The Next Reel Film Podcast (TruStory FM)
Explorez tous les épisodes de The Next Reel Film Podcast
| Date | Titre | Durée | |
|---|---|---|---|
| 25 Jan 2018 | A Good Day to Die Hard • The Next Reel | 01:19:03 | |
"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 Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 16 Aug 2018 | Planet of the Apes • The Next Reel | 01:01:42 | |
"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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 21 Nov 2013 | Intacto • The Next Reel | 01:09:48 | |
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!!
And for anyone interested in our fine bouquet of show hosts:
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 03 Sep 2015 | The French Lieutenant's Woman • The Next Reel | 01:29:25 | |
“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
Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the 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:
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 30 Jan 2014 | Richard Dysart: A Special Next Reel Interview • The Next Reel | 01:19:35 | |
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:
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 02 Apr 2020 | The Spy Who Came In From The Cold • The Next Reel | 01:01:18 | |
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! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon!
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 14 Dec 2017 | The Girl Who Played with Fire • The Next Reel | 01:09:45 | |
"Hello, Papa." Stieg Larsson’s second novel in the Millennium trilogy, “The Girl Who Played With Fire,” saw the continuation of the story of Lisbeth Salander and Mikael Blomqvist while they try to stop a sex trafficking ring in Sweden. The whole trilogy of books was a massive success, but the film version was given half the budget of the first film for some reason, while also being paired with a different director. Perhaps the producers knew the book wasn’t quite as good as the first one? Perhaps they figured they could spend less because people would be seeing it anyway? Whatever the reasons, it seems a bit like the ugly red-headed stepchild. But director Daniel Alfredson still put together an effective film, even if it feels a bit average at times. Join us – Pete Wright and Andy Nelson – as we continue our series on the Millennium trilogy with Alfredson’s 2009 take on The Girl Who Played With Fire. We talk about the overall feel of the film and try to gauge why it doesn’t feel as fresh or original as the first film. We discuss the inevitable effects that a much lower budget has on those making the film and ponder if that affected Alfredson. We debate about Alfredson as a director and wonder what he’s bringing to the table. We are still thrilled with Noomi Rapace and Michael Nyqvist as Lisbeth and Mikael, even if there are elements about them that can be more frustrating here. We look at Peter Mokrosinski’s cinematography and look at where it works and where it doesn’t. And we look at the script and how the adaptation works, questioning whether some of the poorer elements were thrust on the filmmakers by Larsson’s source material. On the whole, we enjoy the film but not on the level of the first entry. Still, it allows for a great conversation, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 16 Dec 2021 | A Simple Life • The Next Reel | 01:14:22 | |
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 Learn more about supporting The Next Reel Film Podcast through your own membership.
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 16 Jun 2016 | The Great Escape • The Next Reel | 01:37:00 | |
"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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 21 Jan 2016 | Glengarry Glen Ross • The Next Reel | 01:45:39 | |
“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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 02 Jun 2016 | Man Hunt • The Next Reel | 01:18:47 | |
"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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 29 Aug 2024 | Johnny Got His Gun • The Next Reel | 01:03:23 | |
“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?” 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 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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 28 Mar 2024 | The American Astronaut • The Next Reel | 00:59:19 | |
“I’ve never understood this joke, but then I’ve never been to Earth.” 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
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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 24 Jul 2014 | The Adventures of Baron Munchausen • The Next Reel | 01:28:36 | |
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!!
And for anyone interested in our fine bouquet of show hosts:
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 20 Sep 2012 | Big Fish • The Next Reel | 01:10:34 | |
"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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 03 Oct 2013 | (500) Days of Summer • The Next Reel | 01:18:40 | |
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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| 08 Mar 2018 | Point Break • The Next Reel | 01:13:16 | |
"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 Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 23 Jun 2016 | ParaNorman • The Next Reel | 01:28:59 | |
"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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 04 Mar 2021 | 8 Million Ways to Die • The Next Reel | 01:19:19 | |
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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 02 Jan 2014 | The Hudsucker Proxy • The Next Reel | 01:07:30 | |
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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| 31 Dec 2024 | Death Race 2000 • Member Bonus | 00:14:16 | |
“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.” 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 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. | |||
| 10 Sep 2020 | Life Is Beautiful • The Next Reel | 01:10:38 | |
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 Thank you for supporting The Next Reel Film Podcast on Patreon!
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 02 Feb 2023 | Gangs of Wasseypur - Part 1 • The Next Reel | 00:54:13 | |
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.”
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.
Learn more about supporting The Next Reel Film Podcast through your own membership.
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 11 Oct 2018 | Danger: Diabolik • The Next Reel | 01:07:10 | |
"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 Thank you for supporting The Next Reel Film Podcast on Patreon!
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 26 Sep 2019 | Robin Hood (2010) • The Next Reel | 01:11:13 | |
“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! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon!
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 27 Dec 2012 | Strange Days • The Next Reel | 01:08:35 | |
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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 29 Sep 2022 | Pitch Perfect • The Next Reel | 01:30:16 | |
“Nothing makes a woman feel more like a girl than a man who sings like a boy.”
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.
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.
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.
Learn more about supporting The Next Reel Film Podcast through your own membership.
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 30 Jan 2015 | The Ladykillers • The Next Reel | 01:09:44 | |
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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 13 Nov 2015 | My Neighbor Totoro • The Next Reel | 01:33:48 | |
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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 04 Apr 2024 | The Deep End • The Next Reel | 01:02:12 | |
“Make a sound and I’m going to drown you in the lake.” 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 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
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| 17 Aug 2023 | Of Mice and Men • The Next Reel | 01:08:41 | |
“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
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| 21 Jul 2016 | The Crazies • The Next Reel | 01:27:33 | |
"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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| 01 Apr 2021 | Born on the Fourth of July • The Next Reel | 01:12:15 | |
“Thou shalt not kill, Mom. Thou shalt not kill women and children!” It was originally Al Pacino and his producing partner Martin Bregman who optioned Ron Kovic’s autobiographical book “Born on the Fourth of July” in 1977 so Pacino could play the role. They hired a young Oliver Stone to adapt it but after a few years of not getting anywhere, they dropped it. Stone told Kovic that if he made it, he’d circle back to get it made. True to his word, after the success of Platoon, Stone reached back out and they began the process again, this time with Stone directing. Join us – Pete Wright and Andy Nelson – as we close out our Oliver Stone in the 80s series with Stone’s 1989 film Born on the Fourth of July. We talk about the small amount of Vietnam in this second film of Stone’s Vietnam trilogy and how it’s interesting in how much that element shapes the overall story. We discuss Tom Cruise in the lead role and how this is a perfect example of Cruise always pushing to be the best and why we love him so much here. We argue over whether the facial hair and wig work is good or not. We run through the list of all the other fantastic performers seen over the course of this epic life story. We debate the nature of biopics and if there’s another word to describe this type or not. We chat about Robert Richardson and all the amazing cinematographical choices made throughout this film. And we marvel at the incredible John Williams score which works so well. We have a great time talking about this film so check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film Sundries
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| 11 May 2017 | No • The Next Reel | 01:18:10 | |
"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
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| 31 May 2012 | Alien 3 • The Next Reel | 01:14:10 | |
"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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 13 Dec 2018 | The Producers (1968) • The Next Reel | 01:06:57 | |
"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! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon!
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 08 Dec 2022 | The Twilight Saga: Eclipse • The Next Reel | 01:08:24 | |
“Let’s face it – I AM hotter than you.”
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?
Learn more about supporting The Next Reel Film Podcast through your own membership.
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 25 Oct 2012 | The Descent • The Next Reel | 01:10:38 | |
"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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 11 Apr 2019 | A Star Is Born (2018) • The Next Reel | 01:28:05 | |
"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 Thank you for supporting The Next Reel Film Podcast on Patreon!
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 02 Dec 2021 | Where Do We Go Now? • The Next Reel | 01:10:44 | |
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 Learn more about supporting The Next Reel Film Podcast through your own membership.
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 30 Jan 2025 | A Dandy in Aspic | 01:03:53 | |
“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.” 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
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
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| 11 May 2023 | Train to Busan • The Next Reel | 01:00:46 | |
“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.
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 04 May 2023 | The Lord of the Rings: The Return of the King • The Next Reel | 01:07:14 | |
“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.
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.
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| 21 Dec 2017 | The Girl Who Kicked the Hornet’s Nest • The Next Reel | 01:09:06 | |
"I’m a survivor, as you should know by now." Stieg Larsson had plans to write an entire series of Millennium novels, but unfortunately died having only written three of them. Because of this, they’re often referred to as the Millennium trilogy. Sure, they have the same characters largely and are centered around the Millennium magazine, but it’s not really a trilogy per se. That being said, when making the three films, it didn’t stop the team from shooting them all back to back to keep the story as cohesive as possible. While it’s great having the three Swedish films feel so much of a whole, it is a challenge seeing this as a trilogy. It doesn’t help that the third film, Daniel Alfredson’s 2009 The Girl Who Kicked the Hornets’ Nest, starts to feel a bit like the storytellers are stretching credulity a bit. Join us – Pete Wright and Andy Nelson – as we wrap up our series on the Millennium ‘trilogy’ with Alfredson’s film. We talk about the basic struggles we have with the film, even if we still largely enjoy it. We look at the struggles all trilogies seem to face and how that often is expounded when they shoot them back to back. We talk about the cast and how well they do, most notably the women throughout. We look at the courtroom scene and Dr. Teleborian’s takedown, discussing the camerawork and performances and how that scene stands out as quite effective. And we come back around to talking about Noomi Rapace and Michael Nyqvist and how great they are in their roles. While we have issues with this film, it’s still one we enjoy and would return to. It’s a series of films that’s dark but definitely worth checking out. So check it out! Then tune in. The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 20 Dec 2018 | The Producers (2005) • The Next Reel | 01:06:53 | |
"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 Thank you for supporting The Next Reel Film Podcast on Patreon!
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 03 Apr 2023 | The Speakeasy Retrofit • Movies We Like | 00:04:14 | |
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! | |||
| 31 Oct 2024 | A Bucket of Blood • Member Bonus | 00:13:21 | |
“It’s called ‘Murdered Man’.” 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:
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. | |||
| 03 Aug 2017 | Star Trek: The Motion Picture • The Next Reel | 01:14:33 | |
"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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| 04 Oct 2016 | Apocalypse Now — Paul Cameron • Movies We Like | 01:03:44 | |
"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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| 13 Mar 2018 | Local Hero — Andy Nelson • Movies We Like | 01:14:31 | |
"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 Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
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| 10 Jan 2017 | Groundhog Day — Jim Jermanok • Movies We Like | 01:08:30 | |
"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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| 13 Jun 2024 | Tár • The Next Reel | 01:07:21 | |
“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.” 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:
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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 17 Nov 2022 | The Raid 2 • The Next Reel | 01:30:12 | |
“They're not cops anymore. They're in my world now.”
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?
Learn more about supporting The Next Reel Film Podcast through your own membership.
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 25 Jul 2013 | Butch Cassidy and the Sundance Kid • The Next Reel | 01:20:41 | |
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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 11 Jan 2024 | The Princess Bride • The Next Reel | 01:14:33 | |
"This is true love. You think this happens every day?" 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 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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 31 Mar 2022 | Slums of Beverly Hills • The Next Reel | 01:10:45 | |
“It’s not unusual to move every three months.” The story of Tamara Jenkins’ Slums of Beverly Hills feels very lived in with authentic characters and situations. It makes sense that there’s a semi-autobiographical element to her film. How well does it hold up over two decades after its release? Join us – Pete Wright and Andy Nelson – as we continue our Coming of Age Debuts series with Jenkins’ 1998 film Slums of Beverly Hills. What do we think of Slums of Beverly Hills? Jenkins has only made three feature films unfortunately, but we’ve liked what we’ve seen. (In full disclosure, Andy worked on The Savages so might be biased.) She’s talked about how challenging our system is for women directors, which may speak to her low output. The struggles of Vivian in this film, perfectly played by Natasha Lyonne, carry the story. As she literally comes of age (we start the film with her dad getting her her first bra), we feel her struggles to adapt to her changing body. And living with her dad and two brothers makes her life frustrating. Speaking of her family, Alan Arkin, David Krumholtz, and Eli Marienthal are perfect. They feel like a real family. When Marisa Tomei enters as their crazy cousin Rita, it just fits. Rita and Vivian have a great cousin relationship involving things like talking in gibberish and lessons in vibrators. Oh, and plenty of breast talk too. Jenkins rides a strong line of comedy with the dramatic moments, and it all works. We love the concept of the film riding along the fringes of Beverly Hills. It’s a period piece that always feels authentic. We have a great time with this one, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership.
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 02 May 2024 | Kill List • The Next Reel | 01:01:01 | |
“How many on the list?” 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
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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| 10 Nov 2022 | The Raid • The Next Reel | 01:00:08 | |
“Just because you see what I do as wrong doesn’t mean I can’t be good at it.” 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.
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.
Learn more about supporting The Next Reel Film Podcast through your own membership.
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 18 Apr 2013 | Carrie • The Next Reel | 01:14:52 | |
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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 05 Dec 2013 | Run Lola Run • The Next Reel | 01:23:56 | |
"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:
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 22 Nov 2012 | Drive • The Next Reel | 01:08:54 | |
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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 13 Jan 2012 | The Girl with the Dragon Tattoo (2011) • The Next Reel | 01:23:01 | |
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. Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 05 Feb 2015 | Murder By Death • The Next Reel | 01:13:58 | |
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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 29 May 2014 | Thief • The Next Reel | 01:25:11 | |
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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| 13 Feb 2014 | The Abyss • The Next Reel | 01:23:42 | |
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:
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 25 May 2023 | Mission: Impossible • The Next Reel | 01:10:33 | |
“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.
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| 27 Oct 2022 | Before Sunset • The Next Reel | 00:57:27 | |
“Why didn’t we just exchange phone numbers and stuff?” Jesse and Céline are a bit more grown up in Before Sunset.
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.
Learn more about supporting The Next Reel Film Podcast through your own membership.
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 04 Jun 2015 | Kings Row • The Next Reel | 01:15:01 | |
“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
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| 19 Jan 2017 | The Adventures of Priscilla, Queen of the Desert • The Next Reel | 01:25:54 | |
"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
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| 05 Oct 2012 | The Thing • The Next Reel | 01:19:43 | |
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... Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 25 Jun 2015 | Gone With The Wind • The Next Reel | 01:41:04 | |
“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
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| 22 Sep 2022 | Back to the Future Part III • The Next Reel | 01:22:06 | |
"Shot in the back by Buford Tannen, over a matter of eighty dollars? What kind of a future do you call that?”
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.
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.
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Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 18 Mar 2016 | Stagecoach • The Next Reel | 01:30:05 | |
"We’re the victims of a foul disease called social prejudice, my child." When John Ford decided to helm “Stagecoach” in 1939, he hadn’t done a western since his days in the silent film era. Yet it was this film, along with his relationship with John Wayne, that would lead to him making arguably some of the greatest westerns in cinema. Yet with this film, it was really more of a chance to make a western that could be a bit more serious, not just another b-level shoot-em-up, while still making a movie that was pretty light and entertaining. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Ford’s “Stagecoach.” We talk about John Ford as a director and what he was trying to do with this film, pointing out some Ford-isms along with debating his strength as a filmmaker. We chat about Dudley Nichols’ script adapted from Ernest Haycox’s short story, enjoying what he did with the nine principal characters in the film, even if there were some pacing issues throughout. We discuss the cinematography of Bert Glennon and the way he and Ford shot the action sequences. We chat about stuntman and stunt coordinator Yakima Canutt, marveling at the amazing stunts he performs in the film while also feeling pretty horrified at the methods he devised to get the horses to fall on camera. And we touch on the cast, touching on what each of them bring to their roles. It’s a fun film, even if not one of our favorites, but still gives us a great movie to talk about. So check it out then tune in! Film Sundries
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 23 May 2013 | The Prestige • The Next Reel | 01:19:06 | |
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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 09 Jul 2015 | Mr. Smith Goes to Washington • The Next Reel | 01:32:07 | |
“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
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| 07 Nov 2013 | The Spanish Prisoner • The Next Reel | 01:09:57 | |
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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| 15 Nov 2012 | Ronin • The Next Reel | 01:01:16 | |
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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 09 Dec 2011 | Being John Malkovich • The Next Reel | 01:08:49 | |
“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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 16 Feb 2017 | Raise the Red Lantern • The Next Reel | 01:06:04 | |
"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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 19 Aug 2021 | Johnny Dangerously • The Next Reel | 01:14:55 | |
“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 how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 20 Feb 2014 | Inception • The Next Reel | 01:22:48 | |
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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Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 07 Jun 2016 | Terminator 2: Judgment Day — Sarah Trost • Movies We Like | 01:39:12 | |
"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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| 12 Feb 2016 | Outland • The Next Reel | 01:27:23 | |
“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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 06 Feb 2020 | Hudson Hawk • The Next Reel | 01:21:56 | |
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! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon!
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 18 Feb 2021 | Year of the Dragon • The Next Reel | 01:12:01 | |
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! Film Sundries
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 14 Nov 2013 | Redbelt • The Next Reel | 01:37:43 | |
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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Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 05 Oct 2023 | Death of a Salesman • The Next Reel | 01:02:11 | |
“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.
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.
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!
Learn more about supporting The Next Reel Film Podcast through your own membership. Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 21 Nov 2019 | The Jerk • The Next Reel | 01:00:08 | |
“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! Film Sundries
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 09 Aug 2013 | It Happened One Night • The Next Reel | 01:18:31 | |
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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 07 Aug 2023 | Goodbye, Mr. Chips • Rebroadcast • The Next Reel | 01:08:23 | |
"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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 29 Dec 2016 | Trading Places • The Next Reel | 01:10:50 | |
"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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 24 Sep 2015 | Mother • The Next Reel | 01:15:47 | |
“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
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| 28 Apr 2016 | The Long Kiss Goodnight • The Next Reel | 01:26:18 | |
"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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
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| 06 May 2021 | The Green Mile • The Next Reel | 01:16:17 | |
"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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 15 Feb 2018 | Thoroughly Modern Millie • The Next Reel | 01:17:26 | |
"Men say it’s criminal what women’ll do. What they’re forgetting is this is 1922." By 1967, Julie Andrews was at the top of her game. Since Mary Poppins came out, she’d been in hit after hit, from The Sound of Music to Torn Curtain, so it was surely a thrill for her to jump into another musical – Thoroughly Modern Millie – with George Roy Hill, who had just directed her in Hawaii. Join us – Pete Wright and Andy Nelson – as we continue our Musicals From the 60s series with Hill’s 1967 film Thoroughly Modern Millie. We talk about why the film works well for us, even though there are elements within that we struggle with. We compare it to the last film we discussed – The Young Girls of Rochefort – which had some similar elements, but which didn’t work nearly as well for us. We look at how well the cast works here, from Andrews to James Fox, from Mary Tyler Moore to Carol Channing, from John Gavin to Pat Morita. We look at what Hill brings to the table with the direction, and how well he works with cinematographer Russell Metty and editor Stuart Gilmore. We chat about the music – both songs from the past and original songs – as well as the original and adapted scores (and try to figure out who actually did what). And we ponder if the racial stereotypes here are better or worse than those in Gone With the Wind. It’s a riotously fun film that certainly has issues but is worth checking out. We have a great time talking about it on the show this week. Give it a watch then tune in! The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 26 Sep 2024 | Pontypool | 00:58:27 | |
“She doesn’t know it yet, but she’s hunting us.” 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
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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 02 Nov 2023 | A Streetcar Named Desire • The Next Reel | 01:07:44 | |
“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.
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!
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 05 Jul 2012 | The Red Shoes • The Next Reel | 01:17:41 | |
"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! Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 27 Oct 2016 | The Fly • The Next Reel | 01:24:02 | |
"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
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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| 26 Sep 2013 | The Blob • The Next Reel | 01:16:50 | |
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!!
And for anyone interested in our fine bouquet of show hosts:
Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts:
Join the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: What are some other ways you can support us and show your love? Glad you asked!
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