cry. It's a great film to kick off our 80s baseball movie series. Listen in!


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]]> Baseball. Just like apple pie, it's an intrinsic part of America. Movies about baseball, on the other hand, didn't really become popular forms of entertainment until 1984's "The Natural", which is what we're talking about this week on Rash Pixel's "Movies We Like" podcast. Join us -- Pete Wright and Andy Nelson -- as we expound on the mythos of this film and what makes it so great. Is it the amazing (and surprisingly dark) source material written by Bernard Malamud? Or the brilliant performances headed up by Robert Redford? The stunning and timeless score by Randy Newman? Or is it the nature of the game itself? It's hard to say, ladies and gentlemen, but we cover all of it. We talk about the amazing and Oscar-nominated cinematography and art direction. We talk about what makes baseball movies great -- possibly better than other sports movies as a whole (except Caddyshack). We chat about how Barry Levinson and his team came together to make this, the first film for Tri-Star Pictures, a brand new studio (until Sony swallowed it up). We touch on the history of baseball movies, and even mention Andy's tie to the history of the sport itself (even if he can't get his facts straight). It's a wonderful film about a true hero's journey that can make grown men cry. It's a great film to kick off our 80s baseball movie series. Listen in!


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]]> Thu, 19 Apr 2012 09:00:00 -0700 The Next Reel The Next Reel 4177 Baseball. Just like apple pie, it's an intrinsic part of America. Movies about baseball, on the other hand, didn't really become popular forms of entertainment until 1984's "The Natural", which is what we're talking about this week on Rash Pixel's "Movies We Like" podcast. Join us -- Pete Wright and Andy Nelson -- as we expound on the mythos of this film and what makes it so great. Is it the amazing (and surprisingly dark) source material written by Bernard Malamud? Or the brilliant performances headed up by Robert Redford? The stunning and timeless score by Randy Newman? Or is it the nature of the game itself? It's hard to say, ladies and gentlemen, but we cover all of it. We talk about the amazing and Oscar-nominated cinematography and art direction. We talk about what makes baseball movies great -- possibly better than other sports movies as a whole (except Caddyshack). We chat about how Barry Levinson and his team came together to make this, the first film for Tri-Star Pictures, a brand new studio (until Sony swallowed it up). We touch on the history of baseball movies, and even mention Andy's tie to the history of the sport itself (even if he can't get his facts straight). It's a wonderful film about a true hero's journey that can make grown men cry. It's a great film to kick off our 80s baseball movie series. Listen in! Baseball. Just like apple pie, it's an intrinsic part of America. Movies about baseball, on the other hand, didn't really become popular forms of entertainment until 1984's "The Natural", which is what we're talking about this week on Rash Pixel's "Movies film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Joe Versus the Volcano • The Next Reel 1 1 23 23 Joe Versus the Volcano • The Next Reel full bf3cecba-9eee-4f49-974d-d0b4cf8a4165 https://share.transistor.fm/s/5b97a8f9 What does a flibbertigibbet, bubaru, a set of artificial testicles, a luggage salesman, a brain cloud, and a volcano hungry for human sacrifices have in common? They're all part of the vastly underrated and misunderstood existential comedy from 1990, Joe Versus the Volcano. A film much beloved by Pete Wright and Andy Nelson, join them as they chat about it this week on Movies We Like. They'll talk about what the film is really all about and why it may have not connected with audiences when it came out. They'll hash through the plot and all its fine points, discussing the amazing writer/director John Patrick Shanley, as well as all the wonderful performances led by Tom Hanks and Meg Ryan. They'll talk about Bo Welch's amazing production design and Georges Delerue's beautiful score (along with all the stellar songs used throughout). And they'll discuss the problems the script and film have, particularly in the 3rd act. Despite those problems, it's a standout film with a message about not sleeping through life but standing up and taking a leap of faith. Andy and Pete love it and challenge you to revisit it with a fresh mindset this week. Listen in—you may walk away with a new favorite movie!


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]]> What does a flibbertigibbet, bubaru, a set of artificial testicles, a luggage salesman, a brain cloud, and a volcano hungry for human sacrifices have in common? They're all part of the vastly underrated and misunderstood existential comedy from 1990, Joe Versus the Volcano. A film much beloved by Pete Wright and Andy Nelson, join them as they chat about it this week on Movies We Like. They'll talk about what the film is really all about and why it may have not connected with audiences when it came out. They'll hash through the plot and all its fine points, discussing the amazing writer/director John Patrick Shanley, as well as all the wonderful performances led by Tom Hanks and Meg Ryan. They'll talk about Bo Welch's amazing production design and Georges Delerue's beautiful score (along with all the stellar songs used throughout). And they'll discuss the problems the script and film have, particularly in the 3rd act. Despite those problems, it's a standout film with a message about not sleeping through life but standing up and taking a leap of faith. Andy and Pete love it and challenge you to revisit it with a fresh mindset this week. Listen in—you may walk away with a new favorite movie!


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]]> Thu, 12 Apr 2012 09:00:00 -0700 The Next Reel The Next Reel 4105 What does a flibbertigibbet, bubaru, a set of artificial testicles, a luggage salesman, a brain cloud, and a volcano hungry for human sacrifices have in common? They're all part of the vastly underrated and misunderstood existential comedy from 1990, Joe Versus the Volcano. A film much beloved by Pete Wright and Andy Nelson, join them as they chat about it this week on Movies We Like. They'll talk about what the film is really all about and why it may have not connected with audiences when it came out. They'll hash through the plot and all its fine points, discussing the amazing writer/director John Patrick Shanley, as well as all the wonderful performances led by Tom Hanks and Meg Ryan. They'll talk about Bo Welch's amazing production design and Georges Delerue's beautiful score (along with all the stellar songs used throughout). And they'll discuss the problems the script and film have, particularly in the 3rd act. Despite those problems, it's a standout film with a message about not sleeping through life but standing up and taking a leap of faith. Andy and Pete love it and challenge you to revisit it with a fresh mindset this week. Listen in—you may walk away with a new favorite movie! What does a flibbertigibbet, bubaru, a set of artificial testicles, a luggage salesman, a brain cloud, and a volcano hungry for human sacrifices have in common? They're all part of the vastly underrated and misunderstood existential comedy from 1990, Joe film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright All the President's Men • The Next Reel 1 1 22 22 All the President's Men • The Next Reel full 5e89ad56-2ebe-4388-b2a2-cd5beb566bc0 https://share.transistor.fm/s/0eeb26a1 And thus begins the twisted journey, movie fans, that Woodward and Bernstein have to take to track down the truth behind one of the biggest scandals our country has ever faced, which led to the President's resignation. This week on Rash Pixel's "Movies We Like", join us—Pete Wright and Andy Nelson—as we talk about the third film in Alan J. Pakula's unofficial paranoia trilogy.


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]]> And thus begins the twisted journey, movie fans, that Woodward and Bernstein have to take to track down the truth behind one of the biggest scandals our country has ever faced, which led to the President's resignation. This week on Rash Pixel's "Movies We Like", join us—Pete Wright and Andy Nelson—as we talk about the third film in Alan J. Pakula's unofficial paranoia trilogy.


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]]> Thu, 05 Apr 2012 08:00:00 -0700 The Next Reel The Next Reel 3588 And thus begins the twisted journey, movie fans, that Woodward and Bernstein have to take to track down the truth behind one of the biggest scandals our country has ever faced, which led to the President's resignation. This week on Rash Pixel's "Movies We Like", join us—Pete Wright and Andy Nelson—as we talk about the third film in Alan J. Pakula's unofficial paranoia trilogy. And thus begins the twisted journey, movie fans, that Woodward and Bernstein have to take to track down the truth behind one of the biggest scandals our country has ever faced, which led to the President's resignation. This week on Rash Pixel's "Movies We film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Parallax View • The Next Reel 1 1 21 21 The Parallax View • The Next Reel full fbd84a1d-ab27-46a5-8feb-2dae7bc85c39 https://share.transistor.fm/s/6afe8f44 We're neck-deep in conspiracy this week, movie lovers, as we're talking about one of the 70s great conspiracy theory thrillers -- Alan J. Pakula's The Parallax View from 1974, the second film in his unofficial paranoia trilogy. It's dark, it's full of paranoia, and it's got a crazy montage film in the middle that's possibly being used by a secret government organization that's trying to determine if you're good material for an assassin. Join us -- Pete Wright and Andy Nelson -- on this week's episode of Rash Pixel's "Movies We Like" as we rattle on about the nature of paranoia and conspiracy, and how this film so brilliantly plays into them. We'll talk about how the film was designed to put people in large environments, giving a sense that these characters have no power in this world. We'll talk about the nature of voyeurism and how the way the film is shot plays into this as well, which also plays well into the role of the Parallax Corporation in the story. And we, of course, talk about the montage in the middle of the film and what it's doing there. It's a fantastic -- and not really dated -- film that's worth talking about. Listen in!


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]]> We're neck-deep in conspiracy this week, movie lovers, as we're talking about one of the 70s great conspiracy theory thrillers -- Alan J. Pakula's The Parallax View from 1974, the second film in his unofficial paranoia trilogy. It's dark, it's full of paranoia, and it's got a crazy montage film in the middle that's possibly being used by a secret government organization that's trying to determine if you're good material for an assassin. Join us -- Pete Wright and Andy Nelson -- on this week's episode of Rash Pixel's "Movies We Like" as we rattle on about the nature of paranoia and conspiracy, and how this film so brilliantly plays into them. We'll talk about how the film was designed to put people in large environments, giving a sense that these characters have no power in this world. We'll talk about the nature of voyeurism and how the way the film is shot plays into this as well, which also plays well into the role of the Parallax Corporation in the story. And we, of course, talk about the montage in the middle of the film and what it's doing there. It's a fantastic -- and not really dated -- film that's worth talking about. Listen in!


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]]> Thu, 29 Mar 2012 07:32:00 -0700 The Next Reel The Next Reel 3875 We're neck-deep in conspiracy this week, movie lovers, as we're talking about one of the 70s great conspiracy theory thrillers -- Alan J. Pakula's The Parallax View from 1974, the second film in his unofficial paranoia trilogy. It's dark, it's full of paranoia, and it's got a crazy montage film in the middle that's possibly being used by a secret government organization that's trying to determine if you're good material for an assassin. Join us -- Pete Wright and Andy Nelson -- on this week's episode of Rash Pixel's "Movies We Like" as we rattle on about the nature of paranoia and conspiracy, and how this film so brilliantly plays into them. We'll talk about how the film was designed to put people in large environments, giving a sense that these characters have no power in this world. We'll talk about the nature of voyeurism and how the way the film is shot plays into this as well, which also plays well into the role of the Parallax Corporation in the story. And we, of course, talk about the montage in the middle of the film and what it's doing there. It's a fantastic -- and not really dated -- film that's worth talking about. Listen in! We're neck-deep in conspiracy this week, movie lovers, as we're talking about one of the 70s great conspiracy theory thrillers -- Alan J. Pakula's The Parallax View from 1974, the second film in his unofficial paranoia trilogy. It's dark, it's full of par film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Klute • The Next Reel 1 1 20 20 Klute • The Next Reel full f4e1ec82-7754-4285-beec-9c97862fc96a https://share.transistor.fm/s/d6d25ff1 Hey, movie lovers! We're taking a leap back to the 70s with this next series—Alan J. Pakula's paranoia trilogy. First up, 1971's "Klute," a dark and gritty character study/thriller about a small town detective trying to get information from a call girl about his missing friend. Join us this week as we talk about this fantastic film! We chat about the nature of 70s films and why they feel so dark and gritty. We talk about the amazing and dark cinematography of Gordon Willis. We discuss the nature of paranoia in the 70s and how this film plays into it, whether through the script, the acting, the directing, or the cinematography. And we talk about the performances, particularly Jane Fonda's Oscar-winning turn as Bree Daniels. She stands out in this film so much that we didn't give enough kudos to the brilliantly underplayed performance by Donald Sutherland in the title role. It's a great film that stands out as a movie we like (and tying it into previous podcasts, it's one of David Fincher's faves as well). So check out the movie and listen in!


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]]> Hey, movie lovers! We're taking a leap back to the 70s with this next series—Alan J. Pakula's paranoia trilogy. First up, 1971's "Klute," a dark and gritty character study/thriller about a small town detective trying to get information from a call girl about his missing friend. Join us this week as we talk about this fantastic film! We chat about the nature of 70s films and why they feel so dark and gritty. We talk about the amazing and dark cinematography of Gordon Willis. We discuss the nature of paranoia in the 70s and how this film plays into it, whether through the script, the acting, the directing, or the cinematography. And we talk about the performances, particularly Jane Fonda's Oscar-winning turn as Bree Daniels. She stands out in this film so much that we didn't give enough kudos to the brilliantly underplayed performance by Donald Sutherland in the title role. It's a great film that stands out as a movie we like (and tying it into previous podcasts, it's one of David Fincher's faves as well). So check out the movie and listen in!


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]]> Thu, 22 Mar 2012 14:43:00 -0700 The Next Reel The Next Reel 4050 Hey, movie lovers! We're taking a leap back to the 70s with this next series—Alan J. Pakula's paranoia trilogy. First up, 1971's "Klute," a dark and gritty character study/thriller about a small town detective trying to get information from a call girl about his missing friend. Join us this week as we talk about this fantastic film! We chat about the nature of 70s films and why they feel so dark and gritty. We talk about the amazing and dark cinematography of Gordon Willis. We discuss the nature of paranoia in the 70s and how this film plays into it, whether through the script, the acting, the directing, or the cinematography. And we talk about the performances, particularly Jane Fonda's Oscar-winning turn as Bree Daniels. She stands out in this film so much that we didn't give enough kudos to the brilliantly underplayed performance by Donald Sutherland in the title role. It's a great film that stands out as a movie we like (and tying it into previous podcasts, it's one of David Fincher's faves as well). So check out the movie and listen in! Hey, movie lovers! We're taking a leap back to the 70s with this next series—Alan J. Pakula's paranoia trilogy. First up, 1971's "Klute," a dark and gritty character study/thriller about a small town detective trying to get information from a call girl ab film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Hot Fuzz • The Next Reel 1 1 19 19 Hot Fuzz • The Next Reel full a6af3313-c54f-4737-9578-72749256f81a https://share.transistor.fm/s/bf77969d Helllooooooo! Tonight, we're talking "Hot Fuzz", the perfect comedy homage to every cop action film ever made! The second and last film made thus far in the Three Flavours Cornetto Trilogy, this film was again written by Simon Pegg and Edgar Wright, directed by Wright and starring Pegg. Join us as we talk about the fantastic filmmaking style that Wright brings to this film, particularly the ever-so-perfect Tony Scott-style series of shots, which we aptly name the "Jiggly Monkey". We also faun over the stellar cast, particularly the Daltonator in all his 'stache glory. We chat about the intense over-the-top violence and how it works in the film. We discuss the nature of parody or spoof films vs. homage films, and we rattle off all the cliches that this film employs so perfectly. It's an action film that features the shortest car chase in film history, a cuddly monkey and a Japanese Peace Lily, with a bit of impaling thrown in for good measure. Listen in! And by the way, did you know that NASA named the Japanese Peace Lily one of the top 10 air cleaning plants? Good to know.


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]]> Helllooooooo! Tonight, we're talking "Hot Fuzz", the perfect comedy homage to every cop action film ever made! The second and last film made thus far in the Three Flavours Cornetto Trilogy, this film was again written by Simon Pegg and Edgar Wright, directed by Wright and starring Pegg. Join us as we talk about the fantastic filmmaking style that Wright brings to this film, particularly the ever-so-perfect Tony Scott-style series of shots, which we aptly name the "Jiggly Monkey". We also faun over the stellar cast, particularly the Daltonator in all his 'stache glory. We chat about the intense over-the-top violence and how it works in the film. We discuss the nature of parody or spoof films vs. homage films, and we rattle off all the cliches that this film employs so perfectly. It's an action film that features the shortest car chase in film history, a cuddly monkey and a Japanese Peace Lily, with a bit of impaling thrown in for good measure. Listen in! And by the way, did you know that NASA named the Japanese Peace Lily one of the top 10 air cleaning plants? Good to know.


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]]> Thu, 15 Mar 2012 09:00:00 -0700 The Next Reel The Next Reel 3427 Helllooooooo! Tonight, we're talking "Hot Fuzz", the perfect comedy homage to every cop action film ever made! The second and last film made thus far in the Three Flavours Cornetto Trilogy, this film was again written by Simon Pegg and Edgar Wright, directed by Wright and starring Pegg. Join us as we talk about the fantastic filmmaking style that Wright brings to this film, particularly the ever-so-perfect Tony Scott-style series of shots, which we aptly name the "Jiggly Monkey". We also faun over the stellar cast, particularly the Daltonator in all his 'stache glory. We chat about the intense over-the-top violence and how it works in the film. We discuss the nature of parody or spoof films vs. homage films, and we rattle off all the cliches that this film employs so perfectly. It's an action film that features the shortest car chase in film history, a cuddly monkey and a Japanese Peace Lily, with a bit of impaling thrown in for good measure. Listen in! And by the way, did you know that NASA named the Japanese Peace Lily one of the top 10 air cleaning plants? Good to know. Helllooooooo! Tonight, we're talking "Hot Fuzz", the perfect comedy homage to every cop action film ever made! The second and last film made thus far in the Three Flavours Cornetto Trilogy, this film was again written by Simon Pegg and Edgar Wright, direc film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Shaun of the Dead • The Next Reel 1 1 18 18 Shaun of the Dead • The Next Reel full e04d6398-dc5c-464c-a842-0d92206158a9 https://share.transistor.fm/s/caab58a9 Hellooooooo! Time for a break from all those heavy films, movie fans. Tonight, join Pete and Andy as we discuss the first of the Three Flavours Cornetto Trilogy (despite the fact that there are only two films thus far). Yes, we're going to be chatting about Edgar Wright's hilarious ode to zombie cinema, "Shaun of the Dead," a film he co-wrote with star Simon Pegg. It's a hilarious film that also works wonderfully as an homage to every zombie convention you can imagine. We talk about why it works so well, how it came to be, the hilarious cast (particularly our fave Bill Nighy), British manners, Edgar Wright's filmmaking style, and the endlessly quotable lines. And yes, we quote them. Endlessly. Join us for a laugh. Now how's that for a slice of fried gold? Yeeeee-aaahh, bo-iiieeee!


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]]> Hellooooooo! Time for a break from all those heavy films, movie fans. Tonight, join Pete and Andy as we discuss the first of the Three Flavours Cornetto Trilogy (despite the fact that there are only two films thus far). Yes, we're going to be chatting about Edgar Wright's hilarious ode to zombie cinema, "Shaun of the Dead," a film he co-wrote with star Simon Pegg. It's a hilarious film that also works wonderfully as an homage to every zombie convention you can imagine. We talk about why it works so well, how it came to be, the hilarious cast (particularly our fave Bill Nighy), British manners, Edgar Wright's filmmaking style, and the endlessly quotable lines. And yes, we quote them. Endlessly. Join us for a laugh. Now how's that for a slice of fried gold? Yeeeee-aaahh, bo-iiieeee!


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]]> Thu, 08 Mar 2012 20:00:00 -0800 The Next Reel The Next Reel 3132 Hellooooooo! Time for a break from all those heavy films, movie fans. Tonight, join Pete and Andy as we discuss the first of the Three Flavours Cornetto Trilogy (despite the fact that there are only two films thus far). Yes, we're going to be chatting about Edgar Wright's hilarious ode to zombie cinema, "Shaun of the Dead," a film he co-wrote with star Simon Pegg. It's a hilarious film that also works wonderfully as an homage to every zombie convention you can imagine. We talk about why it works so well, how it came to be, the hilarious cast (particularly our fave Bill Nighy), British manners, Edgar Wright's filmmaking style, and the endlessly quotable lines. And yes, we quote them. Endlessly. Join us for a laugh. Now how's that for a slice of fried gold? Yeeeee-aaahh, bo-iiieeee! Hellooooooo! Time for a break from all those heavy films, movie fans. Tonight, join Pete and Andy as we discuss the first of the Three Flavours Cornetto Trilogy (despite the fact that there are only two films thus far). Yes, we're going to be chatting abo film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Se7en • The Next Reel 1 1 17 17 Se7en • The Next Reel full 2d7564f4-fecc-4f07-985b-873fcd24162a https://share.transistor.fm/s/8b23bd4a Well, movie lovers, it's that time. We've hit the end of our Benjamin Button style Fincher Fest. This week, Pete Wright and Andy Nelson talk about David Fincher's knock-you-out-of-your-seat detective thriller Seven, or Se7en if you prefer. Join us as we talk about how we feel about this film now that we've worked backward through Fincher's oeuvre. We talk about all the wonderful performances (though we get sidetracked on Brad Pitt and don't give Morgan Freeman enough attention) and how Fincher really from the start knew how to work with his actors as well as his technical partners. We discuss the script and how it found its way to Fincher. We hash through the ending and what other endings it could have had. And we chat about the bleach bypass process that Fincher used to give the film its look. It's a stellar film that stands out as a highlight in Fincher's career and we look forward to you joining us this week as we talk about it on "Movies We Like!"


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]]> Well, movie lovers, it's that time. We've hit the end of our Benjamin Button style Fincher Fest. This week, Pete Wright and Andy Nelson talk about David Fincher's knock-you-out-of-your-seat detective thriller Seven, or Se7en if you prefer. Join us as we talk about how we feel about this film now that we've worked backward through Fincher's oeuvre. We talk about all the wonderful performances (though we get sidetracked on Brad Pitt and don't give Morgan Freeman enough attention) and how Fincher really from the start knew how to work with his actors as well as his technical partners. We discuss the script and how it found its way to Fincher. We hash through the ending and what other endings it could have had. And we chat about the bleach bypass process that Fincher used to give the film its look. It's a stellar film that stands out as a highlight in Fincher's career and we look forward to you joining us this week as we talk about it on "Movies We Like!"


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]]> Thu, 01 Mar 2012 20:00:00 -0800 The Next Reel The Next Reel 4512 Well, movie lovers, it's that time. We've hit the end of our Benjamin Button style Fincher Fest. This week, Pete Wright and Andy Nelson talk about David Fincher's knock-you-out-of-your-seat detective thriller Seven, or Se7en if you prefer. Join us as we talk about how we feel about this film now that we've worked backward through Fincher's oeuvre. We talk about all the wonderful performances (though we get sidetracked on Brad Pitt and don't give Morgan Freeman enough attention) and how Fincher really from the start knew how to work with his actors as well as his technical partners. We discuss the script and how it found its way to Fincher. We hash through the ending and what other endings it could have had. And we chat about the bleach bypass process that Fincher used to give the film its look. It's a stellar film that stands out as a highlight in Fincher's career and we look forward to you joining us this week as we talk about it on "Movies We Like!" Well, movie lovers, it's that time. We've hit the end of our Benjamin Button style Fincher Fest. This week, Pete Wright and Andy Nelson talk about David Fincher's knock-you-out-of-your-seat detective thriller Seven, or Se7en if you prefer. Join us as we t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Game • The Next Reel 1 1 16 16 The Game • The Next Reel full a3450fee-d798-449c-bc6b-f73accfbb0bd https://share.transistor.fm/s/43b0606a Greetings, movie lovers! This week, we continue our Fincher Fest with a discussion about "The Game," a dark and twisting tale that Pete finds he doesn't really like anymore while Andy still connects with. Join us as we chat about why this film doesn't seem to work for Pete anymore and how Blake Snyder's book "Save the Cat!" may give us the answer, particularly as it relates to the current 99% movement and possibly also to some extent previous roles Michael Douglas has portrayed. We dig into why some people bought into this elaborate hoax that the story sets up and others didn't. We discuss how this movie came to be and who was originally slated to star in it, and we really get off on some of the great language in the script. It's a gloomy ride that satisfies some and leaves other pining for later and greater Fincher efforts, but we still have a great time talking about it so join in!


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]]> Greetings, movie lovers! This week, we continue our Fincher Fest with a discussion about "The Game," a dark and twisting tale that Pete finds he doesn't really like anymore while Andy still connects with. Join us as we chat about why this film doesn't seem to work for Pete anymore and how Blake Snyder's book "Save the Cat!" may give us the answer, particularly as it relates to the current 99% movement and possibly also to some extent previous roles Michael Douglas has portrayed. We dig into why some people bought into this elaborate hoax that the story sets up and others didn't. We discuss how this movie came to be and who was originally slated to star in it, and we really get off on some of the great language in the script. It's a gloomy ride that satisfies some and leaves other pining for later and greater Fincher efforts, but we still have a great time talking about it so join in!


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]]> Thu, 23 Feb 2012 20:00:00 -0800 The Next Reel The Next Reel 3593 Greetings, movie lovers! This week, we continue our Fincher Fest with a discussion about "The Game," a dark and twisting tale that Pete finds he doesn't really like anymore while Andy still connects with. Join us as we chat about why this film doesn't seem to work for Pete anymore and how Blake Snyder's book "Save the Cat!" may give us the answer, particularly as it relates to the current 99% movement and possibly also to some extent previous roles Michael Douglas has portrayed. We dig into why some people bought into this elaborate hoax that the story sets up and others didn't. We discuss how this movie came to be and who was originally slated to star in it, and we really get off on some of the great language in the script. It's a gloomy ride that satisfies some and leaves other pining for later and greater Fincher efforts, but we still have a great time talking about it so join in! Greetings, movie lovers! This week, we continue our Fincher Fest with a discussion about "The Game," a dark and twisting tale that Pete finds he doesn't really like anymore while Andy still connects with. Join us as we chat about why this film doesn't see film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Fight Club • The Next Reel 1 1 15 15 Fight Club • The Next Reel full 65047290-6b45-462d-afac-67625998bdb6 https://share.transistor.fm/s/7c2477b4 Greetings, movie lovers. This week, we hit David Fincher's film "Fight Club." Is it just an anarchic, pugilistic sensation or is Fincher really working at tapping into a dark zeitgeist affecting the average person at the turn of the century? Join us as we talk about this tale of an everyman narrator struggling to find sense in his Ikea life and how his dark counterpart, Tyler Durden, helps him find himself. We hit on the brilliant performances by Edward Norton and Brad Pitt, as well as the always wonderful Helena Bonham Carter. We discuss the message Fincher is saying and how this is, possibly, the only real film that Fincher's made that is more than just a genre film of some sort. Listen in, and let us know what you think of this wild ride!


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]]> Greetings, movie lovers. This week, we hit David Fincher's film "Fight Club." Is it just an anarchic, pugilistic sensation or is Fincher really working at tapping into a dark zeitgeist affecting the average person at the turn of the century? Join us as we talk about this tale of an everyman narrator struggling to find sense in his Ikea life and how his dark counterpart, Tyler Durden, helps him find himself. We hit on the brilliant performances by Edward Norton and Brad Pitt, as well as the always wonderful Helena Bonham Carter. We discuss the message Fincher is saying and how this is, possibly, the only real film that Fincher's made that is more than just a genre film of some sort. Listen in, and let us know what you think of this wild ride!


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]]> Thu, 16 Feb 2012 20:00:00 -0800 The Next Reel The Next Reel 4465 Greetings, movie lovers. This week, we hit David Fincher's film "Fight Club." Is it just an anarchic, pugilistic sensation or is Fincher really working at tapping into a dark zeitgeist affecting the average person at the turn of the century? Join us as we talk about this tale of an everyman narrator struggling to find sense in his Ikea life and how his dark counterpart, Tyler Durden, helps him find himself. We hit on the brilliant performances by Edward Norton and Brad Pitt, as well as the always wonderful Helena Bonham Carter. We discuss the message Fincher is saying and how this is, possibly, the only real film that Fincher's made that is more than just a genre film of some sort. Listen in, and let us know what you think of this wild ride! Greetings, movie lovers. This week, we hit David Fincher's film "Fight Club." Is it just an anarchic, pugilistic sensation or is Fincher really working at tapping into a dark zeitgeist affecting the average person at the turn of the century? Join us as we film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Panic Room • The Next Reel 1 1 14 14 Panic Room • The Next Reel full b83c84ca-544c-4479-b28c-496f9e415a79 https://share.transistor.fm/s/98c950cf We've made it to the middle of the Fincher-Fest, movie lovers! This week, join us as we talk about his one-location movie, "Panic Room." Falling right between "Fight Club" and "Zodiac", this movie really marks a turning point for David Fincher's films -- starting here, he moves into the land of digital cinema (mostly) and finds a more controlled approach to his storytelling. Join us as we talk about the trials and tribulations that went into getting this film made -- an impending writers' strike, last minute actress and supporting actress replacements, a seemingly simple script that redefined complexity of camerawork on the set, and a six-month production schedule that had to work around not only Jodie Foster's pregnancy going from 1st to 3rd term, but also Kristin Stewart -- then not so famous for being Bella in "Twilight" -- growing from being shorter than Jodie Foster to being taller than her. This in a film that takes place over the course of one night for the most part. It's a tense, claustrophobic, well-paced thrill ride that's worth taking, and we have a blast talking about it. Listen in!


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]]> We've made it to the middle of the Fincher-Fest, movie lovers! This week, join us as we talk about his one-location movie, "Panic Room." Falling right between "Fight Club" and "Zodiac", this movie really marks a turning point for David Fincher's films -- starting here, he moves into the land of digital cinema (mostly) and finds a more controlled approach to his storytelling. Join us as we talk about the trials and tribulations that went into getting this film made -- an impending writers' strike, last minute actress and supporting actress replacements, a seemingly simple script that redefined complexity of camerawork on the set, and a six-month production schedule that had to work around not only Jodie Foster's pregnancy going from 1st to 3rd term, but also Kristin Stewart -- then not so famous for being Bella in "Twilight" -- growing from being shorter than Jodie Foster to being taller than her. This in a film that takes place over the course of one night for the most part. It's a tense, claustrophobic, well-paced thrill ride that's worth taking, and we have a blast talking about it. Listen in!


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]]> Thu, 09 Feb 2012 20:00:00 -0800 The Next Reel The Next Reel 3851 We've made it to the middle of the Fincher-Fest, movie lovers! This week, join us as we talk about his one-location movie, "Panic Room." Falling right between "Fight Club" and "Zodiac", this movie really marks a turning point for David Fincher's films -- starting here, he moves into the land of digital cinema (mostly) and finds a more controlled approach to his storytelling. Join us as we talk about the trials and tribulations that went into getting this film made -- an impending writers' strike, last minute actress and supporting actress replacements, a seemingly simple script that redefined complexity of camerawork on the set, and a six-month production schedule that had to work around not only Jodie Foster's pregnancy going from 1st to 3rd term, but also Kristin Stewart -- then not so famous for being Bella in "Twilight" -- growing from being shorter than Jodie Foster to being taller than her. This in a film that takes place over the course of one night for the most part. It's a tense, claustrophobic, well-paced thrill ride that's worth taking, and we have a blast talking about it. Listen in! We've made it to the middle of the Fincher-Fest, movie lovers! This week, join us as we talk about his one-location movie, "Panic Room." Falling right between "Fight Club" and "Zodiac", this movie really marks a turning point for David Fincher's films -- film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Zodiac • The Next Reel 1 1 13 13 Zodiac • The Next Reel full 59518d4a-6e34-4ccf-a988-e9933ecc37b8 https://share.transistor.fm/s/3d9d10dc Back in 2007, David Fincher created what many consider his best film, Zodiac. Hailed by dozens of critics as one of the best films of the year, it unfortunately never found its audience and ended up a financial failure.

This week, movie lovers, join us as we delve into this meticulously crafted, haunting and sometimes scary film that details the obsession one man had in solving the Zodiac killings in the San Francisco area in the late 60s. From a script by James Vanderbilt based on Robert Graysmith's doggedly detailed books "Zodiac" and "Zodiac Unmasked", Fincher's pursuit to create as accurate a portrayal of the truth as possible give us a beautifully restrained look at how the police and newspaper reporters worked hard to try to find an answer to the killings yet never did so.

We talk about how this potentially is the reason the film didn't fare well at the box office. We also discuss the film's impeccable cast (let's all give a hand to John Carroll Lynch's unforgettably creepy portrayal of Arthur Leigh Allen!); chat about the amazing (and invisible) visual effects used to recreate the San Francisco area from 1968 to 1991 that truly take us back in time; and cover how this film was the first film to shoot with the then-new digital camera, the Viper, and what that allowed Harry Savides, the cinematographer, to do. It's a drastically underwatched film, in our opinion, and we think you ALL need to go rent it right now then listen in!


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]]> Back in 2007, David Fincher created what many consider his best film, Zodiac. Hailed by dozens of critics as one of the best films of the year, it unfortunately never found its audience and ended up a financial failure.

This week, movie lovers, join us as we delve into this meticulously crafted, haunting and sometimes scary film that details the obsession one man had in solving the Zodiac killings in the San Francisco area in the late 60s. From a script by James Vanderbilt based on Robert Graysmith's doggedly detailed books "Zodiac" and "Zodiac Unmasked", Fincher's pursuit to create as accurate a portrayal of the truth as possible give us a beautifully restrained look at how the police and newspaper reporters worked hard to try to find an answer to the killings yet never did so.

We talk about how this potentially is the reason the film didn't fare well at the box office. We also discuss the film's impeccable cast (let's all give a hand to John Carroll Lynch's unforgettably creepy portrayal of Arthur Leigh Allen!); chat about the amazing (and invisible) visual effects used to recreate the San Francisco area from 1968 to 1991 that truly take us back in time; and cover how this film was the first film to shoot with the then-new digital camera, the Viper, and what that allowed Harry Savides, the cinematographer, to do. It's a drastically underwatched film, in our opinion, and we think you ALL need to go rent it right now then listen in!


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]]> Thu, 02 Feb 2012 20:00:00 -0800 The Next Reel The Next Reel 3818 Back in 2007, David Fincher created what many consider his best film, Zodiac. Hailed by dozens of critics as one of the best films of the year, it unfortunately never found its audience and ended up a financial failure. This week, movie lovers, join us as we delve into this meticulously crafted, haunting and sometimes scary film that details the obsession one man had in solving the Zodiac killings in the San Francisco area in the late 60s. From a script by James Vanderbilt based on Robert Graysmith's doggedly detailed books "Zodiac" and "Zodiac Unmasked", Fincher's pursuit to create as accurate a portrayal of the truth as possible give us a beautifully restrained look at how the police and newspaper reporters worked hard to try to find an answer to the killings yet never did so. We talk about how this potentially is the reason the film didn't fare well at the box office. We also discuss the film's impeccable cast (let's all give a hand to John Carroll Lynch's unforgettably creepy portrayal of Arthur Leigh Allen!); chat about the amazing (and invisible) visual effects used to recreate the San Francisco area from 1968 to 1991 that truly take us back in time; and cover how this film was the first film to shoot with the then new digital camera, the Viper, and what that allowed Harry Savides, the cinematographer, to do. It's a drastically underwatched film, in our opinion, and we think you ALL need to go rent it right now then listen in! Back in 2007, David Fincher created what many consider his best film, Zodiac. Hailed by dozens of critics as one of the best films of the year, it unfortunately never found its audience and ended up a financial failure. This week, movie lovers, join us as film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Curious Case of Benjamin Button • The Next Reel 1 1 12 12 The Curious Case of Benjamin Button • The Next Reel full b36387f8-bc62-4a0a-976a-88a7fbb89f8f https://share.transistor.fm/s/78acd9d2 Our third stop on the Fincher Fest train brings us to David Fincher's 2008 drama, "The Curious Case of Benjamin Button." Fincher outdid himself on this film, combining all elements available to him from tried and true practical elements through state-of-the-art digital effects -- not to mention countless top-notch performances -- to create an astounding period film about an astounding person who is born old and ages backward.

We discuss the journey this F. Scott Fitzgerald story took to get to the silver screen -- a long one that at one point had Frank Oz slated to direct it and Martin Short to star as Benjamin! We chat about watching Benjamin Button, played by Brad Pitt in one of his best performances, age backward and the unreal makeup work done to pull it off, not just for him but for all the characters in the film. We talk about the themes this story is hitting upon and why it works so well, and we discuss the immense amount of money put into getting this film made and how Fincher managed to pull it all off and still turn it into a profitable film.

The film won 3 Academy Awards and was nominated for an amazing 13 Academy Awards (though it should have been 14 as Cate Blanchett, who didn't get a nomination as Best Actress, has never been better!). Join us as we dig into this gorgeous film!


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]]> Our third stop on the Fincher Fest train brings us to David Fincher's 2008 drama, "The Curious Case of Benjamin Button." Fincher outdid himself on this film, combining all elements available to him from tried and true practical elements through state-of-the-art digital effects -- not to mention countless top-notch performances -- to create an astounding period film about an astounding person who is born old and ages backward.

We discuss the journey this F. Scott Fitzgerald story took to get to the silver screen -- a long one that at one point had Frank Oz slated to direct it and Martin Short to star as Benjamin! We chat about watching Benjamin Button, played by Brad Pitt in one of his best performances, age backward and the unreal makeup work done to pull it off, not just for him but for all the characters in the film. We talk about the themes this story is hitting upon and why it works so well, and we discuss the immense amount of money put into getting this film made and how Fincher managed to pull it all off and still turn it into a profitable film.

The film won 3 Academy Awards and was nominated for an amazing 13 Academy Awards (though it should have been 14 as Cate Blanchett, who didn't get a nomination as Best Actress, has never been better!). Join us as we dig into this gorgeous film!


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]]> Thu, 26 Jan 2012 20:00:00 -0800 The Next Reel The Next Reel 4246 Our third stop on the Fincher Fest train brings us to David Fincher's 2008 drama, "The Curious Case of Benjamin Button." Fincher outdid himself on this film, combining all elements available to him from tried and true practical elements through state-of-the-art digital effects -- not to mention countless top-notch performances -- to create an astounding period film about an astounding person who is born old and ages backward. We discuss the journey this F. Scott Fitzgerald story took to get to the silver screen -- a long one that at one point had Frank Oz slated to direct it and Martin Short to star as Benjamin! We chat about watching Benjamin Button, played by Brad Pitt in one of his best performances, age backward and the unreal makeup work done to pull it off, not just for him but for all the characters in the film. We talk about the themes this story is hitting upon and why it works so well, and we discuss the immense amount of money put into getting this film made and how Fincher managed to pull it all off and still turn it into a profitable film. The film won 3 Academy Awards and was nominated for an amazing 13 Academy Awards (though it should have been 14 as Cate Blanchett, who didn't get a nomination as Best Actress, has never been better!). Join us as we dig into this gorgeous film! Our third stop on the Fincher Fest train brings us to David Fincher's 2008 drama, "The Curious Case of Benjamin Button." Fincher outdid himself on this film, combining all elements available to him from tried and true practical elements through state-of-t film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Social Network • The Next Reel 1 1 11 11 The Social Network • The Next Reel full e7dfe138-7ee2-4f72-99a4-f64528e92874 https://share.transistor.fm/s/7f947c61 Greetings and salutations, movie aficionados! Welcome to the second episode of our Benjamin Button-style David Fincher-fest! Tonight, we discuss arguably his greatest film—certainly his most critically acclaimed. It's "The Social Network," from Aaron Sorkin's script that is simply on fire.

Joining us tonight as a special guest is Chadd Stoops: actor, longtime friend of Pete and Andy, and HUGE fan of this film. In this episode, we discuss the realities of the movie's reality—was it fair for the filmmakers in telling this story to change the truths in order to make a more compelling film? We talk about the spot-on performances all around as well as the amazing magic Fincher worked to double Armie Hammer as the Winklevoss twins. We look at what this film is really saying about social networking and the people behind Facebook, and we discuss how "Fincher" this film really is. We also chime in on our opinions as to why it didn't win Best Picture at the Oscars. It's a spirited conversation about an incredibly relevant and hugely important piece of modern history. Listen in!


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]]> Greetings and salutations, movie aficionados! Welcome to the second episode of our Benjamin Button-style David Fincher-fest! Tonight, we discuss arguably his greatest film—certainly his most critically acclaimed. It's "The Social Network," from Aaron Sorkin's script that is simply on fire.

Joining us tonight as a special guest is Chadd Stoops: actor, longtime friend of Pete and Andy, and HUGE fan of this film. In this episode, we discuss the realities of the movie's reality—was it fair for the filmmakers in telling this story to change the truths in order to make a more compelling film? We talk about the spot-on performances all around as well as the amazing magic Fincher worked to double Armie Hammer as the Winklevoss twins. We look at what this film is really saying about social networking and the people behind Facebook, and we discuss how "Fincher" this film really is. We also chime in on our opinions as to why it didn't win Best Picture at the Oscars. It's a spirited conversation about an incredibly relevant and hugely important piece of modern history. Listen in!


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]]> Thu, 19 Jan 2012 21:00:00 -0800 The Next Reel The Next Reel 4641 Greetings and salutations, movie aficionados! Welcome to the second episode of our Benjamin Button-style David Fincher-fest! Tonight, we discuss arguably his greatest film—certainly his most critically acclaimed. It's "The Social Network," from Aaron Sorkin's script that is simply on fire. Joining us tonight as a special guest is Chadd Stoops: actor, longtime friend of Pete and Andy, and HUGE fan of this film. In this episode, we discuss the realities of the movie's reality—was it fair for the filmmakers in telling this story to change the truths in order to make a more compelling film? We talk about the spot-on performances all around as well as the amazing magic Fincher worked to double Armie Hammer as the Winklevoss twins. We look at what this film is really saying about social networking and the people behind Facebook, and we discuss how "Fincher" this film really is. We also chime in on our opinions as to why it didn't win Best Picture at the Oscars. It's a spirited conversation about an incredibly relevant and hugely important piece of modern history. Listen in! Oh, and since we're talking about a movie about Facebook, make sure you go to the Rash Pixel page on Facebook and Like us! That way you can be a part of OUR social network! Happy listening! Greetings and salutations, movie aficionados! Welcome to the second episode of our Benjamin Button-style David Fincher-fest! Tonight, we discuss arguably his greatest film—certainly his most critically acclaimed. It's "The Social Network," from Aaron Sork film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright The Girl with the Dragon Tattoo (2011) • The Next Reel 1 1 10 10 The Girl with the Dragon Tattoo (2011) • The Next Reel full 16bba329-a0f9-414f-b79b-598571007f6c https://share.transistor.fm/s/19d2413c It's the start of the Benjamin Button-style Fincher-Fest, movie lovers! And what better way to kick it off than to take a look at David Fincher's current film, "The Girl With the Dragon Tattoo," based on Stieg Larsson's first book in his internationally best-selling "Millenium" trilogy."

It's already racking up end-of-the-year accolades and incredible buzz about Rooney Mara's knock-your-socks-off performance of Lisbeth Salander (all well-earned), even though some contingents of fans of the original Swedish films (great films in their own right that only came out last year) question why Hollywood felt it so necessary to adapt the books again so quickly after the others were made. The Swedish films certainly put Noomi Rapace and Michael Nyqvist -- who play Lisbeth Salander and Mikael Blomkvist, respectively -- on the map in international casting circles (Rapace has since appeared in Sherlock Holmes: A Game of Shadows and just wrapped in Ridley Scott's Prometheus while Nyqvist appeared in John Singleton's Abduction earlier this year and currently can be seen in Mission: Impossible -- Ghost Protocol.)

In this episode, we talk about the various iterations of this first of Larsson's stories -- did the Americans need to make their own version, what works in each version and what doesn't, what did Fincher and his team bring to the table, etc. We work to put in context what the Swedish film is to Swedish audiences by comparing similar statistics with American films. We discuss the performances -- Rooney Mara's brilliant work as well as the amazing Daniel Craig who we both feel isn't just playing James Bond in Sweden. We discuss the change in the end of the story and how we feel about it as well as all of the sequences that come after the climax. We chat about the team behind this -- Steven Zaillian who is having a great year with this and Moneyball, Jeff Cronenweth, Ren Klyce, Kirk Baxter, Angus Wall, Trent Reznor, Atticus Ross -- and that's just some of the crew! Robin Wright, Stellan Skarsgard, Julian Sands and the always amazing Christopher Plummer all give brilliant performances.

One actor we don't mention in this episode but who is worth mentioning here is Yorick van Wageningen, the poor actor stuck with playing the brutal role of Nils Bjurman. He was so traumatized after filming his pivotal rape scene with Mara that he locked himself in his hotel room for a day and cried. Obviously his choice to take the role, but it's always good to be reminded that an actor is not the character they portray. So if you haven't had a chance to read the book or watch either film version, go do so before listening in because we have some spoilers, then tune in and join us as we take on this fascinating murder mystery with one of film's most intriguing characters in years.


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]]> It's the start of the Benjamin Button-style Fincher-Fest, movie lovers! And what better way to kick it off than to take a look at David Fincher's current film, "The Girl With the Dragon Tattoo," based on Stieg Larsson's first book in his internationally best-selling "Millenium" trilogy."

It's already racking up end-of-the-year accolades and incredible buzz about Rooney Mara's knock-your-socks-off performance of Lisbeth Salander (all well-earned), even though some contingents of fans of the original Swedish films (great films in their own right that only came out last year) question why Hollywood felt it so necessary to adapt the books again so quickly after the others were made. The Swedish films certainly put Noomi Rapace and Michael Nyqvist -- who play Lisbeth Salander and Mikael Blomkvist, respectively -- on the map in international casting circles (Rapace has since appeared in Sherlock Holmes: A Game of Shadows and just wrapped in Ridley Scott's Prometheus while Nyqvist appeared in John Singleton's Abduction earlier this year and currently can be seen in Mission: Impossible -- Ghost Protocol.)

In this episode, we talk about the various iterations of this first of Larsson's stories -- did the Americans need to make their own version, what works in each version and what doesn't, what did Fincher and his team bring to the table, etc. We work to put in context what the Swedish film is to Swedish audiences by comparing similar statistics with American films. We discuss the performances -- Rooney Mara's brilliant work as well as the amazing Daniel Craig who we both feel isn't just playing James Bond in Sweden. We discuss the change in the end of the story and how we feel about it as well as all of the sequences that come after the climax. We chat about the team behind this -- Steven Zaillian who is having a great year with this and Moneyball, Jeff Cronenweth, Ren Klyce, Kirk Baxter, Angus Wall, Trent Reznor, Atticus Ross -- and that's just some of the crew! Robin Wright, Stellan Skarsgard, Julian Sands and the always amazing Christopher Plummer all give brilliant performances.

One actor we don't mention in this episode but who is worth mentioning here is Yorick van Wageningen, the poor actor stuck with playing the brutal role of Nils Bjurman. He was so traumatized after filming his pivotal rape scene with Mara that he locked himself in his hotel room for a day and cried. Obviously his choice to take the role, but it's always good to be reminded that an actor is not the character they portray. So if you haven't had a chance to read the book or watch either film version, go do so before listening in because we have some spoilers, then tune in and join us as we take on this fascinating murder mystery with one of film's most intriguing characters in years.


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]]> Thu, 12 Jan 2012 21:00:00 -0800 The Next Reel The Next Reel 4678 It's the start of the Benjamin Button-style Fincher-Fest, movie lovers! And what better way to kick it off than to take a look at David Fincher's current film, "The Girl With the Dragon Tattoo," based on Stieg Larsson's first book in his internationally best-selling "Millenium" trilogy. It's already racking up end-of-the-year accolades and incredible buzz about Rooney Mara's knock-your-socks-off performance of Lisbeth Salander (all well-earned), even though some contingents of fans of the original Swedish films (great films in their own right that only came out last year) question why Hollywood felt it so necessary to adapt the books again so quickly after the others were made. The Swedish films certainly put Noomi Rapace and Michael Nyqvist -- who play Lisbeth Salander and Mikael Blomkvist, respectively -- on the map in international casting circles (Rapace has since appeared in Sherlock Holmes: A Game of Shadows and just wrapped in Ridley Scott's Prometheus while Nyqvist appeared in John Singleton's Abduction earlier this year and currently can be seen in Mission: Impossible -- Ghost Protocol.) In this episode, we talk about the various iterations of this first of Larsson's stories -- did the Americans need to make their own version, what works in each version and what doesn't, what did Fincher and his team bring to the table, etc. We work to put in context what the Swedish film is to Swedish audiences by comparing similar statistics with American films. We discuss the performances -- Rooney Mara's brilliant work as well as the amazing Daniel Craig who we both feel isn't just playing James Bond in Sweden. We discuss the change in the end of the story and how we feel about it as well as all of the sequences that come after the climax. We chat about the team behind this -- Steven Zaillian who is having a great year with this and Moneyball, Jeff Cronenweth, Ren Klyce, Kirk Baxter, Angus Wall, Trent Reznor, Atticus Ross -- and that's just some of the crew! Robin Wright, Stellan Skarsgard, Julian Sands and the always amazing Christopher Plummer all give brilliant performances. One actor we don't mention in this episode but who is worth mentioning here is Yorick van Wageningen, the poor actor stuck with playing the brutal role of Nils Bjurman. He was so traumatized after filming his pivotal rape scene with Mara that he locked himself in his hotel room for a day and cried. Obviously his choice to take the role, but it's always good to be reminded that an actor is not the character they portray. So if you haven't had a chance to read the book or watch either film version, go do so before listening in because we have some spoilers, then tune in and join us as we take on this fascinating murder mystery with one of film's most intriguing characters in years. It's the start of the Benjamin Button-style Fincher-Fest, movie lovers! And what better way to kick it off than to take a look at David Fincher's current film, "The Girl With the Dragon Tattoo," based on Stieg Larsson's first book in his internationally b film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright When Harry Met Sally... • The Next Reel 1 1 9 9 When Harry Met Sally... • The Next Reel full d77cfaaa-268a-4a59-8ecf-71d93e24f2ac https://share.transistor.fm/s/cdc3de84 It's a new year, movie lovers, and in this episode, we take on an incredible film with crisp, spot-on, endlessly quotable dialogue, a cast that is absolutely perfect, and not one but two fantastic New Year's Eve scenes. That's right, we're talking about Rob Reiner's 1989 romantic comedy classic When Harry Met Sally....

We talk about how the film sprang from the real lives of Rob Reiner, his producing partner Andrew Scheinman and the Oscar-nominated writer Nora Ephron. We discuss the nature of the filmmaking process for this film and how smart it was to let the storytelling stand out front even though they could have easily brought out an arsenal of cinematic tools to use. Restraint can be a good thing! We laugh about the neverending lines from the film that are still quoted to this day. And we report on the truth of those cute old couples who pop up throughout the film to recount their own tales of falling in love. It's a magical, heartwarming tale of love, friendship, and the constant struggle between men and women to try to understand each other. Tune in and join us to start 2012 off right!

Notes & Links


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]]> It's a new year, movie lovers, and in this episode, we take on an incredible film with crisp, spot-on, endlessly quotable dialogue, a cast that is absolutely perfect, and not one but two fantastic New Year's Eve scenes. That's right, we're talking about Rob Reiner's 1989 romantic comedy classic When Harry Met Sally....

We talk about how the film sprang from the real lives of Rob Reiner, his producing partner Andrew Scheinman and the Oscar-nominated writer Nora Ephron. We discuss the nature of the filmmaking process for this film and how smart it was to let the storytelling stand out front even though they could have easily brought out an arsenal of cinematic tools to use. Restraint can be a good thing! We laugh about the neverending lines from the film that are still quoted to this day. And we report on the truth of those cute old couples who pop up throughout the film to recount their own tales of falling in love. It's a magical, heartwarming tale of love, friendship, and the constant struggle between men and women to try to understand each other. Tune in and join us to start 2012 off right!

Notes & Links


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]]> Thu, 05 Jan 2012 21:00:00 -0800 The Next Reel The Next Reel 3916 It's a new year, movie lovers, and in this episode, we take on an incredible film with crisp, spot-on, endlessly quotable dialogue, a cast that is absolutely perfect, and not one but two fantastic New Year's Eve scenes. That's right, we're talking about Rob Reiner's 1989 romantic comedy classic When Harry Met Sally.... We talk about how the film sprang from the real lives of Rob Reiner, his producing partner Andrew Scheinman and the Oscar-nominated writer Nora Ephron. We discuss the nature of the filmmaking process for this film and how smart it was to let the storytelling stand out front even though they could have easily brought out an arsenal of cinematic tools to use. Restraint can be a good thing! We laugh about the neverending lines from the film that are still quoted to this day. And we report on the truth of those cute old couples who pop up throughout the film to recount their own tales of falling in love. It's a magical, heartwarming tale of love, friendship, and the constant struggle between men and women to try to understand each other. Tune in and join us to start 2012 off right! **Notes & Links** - [Daniel Craig Interview at TimeOut London](http://rashpixel.co/Ai1RC9) It's a new year, movie lovers, and in this episode, we take on an incredible film with crisp, spot-on, endlessly quotable dialogue, a cast that is absolutely perfect, and not one but two fantastic New Year's Eve scenes. That's right, we're talking about R film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Eternal Sunshine of the Spotless Mind • The Next Reel 1 1 8 8 Eternal Sunshine of the Spotless Mind • The Next Reel full 43004ba4-049d-4863-b4a0-561526898489 https://share.transistor.fm/s/07201e74 Greetings and salutations, movie lovers! In tonight's episode, we'll wrap up 2011 and our Charlie Kaufman trilogy with 2004's Eternal Sunshine for the Spotless Mind, directed by Michel Gondry. Kaufman won the Oscar for Best Original Screenplay for this film, along with Gondry and Pierre Bismuth with whom he shares story credit, and they certainly deserved this award along with every other accolade they received for this incredible film.

We discuss how this story about relationships fits in Kaufman's canon. We talk about all of the amazing tools of filmmaking, both digital and practical, that Gondry and his team employ to create this disintegrating world within our protagonist's head as his memories of his girlfriend are erased. We cover Gondry and what he's bringing to the table. We also discuss the actors and how much they all bring to the table, whether its Kate Winslet in her Oscar-nominated performance as Clementine, Jim Carrey in one of his greatest serious performances ever, or Elijah Wood in maybe the creepiest role he's played. It's an incredible film about love, loss, destiny, memory and identity. Listen in as we end the year with a bang!


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]]> Greetings and salutations, movie lovers! In tonight's episode, we'll wrap up 2011 and our Charlie Kaufman trilogy with 2004's Eternal Sunshine for the Spotless Mind, directed by Michel Gondry. Kaufman won the Oscar for Best Original Screenplay for this film, along with Gondry and Pierre Bismuth with whom he shares story credit, and they certainly deserved this award along with every other accolade they received for this incredible film.

We discuss how this story about relationships fits in Kaufman's canon. We talk about all of the amazing tools of filmmaking, both digital and practical, that Gondry and his team employ to create this disintegrating world within our protagonist's head as his memories of his girlfriend are erased. We cover Gondry and what he's bringing to the table. We also discuss the actors and how much they all bring to the table, whether its Kate Winslet in her Oscar-nominated performance as Clementine, Jim Carrey in one of his greatest serious performances ever, or Elijah Wood in maybe the creepiest role he's played. It's an incredible film about love, loss, destiny, memory and identity. Listen in as we end the year with a bang!


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]]> Thu, 29 Dec 2011 09:00:00 -0800 The Next Reel The Next Reel 3678 Greetings and salutations, movie lovers! In tonight's episode, we'll wrap up 2011 and our Charlie Kaufman trilogy with 2004's Eternal Sunshine for the Spotless Mind, directed by Michel Gondry. Kaufman won the Oscar for Best Original Screenplay for this film, along with Gondry and Pierre Bismuth with whom he shares story credit, and they certainly deserved this award along with every other accolade they received for this incredible film. We discuss how this story about relationships fits in Kaufman's canon. We talk about all of the amazing tools of filmmaking, both digital and practical, that Gondry and his team employ to create this disintegrating world within our protagonist's head as his memories of his girlfriend are erased. We cover Gondry and what he's bringing to the table. We also discuss the actors and how much they all bring to the table, whether its Kate Winslet in her Oscar-nominated performance as Clementine, Jim Carrey in one of his greatest serious performances ever, or Elijah Wood in maybe the creepiest role he's played. It's an incredible film about love, loss, destiny, memory and identity. Listen in as we end the year with a bang! Greetings and salutations, movie lovers! In tonight's episode, we'll wrap up 2011 and our Charlie Kaufman trilogy with 2004's Eternal Sunshine for the Spotless Mind, directed by Michel Gondry. Kaufman won the Oscar for Best Original Screenplay for this fi film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright We're No Angels • The Next Reel 1 1 7 7 We're No Angels • The Next Reel full 27696d44-ce7a-4465-ab8f-e8b20d8bcec7 https://share.transistor.fm/s/fd978059 ”We came here to rob them and that's what we're gonna do:  beat their heads in, gouge their eyes out, slash their throats. Soon as we wash the dishes."

Merry Christmas and happy holidays, movie nerds! Tonight, in the spirit of the season, we talk about Michael Curtiz's curious gem of a Christmas comedy from 1955, "We're No Angels." We look at the film's story — which certainly has charmed both of us — and how it fits in the holiday film genre, despite being a tale of criminals on the lam. We talk about the history of the studio system and how this comes during its decline. We discuss Michael Curtiz, his place within that system, and what he brought to the history of film. We also chat about the fantastic actors, and give our two cents on adding this to the annual list of Christmas movies worth watching. So put on your ugliest Santa sweater, sit back by the fire (where you're roasting chestnuts, no doubt) and join us with a hot peppermint latte as we delve into this wonderful, and to some extent forgotten, Christmas treat!

Film Sundries

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]]> ”We came here to rob them and that's what we're gonna do:  beat their heads in, gouge their eyes out, slash their throats. Soon as we wash the dishes."

Merry Christmas and happy holidays, movie nerds! Tonight, in the spirit of the season, we talk about Michael Curtiz's curious gem of a Christmas comedy from 1955, "We're No Angels." We look at the film's story — which certainly has charmed both of us — and how it fits in the holiday film genre, despite being a tale of criminals on the lam. We talk about the history of the studio system and how this comes during its decline. We discuss Michael Curtiz, his place within that system, and what he brought to the history of film. We also chat about the fantastic actors, and give our two cents on adding this to the annual list of Christmas movies worth watching. So put on your ugliest Santa sweater, sit back by the fire (where you're roasting chestnuts, no doubt) and join us with a hot peppermint latte as we delve into this wonderful, and to some extent forgotten, Christmas treat!

Film Sundries

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]]> Thu, 22 Dec 2011 21:00:00 -0800 The Next Reel The Next Reel 4233 Merry Christmas and happy holidays, movie nerds! Tonight, in the spirit of the season, we talk about Michael Curtiz's curious gem of a Christmas comedy from 1955, "We're No Angels." Merry Christmas and happy holidays, movie nerds! Tonight, in the spirit of the season, we talk about Michael Curtiz's curious gem of a Christmas comedy from 1955, "We're No Angels." film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Adaptation. • The Next Reel 1 1 6 6 Adaptation. • The Next Reel full ca4189c4-acf2-4c0a-ad72-09964e2c9bf8 https://share.transistor.fm/s/8c5dfac8 ###"I wonder who's gonna play me? Someone not too fat. I liked that Gerard Depardieu, but can he not do the accent? Anyway, it's done. And that's something."

It's the second collaboration between director Spike Jonze and screenwriter Charlie Kaufman, and it's another brilliant film to talk about. This time, it's 2002's Adaptation. Join us — Pete Wright and Andy Nelson — as we continue our Charlie Kaufman series with this cute, cliché, self-referential, meta film.

We talk about how the self-referential nature of the film works and how unique it is by creating the two sides of Kaufman's personality by not only writing himself into the novel adaption but also creating a fictional twin brother for himself. We talk about how the brilliant the performances are, from Nicolas Cage to Chris Cooper to Meryl Streep. We talk about the nature of writers writing themselves into their own works, referencing Hunter S. Thompson as one example. We talk about what the real Susan Orlean, the author of the novel on which the movie is "based," thought of how she was written into the film. And we chat about all the clichés that spring to life in the 3rd act, yet how it all works well because of the introduction of them earlier when the character Kaufman gets advice from screenwriting guru Robert McKee, played brilliantly by Brian Cox. We have a great time talking about this film.  Listen in!

Film Sundries

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]]> ###"I wonder who's gonna play me? Someone not too fat. I liked that Gerard Depardieu, but can he not do the accent? Anyway, it's done. And that's something."

It's the second collaboration between director Spike Jonze and screenwriter Charlie Kaufman, and it's another brilliant film to talk about. This time, it's 2002's Adaptation. Join us — Pete Wright and Andy Nelson — as we continue our Charlie Kaufman series with this cute, cliché, self-referential, meta film.

We talk about how the self-referential nature of the film works and how unique it is by creating the two sides of Kaufman's personality by not only writing himself into the novel adaption but also creating a fictional twin brother for himself. We talk about how the brilliant the performances are, from Nicolas Cage to Chris Cooper to Meryl Streep. We talk about the nature of writers writing themselves into their own works, referencing Hunter S. Thompson as one example. We talk about what the real Susan Orlean, the author of the novel on which the movie is "based," thought of how she was written into the film. And we chat about all the clichés that spring to life in the 3rd act, yet how it all works well because of the introduction of them earlier when the character Kaufman gets advice from screenwriting guru Robert McKee, played brilliantly by Brian Cox. We have a great time talking about this film.  Listen in!

Film Sundries

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]]> Thu, 15 Dec 2011 21:00:00 -0800 The Next Reel The Next Reel 3768 It's the second collaboration between director Spike Jonze and screenwriter Charlie Kaufman, and it's another brilliant film to talk about. This time, it's 2002's Adaptation. It's the second collaboration between director Spike Jonze and screenwriter Charlie Kaufman, and it's another brilliant film to talk about. This time, it's 2002's Adaptation. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Being John Malkovich • The Next Reel 1 1 5 5 Being John Malkovich • The Next Reel full 1bfea22f-4bcd-4fbe-80c3-6e3923713a62 https://share.transistor.fm/s/b35ea737 “There's a tiny door in my office, Maxine. It's a portal and it takes you inside John Malkovich. You see the world through John Malkovich's eyes... and then after about 15 minutes, you're spit out... into a ditch on the side of the New Jersey Turnpike."

Many people consider 1999 to be one of the great years in cinema. Countless great movies released that year, and one of those was Spike Jonze's fantasy comedy about a man who discovers a portal into John Malkovich's head and the two women in his life. It's truly one of the strangest films but also one that is absolutely fantastic and introduced the world to the crazy stories by screenwriter Charlie Kaufman. Join us — Pete Wright and Andy Nelson — in our new series about Charlie Kaufman.

We talk about the quirky fantasy nature of this film and how it reflects the characters fantasies in conflict with their identities. We also talk about the obsession and control exhibited in John Cusack's character, Craig Schwartz. We discuss how the film can be construed as a feminist film, particularly when looking at the relationship between Catherine Keener's and Cameron Diaz's characters, Maxine and Lotte. And we chat about the brilliant idea to bring the real John Malkovich into the story and how it creates a real world in the film that still has plenty of crazy, as exhibited in the 7 1/2th floor in the building holding the portal.  It's one heck of a wild ride and one we love chatting about. Listen in!

###Film Sundries

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]]> “There's a tiny door in my office, Maxine. It's a portal and it takes you inside John Malkovich. You see the world through John Malkovich's eyes... and then after about 15 minutes, you're spit out... into a ditch on the side of the New Jersey Turnpike."

Many people consider 1999 to be one of the great years in cinema. Countless great movies released that year, and one of those was Spike Jonze's fantasy comedy about a man who discovers a portal into John Malkovich's head and the two women in his life. It's truly one of the strangest films but also one that is absolutely fantastic and introduced the world to the crazy stories by screenwriter Charlie Kaufman. Join us — Pete Wright and Andy Nelson — in our new series about Charlie Kaufman.

We talk about the quirky fantasy nature of this film and how it reflects the characters fantasies in conflict with their identities. We also talk about the obsession and control exhibited in John Cusack's character, Craig Schwartz. We discuss how the film can be construed as a feminist film, particularly when looking at the relationship between Catherine Keener's and Cameron Diaz's characters, Maxine and Lotte. And we chat about the brilliant idea to bring the real John Malkovich into the story and how it creates a real world in the film that still has plenty of crazy, as exhibited in the 7 1/2th floor in the building holding the portal.  It's one heck of a wild ride and one we love chatting about. Listen in!

###Film Sundries

Contests! We love ‘em. Want to increase your odds of winning them? Support The Next Reel on Patreon and you’re on the list for the #PonyPrize! — http://patreon.com/thenextreel


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]]> Thu, 08 Dec 2011 21:00:00 -0800 The Next Reel The Next Reel 3827 Many people consider 1999 to be one of the great years in cinema. Countless great movies released that year, and one of those was Spike Jonze's fantasy comedy about a man who discovers a portal into John Malkovich's head and the two women in his life. Many people consider 1999 to be one of the great years in cinema. Countless great movies released that year, and one of those was Spike Jonze's fantasy comedy about a man who discovers a portal into John Malkovich's head and the two women in his life. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Indiana Jones and the Kingdom of the Crystal Skull • The Next Reel 1 1 4 4 Indiana Jones and the Kingdom of the Crystal Skull • The Next Reel full 29ed7b31-37d0-4bb9-8518-a198eec258ec https://share.transistor.fm/s/38963513 "Where'd they go? Space?"

"Not into space. Into the space between spaces."

The ridiculousness of this line pretty much sums up our feelings for Steven Spielberg's 2008 film, Indiana Jones and the Kingdom of the Crystal Skull. It's nonsensical, silly, and surreal sci-fi mumbo jumbo that amounts to nothing. That being said, the long-awaited return to Indiana Jones and his adventures still manages to take viewers on a wild ride, even if it steers off course most of the time. Join us — Pete Wright and Andy Nelson — this week as we finish off Indiana Jones with what most people consider the worst of the series.

We talk about the addition to the cinematic lexicon that Spielberg created with nuking the fridge, something on par with jumping the shark, and how that really reflects the rest of the film quite well. We discuss how Spielberg and his cinematographer, Janusz Kaminski, had to return to an older style of filmmaking used in the previous films and how that helped and hindered this film. We chat about the challenges of making a sequel 19 years after the last entry, what struggles they had because of it, why they took so long to get around to making it, and what works in it. We laugh about the odd overuse of animals in this film and what Spielberg may be trying to say in the film. We relate this entry to "Crusade" and how they're both father/son stories, yet how this one fails where "Crusade" succeeded. And we come to terms with the fact that, as much as we (mostly) don't like this movie, it really does fit stylistically with everything going on in "Temple" and "Crusade" as far as style and humor, and how "Raiders" is the film that really stands out as the entry that doesn't quite fit.

It was a struggle to watch but, oddly, not as much as it was the last time and, even if it's not everything we wanted it to be to finish the series, it's still a lot of fun to talk about.  Listen in!

Film Sundries

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New Words


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]]> "Where'd they go? Space?"

"Not into space. Into the space between spaces."

The ridiculousness of this line pretty much sums up our feelings for Steven Spielberg's 2008 film, Indiana Jones and the Kingdom of the Crystal Skull. It's nonsensical, silly, and surreal sci-fi mumbo jumbo that amounts to nothing. That being said, the long-awaited return to Indiana Jones and his adventures still manages to take viewers on a wild ride, even if it steers off course most of the time. Join us — Pete Wright and Andy Nelson — this week as we finish off Indiana Jones with what most people consider the worst of the series.

We talk about the addition to the cinematic lexicon that Spielberg created with nuking the fridge, something on par with jumping the shark, and how that really reflects the rest of the film quite well. We discuss how Spielberg and his cinematographer, Janusz Kaminski, had to return to an older style of filmmaking used in the previous films and how that helped and hindered this film. We chat about the challenges of making a sequel 19 years after the last entry, what struggles they had because of it, why they took so long to get around to making it, and what works in it. We laugh about the odd overuse of animals in this film and what Spielberg may be trying to say in the film. We relate this entry to "Crusade" and how they're both father/son stories, yet how this one fails where "Crusade" succeeded. And we come to terms with the fact that, as much as we (mostly) don't like this movie, it really does fit stylistically with everything going on in "Temple" and "Crusade" as far as style and humor, and how "Raiders" is the film that really stands out as the entry that doesn't quite fit.

It was a struggle to watch but, oddly, not as much as it was the last time and, even if it's not everything we wanted it to be to finish the series, it's still a lot of fun to talk about.  Listen in!

Film Sundries

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]]> Thu, 01 Dec 2011 21:00:00 -0800 The Next Reel The Next Reel 4234 "Indiana Jones and the Kingdom of the Crystal Skull" is nonsensical, silly, and surreal sci-fi mumbo jumbo that amounts to nothing. "Indiana Jones and the Kingdom of the Crystal Skull" is nonsensical, silly, and surreal sci-fi mumbo jumbo that amounts to nothing. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Indiana Jones and the Last Crusade • The Next Reel 1 1 3 3 Indiana Jones and the Last Crusade • The Next Reel full 8efd75c9-cfcf-4fbd-8066-7863b8377d3a https://share.transistor.fm/s/b35207b7 “Our situation has not improved“

Five years after Steven Spielberg and George Lucas dipped into the dark waters for the second Indiana Jones film, they brought the Man with the Hat back in a much brighter story and, as the posters announced, this time he brought his dad.  Indiana Jones and the Last Crusade was, as far as most everyone thought, a return to form:  a return to the fun and thrilling adventure story that was "Raiders" and decidedly not "Temple."  

Released in 1989, the film gave everyone the satisfactory end to the trilogy that they wanted, right down to the heroes riding off into the sunset.  Join us — Pete Wright and Andy Nelson — as we continue our Indiana Jones series.

We chat about the origins of the story and the return to a story with Nazis and a Biblical artifact and why they, perhaps, were getting away from the darker tones exhibited in their previous film in the series (even if Lucas still get to incorporate the Monkey King into the story as he's always wanted to do).  We discuss the feel of the film and how it differs from the previous two, having a much glossier, more fake feel, and how that affects our feelings about it.  We return to our conversation begun in our "Temple" episode about Jones' character arc and how, knowing that film was a prequel, this film's opening — as fun as it is — really doesn't make sense character-wise.  We chat about which characters work for us, which don't, and how they really botched the writing job with Marcus Brody this go-around.  And we deliberate on what the ending means and how, or even if, it works with the fourth entry into the franchise.  It's a fun film and we have a great time talking about it.  Listen in!

Film Sundries

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]]> “Our situation has not improved“

Five years after Steven Spielberg and George Lucas dipped into the dark waters for the second Indiana Jones film, they brought the Man with the Hat back in a much brighter story and, as the posters announced, this time he brought his dad.  Indiana Jones and the Last Crusade was, as far as most everyone thought, a return to form:  a return to the fun and thrilling adventure story that was "Raiders" and decidedly not "Temple."  

Released in 1989, the film gave everyone the satisfactory end to the trilogy that they wanted, right down to the heroes riding off into the sunset.  Join us — Pete Wright and Andy Nelson — as we continue our Indiana Jones series.

We chat about the origins of the story and the return to a story with Nazis and a Biblical artifact and why they, perhaps, were getting away from the darker tones exhibited in their previous film in the series (even if Lucas still get to incorporate the Monkey King into the story as he's always wanted to do).  We discuss the feel of the film and how it differs from the previous two, having a much glossier, more fake feel, and how that affects our feelings about it.  We return to our conversation begun in our "Temple" episode about Jones' character arc and how, knowing that film was a prequel, this film's opening — as fun as it is — really doesn't make sense character-wise.  We chat about which characters work for us, which don't, and how they really botched the writing job with Marcus Brody this go-around.  And we deliberate on what the ending means and how, or even if, it works with the fourth entry into the franchise.  It's a fun film and we have a great time talking about it.  Listen in!

Film Sundries

Want to join us for an episode? Support The Next Reel on Patreon to automatically be entered into our regular Listener’s Choice drawings! — http://patreon.com/thenextreel


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]]> Thu, 24 Nov 2011 21:00:00 -0800 The Next Reel The Next Reel 4774 Five years after Steven Spielberg and George Lucas dipped into the dark waters for the second Indiana Jones film, they brought the Man with the Hat back in a much brighter story and, as the posters announced, this time he brought his dad. Five years after Steven Spielberg and George Lucas dipped into the dark waters for the second Indiana Jones film, they brought the Man with the Hat back in a much brighter story and, as the posters announced, this time he brought his dad. film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Indiana Jones and the Temple of Doom • The Next Reel 1 1 2 2 Indiana Jones and the Temple of Doom • The Next Reel full 6009838b-1000-4808-81b5-f8fd58a9b466 https://share.transistor.fm/s/4f99a3ec "What is Sankara?"   ”Fortune and glory, kid. Fortune and glory."

Steven Spielberg and George Lucas both approached their 1984 follow-up to "Raiders of the Lost Ark" from a dark place while they were simultaneously going through divorces. Perhaps because of this, or perhaps because they were trying to create something different, "Indiana Jones and the Temple of Doom" has always been the ugly red-headed stepchild of the series, having a schizophrenic imbalance between goofy campiness and gruesome horror. That being said, one of us is in the minority and still really likes this movie.

Join us — Pete Wright and Andy Nelson — as we continue our Indiana Jones series with this second film. We talk about our memories of the film from our childhood and what still stands out. We walk through the project's history, from writer to writer to writer, and debate if that's from where the problems in the finished film started. We reflect on the comedy bits that work -- the opening scene and the raft is one — and the ones that don't — Willie Scott in particular. We discuss the performances from Harrison Ford, Ke Huy Quan, Kate Capshaw and Amrish Puri as well as what they bring to the table. We delve into the interesting character arc Indiana Jones has and how it really defines his character well and sets us up for "Raiders," even if the filmmakers botched it with the opening of "Crusade." And we chat about the fantastic set pieces that still hold up, regardless of whether other elements of the film don't. Hated by most but loved by Andy, it's part of an important and iconic movie series and we still have a great time talking about it. Listen in!

Film Sundries

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]]> "What is Sankara?"   ”Fortune and glory, kid. Fortune and glory."

Steven Spielberg and George Lucas both approached their 1984 follow-up to "Raiders of the Lost Ark" from a dark place while they were simultaneously going through divorces. Perhaps because of this, or perhaps because they were trying to create something different, "Indiana Jones and the Temple of Doom" has always been the ugly red-headed stepchild of the series, having a schizophrenic imbalance between goofy campiness and gruesome horror. That being said, one of us is in the minority and still really likes this movie.

Join us — Pete Wright and Andy Nelson — as we continue our Indiana Jones series with this second film. We talk about our memories of the film from our childhood and what still stands out. We walk through the project's history, from writer to writer to writer, and debate if that's from where the problems in the finished film started. We reflect on the comedy bits that work -- the opening scene and the raft is one — and the ones that don't — Willie Scott in particular. We discuss the performances from Harrison Ford, Ke Huy Quan, Kate Capshaw and Amrish Puri as well as what they bring to the table. We delve into the interesting character arc Indiana Jones has and how it really defines his character well and sets us up for "Raiders," even if the filmmakers botched it with the opening of "Crusade." And we chat about the fantastic set pieces that still hold up, regardless of whether other elements of the film don't. Hated by most but loved by Andy, it's part of an important and iconic movie series and we still have a great time talking about it. Listen in!

Film Sundries

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]]> Thu, 17 Nov 2011 21:00:00 -0800 The Next Reel The Next Reel 4008 Steven Spielberg and George Lucas both approached their 1984 follow-up to "Raiders of the Lost Ark" from a dark place while they were simultaneously going through divorces. Perhaps because of this, or perhaps because they were trying to create something different, "Indiana Jones and the Temple of Doom" has always been the ugly red-headed stepchild of the series, having a schizophrenic imbalance between goofy campiness and gruesome horror. Steven Spielberg and George Lucas both approached their 1984 follow-up to "Raiders of the Lost Ark" from a dark place while they were simultaneously going through divorces. Perhaps because of this, or perhaps because they were trying to create something d film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright Raiders of the Lost Ark 1 1 1 1 Raiders of the Lost Ark full ade25822-52ef-4e23-8e63-b255e90ff00f https://share.transistor.fm/s/965f4ccc Steven Spielberg's "Raiders of the Lost Ark" is one of those rare adventure films where the characters are so fully drawn that the action sequences feel earned rather than obligatory—and that's exactly where Pete and Andy start in this conversation. They trace the film's long development from George Lucas's early-'70s idea (modeled on 1930s serials and, more surprisingly, Uncle Scrooge comics) through Philip Kaufman's contribution of the Ark of the Covenant as the central MacGuffin, and finally to Lawrence Kasdan writing the screenplay that pulled it all together. Along the way they dig into the difference between a story credit and a screenplay credit, and what the WGA's role is when the people involved can't agree. The character work gets serious attention. Marion Ravenwood is held up as a model of how to write a blockbuster female character who is genuinely pivotal—and the sequels' treatment of her as a counterexample. René Belloq gets examined as one of the most underrated antagonists in adventure cinema, built around the "we're the same, you and I" dynamic that Andy argues is one of screenwriting's most underused tools. And the conversation asks a question that's harder to answer than it looks: why didn't Indiana Jones become the franchise equivalent of James Bond? There's also a substantial thread on practical effects—the undercranked camera behind the film's most memorable sequence, ILM's liquid-chemistry cloud technique, and why a 200-pound papier-mâché boulder made Harrison Ford run faster than any CGI replacement ever could.
For links, resources, and the full episode transcript, visit the episode page.
🔓 The movie ends. The conversation goes further. Become a member. 🎧 Members get this episode early and ad-free—plus every show in The Next Reel family.

]]> Steven Spielberg's "Raiders of the Lost Ark" is one of those rare adventure films where the characters are so fully drawn that the action sequences feel earned rather than obligatory—and that's exactly where Pete and Andy start in this conversation. They trace the film's long development from George Lucas's early-'70s idea (modeled on 1930s serials and, more surprisingly, Uncle Scrooge comics) through Philip Kaufman's contribution of the Ark of the Covenant as the central MacGuffin, and finally to Lawrence Kasdan writing the screenplay that pulled it all together. Along the way they dig into the difference between a story credit and a screenplay credit, and what the WGA's role is when the people involved can't agree. The character work gets serious attention. Marion Ravenwood is held up as a model of how to write a blockbuster female character who is genuinely pivotal—and the sequels' treatment of her as a counterexample. René Belloq gets examined as one of the most underrated antagonists in adventure cinema, built around the "we're the same, you and I" dynamic that Andy argues is one of screenwriting's most underused tools. And the conversation asks a question that's harder to answer than it looks: why didn't Indiana Jones become the franchise equivalent of James Bond? There's also a substantial thread on practical effects—the undercranked camera behind the film's most memorable sequence, ILM's liquid-chemistry cloud technique, and why a 200-pound papier-mâché boulder made Harrison Ford run faster than any CGI replacement ever could.
For links, resources, and the full episode transcript, visit the episode page.
🔓 The movie ends. The conversation goes further. Become a member. 🎧 Members get this episode early and ad-free—plus every show in The Next Reel family.

]]> Fri, 11 Nov 2011 07:00:00 -0800 The Next Reel The Next Reel 4042 Everything about Steven Spielberg's 1981 Raiders of the Lost Ark is iconic—the lines, the characters, the danger, John Williams' score, Jones' hat and whip. Everything about Steven Spielberg's 1981 Raiders of the Lost Ark is iconic—the lines, the characters, the danger, John Williams' score, Jones' hat and whip. Indiana Jones, Steven Spielberg, 1981, 1980s No Andy Nelson Pete Wright Welcome to The Next Reel! 1 1 Welcome to The Next Reel! trailer c80371fc-19d5-4560-9519-159c5a0bf3c5 https://share.transistor.fm/s/2d445eec Are you ready for a thrilling cinematic adventure? Welcome to The Next Reel Film Podcast, where movie lovers unite! For over a decade, we've been your trusted guides, diving deep into the captivating world of film. From timeless classics to groundbreaking new releases and hidden gems, we bring you engaging and hilarious conversations that go beyond the average movie review.

We explore the fascinating stories behind the scenes, from production challenges to box office triumphs and mind-blowing facts. At The Next Reel, we believe every movie has valuable lessons to offer, whether it's an Oscar winner, a cult classic, or even a film that didn't quite stick the landing. We're here to unpack the craft of filmmaking, the depths of the human experience, and the world we live in, all through the lens of the movies we love.

Join us on this cinematic odyssey! With hundreds of episodes in our archive, you'll never run out of captivating conversations to fuel your movie obsession. Subscribe now and get ready to see movies in a whole new light.


The Next Reel. When the movie ends, our conversation begins.

]]> Are you ready for a thrilling cinematic adventure? Welcome to The Next Reel Film Podcast, where movie lovers unite! For over a decade, we've been your trusted guides, diving deep into the captivating world of film. From timeless classics to groundbreaking new releases and hidden gems, we bring you engaging and hilarious conversations that go beyond the average movie review.

We explore the fascinating stories behind the scenes, from production challenges to box office triumphs and mind-blowing facts. At The Next Reel, we believe every movie has valuable lessons to offer, whether it's an Oscar winner, a cult classic, or even a film that didn't quite stick the landing. We're here to unpack the craft of filmmaking, the depths of the human experience, and the world we live in, all through the lens of the movies we love.

Join us on this cinematic odyssey! With hundreds of episodes in our archive, you'll never run out of captivating conversations to fuel your movie obsession. Subscribe now and get ready to see movies in a whole new light.


The Next Reel. When the movie ends, our conversation begins.

]]> Fri, 04 Nov 2011 03:00:00 -0700 TruStory FM TruStory FM 108 Are you ready for a thrilling cinematic adventure? Welcome to The Next Reel Film Podcast, where movie lovers unite! For over a decade, we've been your trusted guides, diving deep into the captivating world of film. From timeless classics to groundbreaking new releases and hidden gems, we bring you engaging and hilarious conversations that go beyond the average movie review.

We explore the fascinating stories behind the scenes, from production challenges to box office triumphs and mind-blowing facts. At The Next Reel, we believe every movie has valuable lessons to offer, whether it's an Oscar winner, a cult classic, or even a film that didn't quite stick the landing. We're here to unpack the craft of filmmaking, the depths of the human experience, and the world we live in, all through the lens of the movies we love.

Join us on this cinematic odyssey! With hundreds of episodes in our archive, you'll never run out of captivating conversations to fuel your movie obsession. Subscribe now and get ready to see movies in a whole new light.


The Next Reel. When the movie ends, our conversation begins.

]]> film, filmcommentary, moviereview, movies, review No Andy Nelson Pete Wright