The new Bob Odenkirk-starring revenge thriller NOBODY could be read as commentary on the revenge thriller form, but that may be an overly generous reading — or it may just be because we’ve paired it this week with Steven Soderbergh’s THE LIMEY, which is much more overtly reflective about its fantasies of violence and retribution. After working through what did and didn’t work for us about NOBODY, we put it into conversation with THE LIMEY — and by extension the long cinematic tradition of the revenge movie — to discuss the films’ respective approaches to violence, motivation, and middle age, and how they use music and location work to different effect. Plus Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar.Please share your comments, thoughts, and questions about THE LIMEY, NOBODY, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Your Next Picture Show:Scott: Michael Verhoeven’s THE NASTY GIRLKeith: Richard C. Sarafian’s VANISHING POINTTasha: George Romero’s THE CRAZIESOutro music: Steve Lawrence, ‘I Gotta Be Me’ Learn more about your ad choices. Visit megaphone.fm/adchoices

The new Bob Odenkirk-starring revenge thriller NOBODY could be read as commentary on the revenge thriller form, but that may be an overly generous reading — or it may just be because we’ve paired it this week with Steven Soderbergh’s THE LIMEY, which is much more overtly reflective about its fantasies of violence and retribution. After working through what did and didn’t work for us about NOBODY, we put it into conversation with THE LIMEY — and by extension the long cinematic tradition of the revenge movie — to discuss the films’ respective approaches to violence, motivation, and middle age, and how they use music and location work to different effect. Plus Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar.Please share your comments, thoughts, and questions about THE LIMEY, NOBODY, or anything else in the world of film, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Your Next Picture Show:Scott: Michael Verhoeven’s THE NASTY GIRLKeith: Richard C. Sarafian’s VANISHING POINTTasha: George Romero’s THE CRAZIES Outro music: Steve Lawrence, ‘I Gotta Be Me’ Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#274: Revenge Is a Dish Best Served Twice, Pt. 2 — Nobody

The new NOBODY, starring Bob Odenkirk as an unlikely action star, is drawing on a long tradition of revenge movies, which means we had our pick of comparison points this week, but Steven Soderbergh’s 1999 film THE LIMEY struck us as particularly apt not just for the commentary it provides on the revenge narrative, but also for its focus on its protagonist’s relationship to his past. In this first half we dig into THE LIMEY, a film one of our panelists considers top-three Soderbergh and another considers a pale imitation of the filmmaker's better work, to debate how its fluid, almost dreamlike non-linear structure impacts the viewing experience, if its casting choices are considered “metatextual” or “extratextual,” and whether the film’s style overshadows its story. Plus, we respond to a listener question about movies that shifted our worldview, and some thoughts about kids’ capacity for cinematic weirdness inspired by our recent episode on THE LAST UNICORN.Please share your comments, thoughts, and questions about THE LIMEY, NOBODY, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Outro music: The Byrds, “It Happens Each Day” Learn more about your ad choices. Visit megaphone.fm/adchoices

The new NOBODY, starring Bob Odenkirk as an unlikely action star, is drawing on a long tradition of revenge movies, which means we had our pick of comparison points this week, but Steven Soderbergh’s 1999 film THE LIMEY struck us as particularly apt not just for the commentary it provides on the revenge narrative, but also for its focus on its protagonist’s relationship to his past. In this first half we dig into THE LIMEY, a film one of our panelists considers top-three Soderbergh and another considers a pale imitation of the filmmaker's better work, to debate how its fluid, almost dreamlike non-linear structure impacts the viewing experience, if its casting choices are considered “metatextual” or “extratextual,” and whether the film’s style overshadows its story. Plus, we respond to a listener question about movies that shifted our worldview, and some thoughts about kids’ capacity for cinematic weirdness inspired by our recent episode on THE LAST UNICORN.Please share your comments, thoughts, and questions about THE LIMEY, NOBODY, or anything else in the world of film, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>. Outro music: The Byrds, “It Happens Each Day” Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#273: Revenge Is a Dish Best Served Twice, Pt. 1 — The Limey

The new HBO documentary TINA touches briefly but memorably on the release of 1992’s WHAT’S LOVE GOT TO DO WITH IT, but it’s much more focused on providing a bird’s-eye view of Tina Turner’s entire career, beyond the years she spent in a creatively fruitful but abusive partnership with Ike Turner. Watching the two films together, as we did for this week’s pairing, reveals how the films’ respective documentary and narrative approaches both support and push against each other when it comes to portraying the breadth and depth of one woman’s experience. We’re joined again this week by Vulture critic Jen Chaney to discuss what makes TINA stand out among similarly structured music documentaries, before tackling how these two distinct but inherently linked films each approach the portrayal of abuse and trauma, the scope of Tina’s career, and the extraordinary onstage charisma that made her a star. Plus Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar.Please share your comments, thoughts, and questions about WHAT’S LOVE GOT TO DO WITH IT, TINA, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Your Next Picture Show:Tasha: Martin Scorsese’s SHINE A LIGHTGenevieve: Josh Greenbaum’s BARB AND STAR GO TO VISTA DEL MARJen: John Hyams' ALL SQUAREScott: HBO’s TIGEROutro music: Tina Turner, "I Can't Stand the Rain (Live)" Learn more about your ad choices. Visit megaphone.fm/adchoices

The new HBO documentary TINA touches briefly but memorably on the release of 1992’s WHAT’S LOVE GOT TO DO WITH IT, but it’s much more focused on providing a bird’s-eye view of Tina Turner’s entire career, beyond the years she spent in a creatively fruitful but abusive partnership with Ike Turner. Watching the two films together, as we did for this week’s pairing, reveals how the films’ respective documentary and narrative approaches both support and push against each other when it comes to portraying the breadth and depth of one woman’s experience. We’re joined again this week by Vulture critic Jen Chaney to discuss what makes TINA stand out among similarly structured music documentaries, before tackling how these two distinct but inherently linked films each approach the portrayal of abuse and trauma, the scope of Tina’s career, and the extraordinary onstage charisma that made her a star. Plus Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar. Please share your comments, thoughts, and questions about WHAT’S LOVE GOT TO DO WITH IT, TINA, or anything else in the world of film, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Your Next Picture Show:Tasha: Martin Scorsese’s SHINE A LIGHTGenevieve: Josh Greenbaum’s BARB AND STAR GO TO VISTA DEL MARJen: John Hyams' ALL SQUAREScott: HBO’s TIGER Outro music: Tina Turner, "I Can't Stand the Rain (Live)" Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#272: A Tina Twofer, Pt. 2 — Tina

It’s rare that one of the films in a Next Picture Show pairing is directly addressed in the other film, but that’s the case with WHAT’S LOVE GOT TO DO WITH IT and the new documentary TINA, two films with distinctly different approaches tackling a common subject: the life of soul music legend Tina Turner. This week we zoom in on Tina through the lens of Brian Gibson’s 1993 biopic, a film that treats the abuse Tina received at the hands of her husband/tormenter Ike Turner as its narrative North Star. We’re joined by critic Jen Chaney to debate how well that choice works, celebrate the transformative performances by Angela Bassett and Laurence Fishburne, and discuss which of the many liberties the film takes with the historical record actually matter in the broader context. Plus, we respond to some feedback about our recent discussions of two films now vying against each other in multiple Oscar categories, PROMISING YOUNG WOMAN and NOMADLAND.Please share your comments, thoughts, and questions about WHAT’S LOVE GOT TO DO WITH IT, TINA, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Outro music: Ike and Tina Turner, “Fool In Love” Learn more about your ad choices. Visit megaphone.fm/adchoices

It’s rare that one of the films in a Next Picture Show pairing is directly addressed in the other film, but that’s the case with WHAT’S LOVE GOT TO DO WITH IT and the new documentary TINA, two films with distinctly different approaches tackling a common subject: the life of soul music legend Tina Turner. This week we zoom in on Tina through the lens of Brian Gibson’s 1993 biopic, a film that treats the abuse Tina received at the hands of her husband/tormenter Ike Turner as its narrative North Star. We’re joined by critic Jen Chaney to debate how well that choice works, celebrate the transformative performances by Angela Bassett and Laurence Fishburne, and discuss which of the many liberties the film takes with the historical record actually matter in the broader context. Plus, we respond to some feedback about our recent discussions of two films now vying against each other in multiple Oscar categories, PROMISING YOUNG WOMAN and NOMADLAND. Please share your comments, thoughts, and questions about WHAT’S LOVE GOT TO DO WITH IT, TINA, or anything else in the world of film, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Outro music: Ike and Tina Turner, “Fool In Love” Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#271: A Tina Twofer, Pt. 1 — What's Love Got to Do With It

Unlike the last unicorn in the eponymous 1982 animated film by Jules Bass and Arthur Rankin Jr., this week’s last-of-her-kind fantasy creature knows what happened to the rest of her kind, setting the new Disney Animation feature RAYA AND THE LAST DRAGON off on a quest narrative that takes a much different shape than THE LAST UNICORN. We’re joined once again this week by John Maher to discuss RAYA’s shiny, roller-coaster-like thrills, and then compare the two films’ respective journeys, the mythical beasts at their centers, and the paired dynamic of parent villains and children who switch sides. Plus Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar.Please share your comments, thoughts, and questions about THE LAST UNICORN, RAYA AND THE LAST DRAGON, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Your Next Picture Show:Genevieve: Moribi Murano’s UNICO IN THE ISLAND OF MAGICJohn: Isao Takahata’s THE TALE OF THE PRINCESS KAGUYATasha: “The unsung genius of Studio Ghibli’s risk-taking realist, Isao Takahata (by John Maher, polygon.com), and Gore Verbinski’s THE RINGKeith: Rob Savage’s HOSTOutro music: Jhené Aiko, “Lead the Way” Learn more about your ad choices. Visit megaphone.fm/adchoices

Unlike the last unicorn in the eponymous 1982 animated film by Jules Bass and Arthur Rankin Jr., this week’s last-of-her-kind fantasy creature knows what happened to the rest of her kind, setting the new Disney Animation feature RAYA AND THE LAST DRAGON off on a quest narrative that takes a much different shape than THE LAST UNICORN. We’re joined once again this week by John Maher to discuss RAYA’s shiny, roller-coaster-like thrills, and then compare the two films’ respective journeys, the mythical beasts at their centers, and the paired dynamic of parent villains and children who switch sides. Plus Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar. Please share your comments, thoughts, and questions about THE LAST UNICORN, RAYA AND THE LAST DRAGON, or anything else in the world of film, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Your Next Picture Show: Genevieve: Moribi Murano’s UNICO IN THE ISLAND OF MAGICJohn: Isao Takahata’s THE TALE OF THE PRINCESS KAGUYATasha: “The unsung genius of Studio Ghibli’s risk-taking realist, Isao Takahata (by John Maher, <a href="http://polygon.com/" rel="nofollow" target="_blank">polygon.com</a>), and Gore Verbinski’s THE RINGKeith: Rob Savage’s HOST Outro music: Jhené Aiko, “Lead the Way” Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#270: Famous Last Worlds, Pt. 2: Raya and the Last Dragon

While the new RAYA AND THE LAST DRAGON shares far more with its Disney Animation brethren than anything made by Arthur Rankin Jr. and Jules Bass, those filmmakers’ 1982 animated adaptation of Peter S. Beagle’s THE LAST UNICORN shares RAYA’s interest in telling a story about humanity via the plight of a fantasy creature believed to be the last of its kind — it just goes about it in a much more idiosyncratic, often flat-out weird way. To dig into all the ways THE LAST UNICORN defies convention and expectation, we’ve brought in cultural writer and animation expert John Maher to help discuss some of the big literary themes crammed into this small and not very literary movie, the film’s penchants for both poetry and anachronism, and what to make of that Rankin/Bass animation style. Plus, we respond to some feedback about our recent discussion of JEAN DE FLORETTE, and where we personally draw the line between film and television.Please share your comments, thoughts, and questions about THE LAST UNICORN, RAYA AND THE LAST DRAGON, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Outro music: America, ‘In the Sea’ Learn more about your ad choices. Visit megaphone.fm/adchoices

While the new RAYA AND THE LAST DRAGON shares far more with its Disney Animation brethren than anything made by Arthur Rankin Jr. and Jules Bass, those filmmakers’ 1982 animated adaptation of Peter S. Beagle’s THE LAST UNICORN shares RAYA’s interest in telling a story about humanity via the plight of a fantasy creature believed to be the last of its kind — it just goes about it in a much more idiosyncratic, often flat-out weird way. To dig into all the ways THE LAST UNICORN defies convention and expectation, we’ve brought in cultural writer and animation expert John Maher to help discuss some of the big literary themes crammed into this small and not very literary movie, the film’s penchants for both poetry and anachronism, and what to make of that Rankin/Bass animation style. Plus, we respond to some feedback about our recent discussion of JEAN DE FLORETTE, and where we personally draw the line between film and television. Please share your comments, thoughts, and questions about THE LAST UNICORN, RAYA AND THE LAST DRAGON, or anything else in the world of film, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Outro music: America, ‘In the Sea’ Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#269: Famous Last Worlds, Pt. 1: The Last Unicorn

Yes, Lee Isaac Chung’s new feature MINARI is a story that involves family farming and scarcity of water, but its connections to Claude Berri’s 1986 tragedy JEAN DE FLORETTE go beyond plot similarities and into deeper explorations of community and outsiders. After discussing our initial reactions to MINARI we dig into those connections, as well as how the specifics of each film’s setting — rural Arkansas and Provence, France — shape those communities. Plus Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar.Please share your comments, thoughts, and questions about JEAN DE FLORETTE, MINARI, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Your Next Picture Show:Scott: Paul Mazursky’s ALEX IN WONDERLANDKeith: John Farrow’s WHERE DANGER LIVESTasha: Philippe Lacôte’s NIGHT OF THE KINGS Learn more about your ad choices. Visit megaphone.fm/adchoices

Yes, Lee Isaac Chung’s new feature MINARI is a story that involves family farming and scarcity of water, but its connections to Claude Berri’s 1986 tragedy JEAN DE FLORETTE go beyond plot similarities and into deeper explorations of community and outsiders. After discussing our initial reactions to MINARI we dig into those connections, as well as how the specifics of each film’s setting — rural Arkansas and Provence, France — shape those communities. Plus Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar. Please share your comments, thoughts, and questions about JEAN DE FLORETTE, MINARI, or anything else in the world of film, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Your Next Picture Show:Scott: Paul Mazursky’s ALEX IN WONDERLANDKeith: John Farrow’s WHERE DANGER LIVESTasha: Philippe Lacôte’s NIGHT OF THE KINGS Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#268: Hard Water Pt. 2 — Minari

Lee Isaac Chung’s new MINARI centers on a family starting over in the country, a theme that got us thinking about French director Claude Berri’s 1986 film JEAN DE FLORETTE, and how its concerns of agrarian hardship in general and water scarcity in particular echo those in Chung’s film. In this half of the pairing we get into JEAN DE FLORETTE’s unsparing view of an oft-idealized provincial setting, its showy yet subtle performances, and what it reveals about French filmmaking in the 1980s. Plus, we respond to some of our favorite kind of feedback — voicemail feedback!Please share your comments, thoughts, and questions about JEAN DE FLORETTE, MINARI, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Outro Music: The Temptations, “I Wish It Would Rain” Learn more about your ad choices. Visit megaphone.fm/adchoices

Lee Isaac Chung’s new MINARI centers on a family starting over in the country, a theme that got us thinking about French director Claude Berri’s 1986 film JEAN DE FLORETTE, and how its concerns of agrarian hardship in general and water scarcity in particular echo those in Chung’s film. In this half of the pairing we get into JEAN DE FLORETTE’s unsparing view of an oft-idealized provincial setting, its showy yet subtle performances, and what it reveals about French filmmaking in the 1980s. Plus, we respond to some of our favorite kind of feedback — voicemail feedback! Please share your comments, thoughts, and questions about JEAN DE FLORETTE, MINARI, or anything else in the world of film, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Outro Music: The Temptations, “I Wish It Would Rain” Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#267: Hard Water Pt. 1 — Jean de Florette

In Chloe Zhao’s new NOMADLAND, Frances McDormand’s Fern “drops out of society” not by choice, unlike the yuppie couple at the center of Albert Brooks’ 1985 comedy LOST IN AMERICA, but she proves much more adept than they at surviving (perhaps even thriving?) outside the mainstream. This week we bring NOMADLAND’s view of life on the road into conversation with LOST IN AMERICA’s satirization of the impulse to pursue that lifestyle, to consider their respective approaches to dropping out of society and living without a safety net. Plus Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar.Please share your comments, thoughts, and questions about LOST IN AMERICA, NOMADLAND, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Your Next Picture Show:Tasha: David Lynch’s THE STRAIGHT STORYKeith: Agnès Varda’s DAGUERREOTYPESGenevieve: The New York Times Presents FRAMING BRITNEY SPEARSScott: Sarah Polley’s STORIES WE TELL Learn more about your ad choices. Visit megaphone.fm/adchoices

In Chloe Zhao’s new NOMADLAND, Frances McDormand’s Fern “drops out of society” not by choice, unlike the yuppie couple at the center of Albert Brooks’ 1985 comedy LOST IN AMERICA, but she proves much more adept than they at surviving (perhaps even thriving?) outside the mainstream. This week we bring NOMADLAND’s view of life on the road into conversation with LOST IN AMERICA’s satirization of the impulse to pursue that lifestyle, to consider their respective approaches to dropping out of society and living without a safety net. Plus Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar. Please share your comments, thoughts, and questions about LOST IN AMERICA, NOMADLAND, or anything else in the world of film, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Your Next Picture Show: Tasha: David Lynch’s THE STRAIGHT STORYKeith: Agnès Varda’s DAGUERREOTYPESGenevieve: The New York Times Presents FRAMING BRITNEY SPEARSScott: Sarah Polley’s STORIES WE TELL Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#266: Uneasy Riders Pt. 2 — Nomadland

Chloe Zhao’s new feature NOMADLAND presents a “houseless” life on the road as a choice born half out of desperation and half out of curiosity about life outside the American mainstream, which called to mind the yuppie adventurers looking to “drop out of society” in Albert Brooks’ 1985 comedy LOST IN AMERICA. This week, Brooks’ film serves as the catalyst for another Scott-Tasha showdown, as we dig into the nuances of both Brooks’ comedic style and the satirical premise he sets up in LOST IN AMERICA. Plus, we respond to some feedback on our recent episodes on AMERICAN PSYCHO and PROMISING YOUNG WOMAN.Please share your comments, thoughts, and questions about LOST IN AMERICA, NOMADLAND, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Outro Music: Johnny Cash, “I’m an Easy Rider” Learn more about your ad choices. Visit megaphone.fm/adchoices

Chloe Zhao’s new feature NOMADLAND presents a “houseless” life on the road as a choice born half out of desperation and half out of curiosity about life outside the American mainstream, which called to mind the yuppie adventurers looking to “drop out of society” in Albert Brooks’ 1985 comedy LOST IN AMERICA. This week, Brooks’ film serves as the catalyst for another Scott-Tasha showdown, as we dig into the nuances of both Brooks’ comedic style and the satirical premise he sets up in LOST IN AMERICA. Plus, we respond to some feedback on our recent episodes on AMERICAN PSYCHO and PROMISING YOUNG WOMAN. Please share your comments, thoughts, and questions about LOST IN AMERICA, NOMADLAND, or anything else in the world of film, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Outro Music: Johnny Cash, “I’m an Easy Rider” Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#265: Uneasy Riders Pt. 1 — Lost In America

A biweekly roundtable by the former editorial team of The Dissolve examining how classic films inspire and inform modern movies. Episodes take a deep dive into a classic film and its legacy in the first half, then compare and contrast that film with a modern successor in the second. Hosted and produced by Genevieve Koski, Keith Phipps, Tasha Robinson and Scott Tobias. Part of the Filmspotting family of podcasts.

Great discussion, gives me an excuse to catch up on classics I haven&#39;t seen

Movie club

Great pod!

The Next Picture Show

Quentin Tarantino’s ONCE UPON A TIME IN HOLLYWOOD looks back at 1969 Hollywood from a 2019 vantage point, where Hal Ashby’s 1975 satire SHAMPOO examines that same era from a much closer distance, but the two films share a funny but bittersweet outlook on what would turn out to be a turning point in history. In this half of our pairing of 1969-set “Hollywood endings,” we share our responses to Tarantino’s newest film, and to some of the discussion surrounding it, before diving into what links these two films, including their shared focus on a single event as a historical turning point, and their respective engagement, or lack thereof, with the counterculture. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.Please share your comments, thoughts, and questions about SHAMPOO, ONCE UPON A TIME IN HOLLYWOOD, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.Your Next Picture Show: • Scott: Alan Elliott and Sydney Pollack’s AMAZING GRACE• Keith: Jacques Demy’s MODEL SHOP• Genevieve: Lulu Wang’s THE FAREWELLOutro music: The Mamas &amp; The Papas, “Dedicated To The One I Love” Learn more about your ad choices. Visit megaphone.fm/adchoices

Quentin Tarantino’s ONCE UPON A TIME IN HOLLYWOOD looks back at 1969 Hollywood from a 2019 vantage point, where Hal Ashby’s 1975 satire SHAMPOO examines that same era from a much closer distance, but the two films share a funny but bittersweet outlook on what would turn out to be a turning point in history. In this half of our pairing of 1969-set “Hollywood endings,” we share our responses to Tarantino’s newest film, and to some of the discussion surrounding it, before diving into what links these two films, including their shared focus on a single event as a historical turning point, and their respective engagement, or lack thereof, with the counterculture. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.Please share your comments, thoughts, and questions about SHAMPOO, ONCE UPON A TIME IN HOLLYWOOD, or anything else in the world of film, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.Your Next Picture Show: • Scott: Alan Elliott and Sydney Pollack’s AMAZING GRACE• Keith: Jacques Demy’s MODEL SHOP• Genevieve: Lulu Wang’s THE FAREWELLOutro music: The Mamas &amp; The Papas, “Dedicated To The One I Love” Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#189: Hollywood Endings, Pt. 2 - Once Upon a Time in Hollywood

Trey Edward Shults’ new IT COMES AS NIGHT takes as one of its influences John Carpenter’s 1982 bloody masterpiece THE THING, which is as good a reason as any to revisit one of our favorite genre films. In this half of the discussion, we geek out over the film’s how’d-they-do-that gore effects and distinctive ensemble, and theorize why THE THING didn’t connect with audiences in 1982, and why it holds up so well today. Plus, a small taste of the deluge of feedback we got on our recent episodes on WONDER WOMAN and PATHS OF GLORY.Please share your comments, thoughts, and questions about THE THING, IT COMES AT NIGHT, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Trey Edward Shults’ new IT COMES AS NIGHT takes as one of its influences John Carpenter’s 1982 bloody masterpiece THE THING, which is as good a reason as any to revisit one of our favorite genre films. In this half of the discussion, we geek out over the film’s how’d-they-do-that gore effects and distinctive ensemble, and theorize why THE THING didn’t connect with audiences in 1982, and why it holds up so well today. Plus, a small taste of the deluge of feedback we got on our recent episodes on WONDER WOMAN and PATHS OF GLORY.Please share your comments, thoughts, and questions about THE THING, IT COMES AT NIGHT, or both by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#082: (Pt. 1) It Comes At Night / The Thing

Denis Villeneuve’s new sequel BLADE RUNNER 2049 made an inauspicious debut with audiences and critics alike when it opened, something it shares with its predecessor and inspiration, Ridley Scott’s 1982 sci-fi noir touchstone BLADE RUNNER. Will the new sequel follow in its ancestor’s footsteps and become a cult classic that viewers are still picking apart 35 years later? It’s too soon to tell, but we do know that the original BLADE RUNNER offers plenty to talk about in this first half of our discussion, which digs into the film’s unusual tone and structure, its many variations, and whether the “Is Deckard a replicant?” question ultimately matters. Plus, some belated feedback from our recent episodes on STAND BY ME and IT.Please share your comments, thoughts, and questions about BLADE RUNNER, BLADE RUNNER 2049, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Outro music: “Tears In Rain” by Vangelis Learn more about your ad choices. Visit megaphone.fm/adchoices

Denis Villeneuve’s new sequel BLADE RUNNER 2049 made an inauspicious debut with audiences and critics alike when it opened, something it shares with its predecessor and inspiration, Ridley Scott’s 1982 sci-fi noir touchstone BLADE RUNNER. Will the new sequel follow in its ancestor’s footsteps and become a cult classic that viewers are still picking apart 35 years later? It’s too soon to tell, but we do know that the original BLADE RUNNER offers plenty to talk about in this first half of our discussion, which digs into the film’s unusual tone and structure, its many variations, and whether the “Is Deckard a replicant?” question ultimately matters. Plus, some belated feedback from our recent episodes on STAND BY ME and IT.Please share your comments, thoughts, and questions about BLADE RUNNER, BLADE RUNNER 2049, or both by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>. Outro music: “Tears In Rain” by Vangelis Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#098: (Pt. 1) Blade Runner 2049 / Blade Runner (1982)

Robert Redford

Butch Cassidy

David Lowery’s new THE OLD MAN AND THE GUN draws purposely and purposefully on the legacy of Robert Redford, which makes it a perfect bookend to Redford’s star-making turn in George Roy Hill’s elegiac 1969 blockbuster BUTCH CASSIDY AND THE SUNDANCE KID. In this first half of our Redford double feature, we dive into that earlier film’s legacy, considering its place in the Western tradition, its quirky yet widely appealing tone, and the complimentary but very different performances of Redford and his co-star, Paul Newman. Plus, some feedback on our recent episodes on MALCOLM X and BLACKKKLANSMAN.Please share your comments, thoughts, and questions about BUTCH CASSIDY AND THE SUNDANCE KID, THE OLD MAN AND THE GUN, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Outro Music: BJ Thomas, “Raindrops Keep Fallin’ On My Head” Learn more about your ad choices. Visit megaphone.fm/adchoices

David Lowery’s new THE OLD MAN AND THE GUN draws purposely and purposefully on the legacy of Robert Redford, which makes it a perfect bookend to Redford’s star-making turn in George Roy Hill’s elegiac 1969 blockbuster BUTCH CASSIDY AND THE SUNDANCE KID. In this first half of our Redford double feature, we dive into that earlier film’s legacy, considering its place in the Western tradition, its quirky yet widely appealing tone, and the complimentary but very different performances of Redford and his co-star, Paul Newman. Plus, some feedback on our recent episodes on MALCOLM X and BLACKKKLANSMAN.Please share your comments, thoughts, and questions about BUTCH CASSIDY AND THE SUNDANCE KID, THE OLD MAN AND THE GUN, or both by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Outro Music: BJ Thomas, “Raindrops Keep Fallin’ On My Head” Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#148: Robert Redford, Pt. 1 - Butch Cassidy and the Sundance Kid

The new Jason Statham late-summer vehicle THE MEG, like so many middling shark movies before it, can trace its lineage directly to the 1975 film that made us afraid to go into the water: Steven Spielberg’s JAWS. In this half of our sharktastic discussion, we’re diving in (cautiously) to what your NPS crew considers a perfect movie, considering what gives JAWS its hidden depths, what it told us about the director Spielberg would become, and whether its impact on the blockbuster model is a net positive for movies. Plus, some feedback on our recent MISSION: IMPOSSIBLE and SORRY TO BOTHER YOU episodes.Please share your comments, thoughts, and questions about JAWS, THE MEG, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Show NotesWorks Cited: • “The great lost Jaws rip-off” by Keith Phipps• “The men, monsters, and troubled waters of Jaws” by Noel Murray, Keith Phipps, Nathan Rabin, Tasha Robinson, and Scott TobiasOutro Music: Dwight Twilley Band, “Shark” Learn more about your ad choices. Visit megaphone.fm/adchoices

The new Jason Statham late-summer vehicle THE MEG, like so many middling shark movies before it, can trace its lineage directly to the 1975 film that made us afraid to go into the water: Steven Spielberg’s JAWS. In this half of our sharktastic discussion, we’re diving in (cautiously) to what your NPS crew considers a perfect movie, considering what gives JAWS its hidden depths, what it told us about the director Spielberg would become, and whether its impact on the blockbuster model is a net positive for movies. Plus, some feedback on our recent MISSION: IMPOSSIBLE and SORRY TO BOTHER YOU episodes.Please share your comments, thoughts, and questions about JAWS, THE MEG, or both by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Show NotesWorks Cited: • <a href="https://thedissolve.com/features/movie-of-the-week/654-the-great-lost-jaws-rip-off/" rel="nofollow" target="_blank">“The great lost Jaws rip-off”</a> by Keith Phipps• <a href="https://thedissolve.com/features/movie-of-the-week/651-the-men-monsters-and-troubled-waters-of-jaws/" rel="nofollow" target="_blank">“The men, monsters, and troubled waters of Jaws”</a> by Noel Murray, Keith Phipps, Nathan Rabin, Tasha Robinson, and Scott TobiasOutro Music: Dwight Twilley Band, “Shark” Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#142: (Pt. 1) Jaws / The Meg

Our consideration of Blade Running through the decades continues with a discussion of Denis Villeneuve’s new BLADE RUNNER 2049, which picks up several of the threads left dangling by Ridley Scott’s BLADE RUNNER and adds a few more of its own in the process. After discussing our mixed reactions to the new film, we dig into the many ways 2049 is informed by its predecessor, and the ways in which it manages to distinguish itself as well. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.Please share your comments, thoughts, and questions about BLADE RUNNER, BLADE RUNNER 2049, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Your Next Picture Show: • Scott: S. Craig Zahler’s BRAWL IN CELL BLOCK 99• Genevieve: Susan Lacy's SPIELBERG• Tasha: Angela Robinson’s PROFESSOR MARSON AND THE WONDER WOMEN• Keith: John Carroll Lynch's LUCKY and Kevin Phillips’ SUPER DARK TIMESOutro Music: Lauren Daigle, "Almost Human" Learn more about your ad choices. Visit megaphone.fm/adchoices

Our consideration of Blade Running through the decades continues with a discussion of Denis Villeneuve’s new BLADE RUNNER 2049, which picks up several of the threads left dangling by Ridley Scott’s BLADE RUNNER and adds a few more of its own in the process. After discussing our mixed reactions to the new film, we dig into the many ways 2049 is informed by its predecessor, and the ways in which it manages to distinguish itself as well. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.Please share your comments, thoughts, and questions about BLADE RUNNER, BLADE RUNNER 2049, or both by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>. Your Next Picture Show: • Scott: S. Craig Zahler’s BRAWL IN CELL BLOCK 99• Genevieve: Susan Lacy's SPIELBERG• Tasha: Angela Robinson’s PROFESSOR MARSON AND THE WONDER WOMEN• Keith: John Carroll Lynch's LUCKY and Kevin Phillips’ SUPER DARK TIMESOutro Music: Lauren Daigle, "Almost Human" Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#099: (Pt. 2) Blade Runner 2049 / Blade Runner (1982)

Our conversation about movies about talking to aliens moves to the present with Denis Villeneuve’s new ARRIVAL, which hits many of the same narrative points as CONTACT, but points them in a different emotional direction. We talk about our reactions to the newer film, and how its ideas about science, communication, and emotion compare with CONTACT’s. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.Please share your comments, thoughts, and questions about CONTACT, ARRIVAL, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 00:00-01:40 - Intro 01:41-25:34 - "Arrival" 25:35-39:41 - Connections 39:42-50:40 - Your Next Picture Show:  *Genevieve: Ava DuVernay’s 13TH *Scott: Paul Verhoeven’s ELLE  *Keith: Criterion’s LONE WOLF AND CUB box set *Tasha: TORCHWOOD “Children of Earth” miniseries, Ben Wheatley’s HIGH-RISE50:41-53:41 - Outro  Learn more about your ad choices. Visit megaphone.fm/adchoices

Our conversation about movies about talking to aliens moves to the present with Denis Villeneuve’s new ARRIVAL, which hits many of the same narrative points as CONTACT, but points them in a different emotional direction. We talk about our reactions to the newer film, and how its ideas about science, communication, and emotion compare with CONTACT’s. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.Please share your comments, thoughts, and questions about CONTACT, ARRIVAL, or both by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>. 00:00-01:40 - Intro 01:41-25:34 - "Arrival" 25:35-39:41 - Connections 39:42-50:40 - Your Next Picture Show:  *Genevieve: Ava DuVernay’s 13TH *Scott: Paul Verhoeven’s ELLE  *Keith: Criterion’s LONE WOLF AND CUB box set *Tasha: TORCHWOOD “Children of Earth” miniseries, Ben Wheatley’s HIGH-RISE50:41-53:41 - Outro  Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#054: (Pt. 2) Contact / Arrival

In David Robert Mitchell’s new UNDER THE SILVER LAKE, every clue leads deeper down a rabbit hole toward an endpoint that doesn’t seem to have anything to do with the beginning point. In a film as referential as Mitchell’s, that structure seems purposefully lifted from Roman Polanski’s 1974 classic CHINATOWN, another sunlit noir about a private investigator who starts with a simple philandering case and winds up peeking into a secret battle for control of the city. In this half of our pairing of the two films, we dig into CHINATOWN’s legacy and how to reconcile it with the Polanski Problem, examine how its story and performances diverge from the noir tradition, and consider whether its twisty mystery ultimately lands in a satisfying place. Plus, some feedback inspired by our recent episodes on US and VELVET BUZZSAW.Please share your comments, thoughts, and questions about CHINATOWN, UNDER THE SILVER LAKE, or anything else film-related by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.Outro music: Destroyer, “Chinatown” Learn more about your ad choices. Visit megaphone.fm/adchoices

In David Robert Mitchell’s new UNDER THE SILVER LAKE, every clue leads deeper down a rabbit hole toward an endpoint that doesn’t seem to have anything to do with the beginning point. In a film as referential as Mitchell’s, that structure seems purposefully lifted from Roman Polanski’s 1974 classic CHINATOWN, another sunlit noir about a private investigator who starts with a simple philandering case and winds up peeking into a secret battle for control of the city. In this half of our pairing of the two films, we dig into CHINATOWN’s legacy and how to reconcile it with the Polanski Problem, examine how its story and performances diverge from the noir tradition, and consider whether its twisty mystery ultimately lands in a satisfying place. Plus, some feedback inspired by our recent episodes on US and VELVET BUZZSAW.Please share your comments, thoughts, and questions about CHINATOWN, UNDER THE SILVER LAKE, or anything else film-related by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.Outro music: Destroyer, “Chinatown” Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#174: Twisty Mysteries, Pt. 1 - Chinatown

J.J. Abrams' record-breaking smash THE FORCE AWAKENS consciously reaches back to the very first entry in the STAR WARS universe, 1977's A NEW HOPE, for inspiration, plot points and design — and offers us an opportunity to look back at how George Lucas changed the game for science-fiction, and film in general, forever. In this half of this week's discussion, we'll look at Lucas' inspirations, the story A NEW HOPE tells, and how the legend around it grew into a billion-dollar business.Please share your comments, thoughts, and questions about A NEW HOPE, THE FORCE AWAKENS, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.       Learn more about your ad choices. Visit megaphone.fm/adchoices

J.J. Abrams' record-breaking smash THE FORCE AWAKENS consciously reaches back to the very first entry in the STAR WARS universe, 1977's A NEW HOPE, for inspiration, plot points and design — and offers us an opportunity to look back at how George Lucas changed the game for science-fiction, and film in general, forever. In this half of this week's discussion, we'll look at Lucas' inspirations, the story A NEW HOPE tells, and how the legend around it grew into a billion-dollar business. Please share your comments, thoughts, and questions about A NEW HOPE, THE FORCE AWAKENS, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#009: Star Wars: A New Hope / The Force Awakens (Pt. 1)

The new LIFE has come in for some pointed comparisons to Ridley Scott’s ALIEN, which seems like as good an excuse as any to revisit the unimpeachable 1979 space thriller. In this half of the conversation, we marvel at how a film so narratively economical can be so deliberately paced, and still manage to induce scares after multiple viewings. Plus, some feedback from our recent episodes on KONG: SKULL ISLAND and GET OUT.Please share your comments, thoughts, and questions about ALIEN, LIFE, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Learn more about your ad choices. Visit megaphone.fm/adchoices

The new LIFE has come in for some pointed comparisons to Ridley Scott’s ALIEN, which seems like as good an excuse as any to revisit the unimpeachable 1979 space thriller. In this half of the conversation, we marvel at how a film so narratively economical can be so deliberately paced, and still manage to induce scares after multiple viewings. Plus, some feedback from our recent episodes on KONG: SKULL ISLAND and GET OUT.Please share your comments, thoughts, and questions about ALIEN, LIFE, or both by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#070: (Pt. 1) Alien (1979) / Life (2017)

Rian Johnson

Rian Johnson’s new KNIVES OUT is much broader and goofier than the writer-director’s first foray into a murder-mystery genre, 2005’s BRICK, but as with his feature debut, Johnson acknowledges the audience’s expectations for the genre and then subverts them in order to create an outsized world for his characters to play in. After digging into why that approach works to such crowd-pleasing effect in KNIVES OUT, we bring in BRICK to talk about what the two films share, and where they diverge, in their respective deconstructions of murder-mystery tropes and archetypes. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.Please share your comments, thoughts, and questions about BRICK, KNIVES OUT, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.Your Next Picture Show:• Genevieve: Sergio Pablos and Carlos Martinez Lopez’s KLAUS• Scott: Scott Z. Burns’ THE REPORT• Tasha: Tom Harper’s THE AERONAUTS• Keith: Stuart Cooper’s OVERLORD Learn more about your ad choices. Visit megaphone.fm/adchoices

Rian Johnson’s new KNIVES OUT is much broader and goofier than the writer-director’s first foray into a murder-mystery genre, 2005’s BRICK, but as with his feature debut, Johnson acknowledges the audience’s expectations for the genre and then subverts them in order to create an outsized world for his characters to play in. After digging into why that approach works to such crowd-pleasing effect in KNIVES OUT, we bring in BRICK to talk about what the two films share, and where they diverge, in their respective deconstructions of murder-mystery tropes and archetypes. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.Please share your comments, thoughts, and questions about BRICK, KNIVES OUT, or anything else in the world of film, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.Your Next Picture Show:• Genevieve: Sergio Pablos and Carlos Martinez Lopez’s KLAUS• Scott: Scott Z. Burns’ THE REPORT• Tasha: Tom Harper’s THE AERONAUTS• Keith: Stuart Cooper’s OVERLORD Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#206: Rian Johnson's Mystery Master, Pt. 2 - Knives Out

We’re looking at two films featuring underground fight clubs, secret identities, and male protagonists trying to reclaim their self-worth through violence, beginning with David Fincher’s FIGHT CLUB, which traffics in many of the same themes as Riley Stearns’ new THE ART OF SELF DEFENSE, albeit with decidedly more stylistic flourish. In this half of our toxic masculinity double feature, we dig into what made FIGHT CLUB so divisive in 1999, and what makes it seem so prescient today. Plus, some feedback asking about our podcast hometown of Chicago and its many cinephiliac offerings.Please share your comments, thoughts, and questions about FIGHT CLUB, THE ART OF SELF-DEFENSE, or anything else film-related, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.Outro music: Dust Brothers, “Psycho Boy Jack” Learn more about your ad choices. Visit megaphone.fm/adchoices

We’re looking at two films featuring underground fight clubs, secret identities, and male protagonists trying to reclaim their self-worth through violence, beginning with David Fincher’s FIGHT CLUB, which traffics in many of the same themes as Riley Stearns’ new THE ART OF SELF DEFENSE, albeit with decidedly more stylistic flourish. In this half of our toxic masculinity double feature, we dig into what made FIGHT CLUB so divisive in 1999, and what makes it seem so prescient today. Plus, some feedback asking about our podcast hometown of Chicago and its many cinephiliac offerings.Please share your comments, thoughts, and questions about FIGHT CLUB, THE ART OF SELF-DEFENSE, or anything else film-related, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.Outro music: Dust Brothers, “Psycho Boy Jack” Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#186: Man Up, Pt. 1 - Fight Club

We return to matters of isolation and paranoia in the second half of our comparison of John Carpenter’s THE THING with Trey Edward Shults’ new horror-drama IT COMES AT NIGHT. After debating IT COMES AT NIGHT’s difficult ending and almost perverse commitment to ambiguity, we talk over what the two films share — and don’t — in their portrayals of paranoia, the ties that bind, the apocalypse, and, naturally, dogs. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.Please share your comments, thoughts, and questions about THE THING, IT COMES AT NIGHT, or both by sending an email to comments@nextpictureshow.net or leaving a short voicemail at (773) 234-9730. Your Next Picture Show: • Tasha: John Sayles’ LIMBO and Jack Sholder’s THE HIDDEN• Keith: Brad Bird’s THE IRON GIANT• Scott: Alain Guiraudie’s STAYING VERTICALOutro music: Brian McOmber, “It Comes At Night” Learn more about your ad choices. Visit megaphone.fm/adchoices

We return to matters of isolation and paranoia in the second half of our comparison of John Carpenter’s THE THING with Trey Edward Shults’ new horror-drama IT COMES AT NIGHT. After debating IT COMES AT NIGHT’s difficult ending and almost perverse commitment to ambiguity, we talk over what the two films share — and don’t — in their portrayals of paranoia, the ties that bind, the apocalypse, and, naturally, dogs. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.Please share your comments, thoughts, and questions about THE THING, IT COMES AT NIGHT, or both by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a> or leaving a short voicemail at <a>(773) 234-9730</a>. Your Next Picture Show: • Tasha: John Sayles’ LIMBO and Jack Sholder’s THE HIDDEN• Keith: Brad Bird’s THE IRON GIANT• Scott: Alain Guiraudie’s STAYING VERTICALOutro music: Brian McOmber, “It Comes At Night” Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#083: (Pt. 2) It Comes At Night / The Thing

Our conversation linking the very first STAR WARS film with the new sequel (or is it a reboot? a remake?) THE FORCE AWAKENS delves into the myriad ways the two films are connected, and how the cultural impact of A NEW HOPE plays out in the new film. And in a special edition of our recommendation segment Your Next Picture Show, we'll share our top films of 2015, our ultimate recommendation for what to watch during the January catch-up season.Please share your comments, thoughts and questions about A NEW HOPE, THE FORCE AWAKENS, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.       Learn more about your ad choices. Visit megaphone.fm/adchoices

Our conversation linking the very first STAR WARS film with the new sequel (or is it a reboot? a remake?) THE FORCE AWAKENS delves into the myriad ways the two films are connected, and how the cultural impact of A NEW HOPE plays out in the new film. And in a special edition of our recommendation segment Your Next Picture Show, we'll share our top films of 2015, our ultimate recommendation for what to watch during the January catch-up season. Please share your comments, thoughts and questions about A NEW HOPE, THE FORCE AWAKENS, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#010: Star Wars: A New Hope / The Force Awakens (Pt. 2)

The narrative and tone of Todd Phillips’ latest is heavily inspired by TAXI DRIVER and KING OF COMEDY, but given the attention paid to the work of Martin Scorsese on this podcast of late, we decided to look at Phillips’ new JOKER in tandem with a more literal cinematic predecessor: Christopher Nolan’s THE DARK KNIGHT, featuring Heath Ledger’s posthumous Oscar-winning performance as the Clown Prince of Crime himself. In this half we consider Ledger’s Joker in the context of a film that took a radically different approach to the comic-book movie and its villains, debate some confounding plot specifics—and whether they ultimately matter that much to one’s enjoyment of the film—and try to remember what it was like experiencing DARK KNIGHT independent of the subsequnt superhero movie deluge it helped spawn. Plus, we respond to some feedback on our recent episodes looking at CASINO and HUSTLERS.Please share your comments, thoughts, and questions about THE DARK KNIGHT, JOKER, or anything else film-related, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.Outro music: Hans Zimmer, “Why So Serious?” Learn more about your ad choices. Visit megaphone.fm/adchoices

The narrative and tone of Todd Phillips’ latest is heavily inspired by TAXI DRIVER and KING OF COMEDY, but given the attention paid to the work of Martin Scorsese on this podcast of late, we decided to look at Phillips’ new JOKER in tandem with a more literal cinematic predecessor: Christopher Nolan’s THE DARK KNIGHT, featuring Heath Ledger’s posthumous Oscar-winning performance as the Clown Prince of Crime himself. In this half we consider Ledger’s Joker in the context of a film that took a radically different approach to the comic-book movie and its villains, debate some confounding plot specifics—and whether they ultimately matter that much to one’s enjoyment of the film—and try to remember what it was like experiencing DARK KNIGHT independent of the subsequnt superhero movie deluge it helped spawn. Plus, we respond to some feedback on our recent episodes looking at CASINO and HUSTLERS.Please share your comments, thoughts, and questions about THE DARK KNIGHT, JOKER, or anything else film-related, by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.Outro music: Hans Zimmer, “Why So Serious?” Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#196: The Man Who Laughs, Pt. 1 - The Dark Knight

The poorly received new live-action GHOST IN THE SHELL draws inspiration from a lot of different sources — including one that was itself inspired by the original GHOST IN THE SHELL anime: The Wachowskis’ 1999 future-thriller THE MATRIX, which turns on a similar form of science-fiction dysmorphia. In this half of the discussion, we focus in on tiny miracle that is THE MATRIX, a studio-backed, creator-driven sci-fi film that drew from a deep well of cinematic, literary, and philosophical reference points — and would go on to influence countless other films in turn, including, naturally, the new GHOST IN THE SHELL. Plus, some feedback from our recent episodes on ALIEN and LIFE (2017).Please share your comments, thoughts, and questions about THE MATRIX, GHOST IN THE SHELL, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Learn more about your ad choices. Visit megaphone.fm/adchoices

The poorly received new live-action GHOST IN THE SHELL draws inspiration from a lot of different sources — including one that was itself inspired by the original GHOST IN THE SHELL anime: The Wachowskis’ 1999 future-thriller THE MATRIX, which turns on a similar form of science-fiction dysmorphia. In this half of the discussion, we focus in on tiny miracle that is THE MATRIX, a studio-backed, creator-driven sci-fi film that drew from a deep well of cinematic, literary, and philosophical reference points — and would go on to influence countless other films in turn, including, naturally, the new GHOST IN THE SHELL. Plus, some feedback from our recent episodes on ALIEN and LIFE (2017).Please share your comments, thoughts, and questions about THE MATRIX, GHOST IN THE SHELL, or both by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#072: (Pt. 1) The Matrix / Ghost in the Shell (2017)

Our pairing of devious doppelgängers arrives at Jordan Peele’s new US, which brings into 2019 some of the same themes of paranoia and dread seen in one of its many predecessors, Philip Kaufman’s INVASION OF THE BODY SNATCHERS. After comparing our reactions to US’s “messy by design” narrative and the conversations that have sprung up around it, we bring these two films together to compare how they reflect their respective eras, how each works as horror, and the weird character relationships that underscore the human drama behind the allegory. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.Please share your comments, thoughts, and questions about INVASION OF THE BODY SNATCHERS, US, or anything else in the world of film by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.*Show Notes*Works cited:• Unpacking Reddit’s Wildest Theory About US, by Rebecca Alter (Vulture.com)• What Was Hands Across America, and What Does It Have to Do With US?, by Keith Phipps (Slate.com)Your Next Picture Show: • Scott: Steven Bognar and Julia Reichert’s AMERICAN FACTORY, Rachel Leads’ KNOCK DOWN THE HOUSE, and Hassan Fazili’s MIDNIGHT TRAVELER• Tasha: The IMMUNITIES podcast, and Terry Gilliam’s THE MAN WHO KILLED DON QUIXOTE• Keith: Steve Mitchell’s KING COHEN, and Larry Cohen’s THE STUFF and GOD TOLD ME TO Learn more about your ad choices. Visit megaphone.fm/adchoices

Our pairing of devious doppelgängers arrives at Jordan Peele’s new US, which brings into 2019 some of the same themes of paranoia and dread seen in one of its many predecessors, Philip Kaufman’s INVASION OF THE BODY SNATCHERS. After comparing our reactions to US’s “messy by design” narrative and the conversations that have sprung up around it, we bring these two films together to compare how they reflect their respective eras, how each works as horror, and the weird character relationships that underscore the human drama behind the allegory. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.Please share your comments, thoughts, and questions about INVASION OF THE BODY SNATCHERS, US, or anything else in the world of film by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.*Show Notes*Works cited:• Unpacking Reddit’s Wildest Theory About US, by Rebecca Alter (<a href="http://Vulture.com" rel="nofollow" target="_blank">Vulture.com</a>)• What Was Hands Across America, and What Does It Have to Do With US?, by Keith Phipps (<a href="http://Slate.com" rel="nofollow" target="_blank">Slate.com</a>)Your Next Picture Show: • Scott: Steven Bognar and Julia Reichert’s AMERICAN FACTORY, Rachel Leads’ KNOCK DOWN THE HOUSE, and Hassan Fazili’s MIDNIGHT TRAVELER• Tasha: The IMMUNITIES podcast, and Terry Gilliam’s THE MAN WHO KILLED DON QUIXOTE• Keith: Steve Mitchell’s KING COHEN, and Larry Cohen’s THE STUFF and GOD TOLD ME TO Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#171: Double Troubles, Pt. 2 - Us

This week, The Next Picture Show is going full-on superhero. Inspired by the Marvel Cinematic Universe's latest offering, CAPTAIN AMERICA: CIVIL WAR, we look back at the movie that serves as the Big Bang for the MCU: 2008's IRON MAN. This half of the discussion focuses on how Jon Favreau's interpretation of Tony Stark's superhero transformation helped set the template for what became the biggest thing in modern blockbuster cinema, and how that vision holds up under the weight of what followed. Plus, we share some excellent feedback from the last episode about GREEN ROOM. Please share your comments, thoughts, and questions about IRON MAN, CAPTAIN AMERICA: CIVIL WAR, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Intro: 00:00-03:05 Keynote: 03:06-06:22 Main Discussion: 06:23-42:30 Feedback/Outro: 42:31-50:44       Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, The Next Picture Show is going full-on superhero. Inspired by the Marvel Cinematic Universe's latest offering, CAPTAIN AMERICA: CIVIL WAR, we look back at the movie that serves as the Big Bang for the MCU: 2008's IRON MAN. This half of the discussion focuses on how Jon Favreau's interpretation of Tony Stark's superhero transformation helped set the template for what became the biggest thing in modern blockbuster cinema, and how that vision holds up under the weight of what followed. Plus, we share some excellent feedback from the last episode about GREEN ROOM. Please share your comments, thoughts, and questions about IRON MAN, CAPTAIN AMERICA: CIVIL WAR, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Intro: 00:00-03:05 Keynote: 03:06-06:22 Main Discussion: 06:23-42:30 Feedback/Outro: 42:31-50:44 Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#027: Iron Man / Captain America: Civil War (Pt. 1)

Inspired by Jordan Peele’s excellent new writing-directing debut GET OUT, we’re looking at another horror film that openly addresses race, inequality, and its era: the 1991 Wes Craven oddity THE PEOPLE UNDER THE STAIRS. In this half, we debate how the earlier film’s central metaphor holds up divorced from the Reagan era that inspired it, how it reflects and fits into Craven’s directorial viewpoint, and to what extent it's actually scary and/or funny. Plus, excerpts from some of the most detailed feedback we’ve ever received, on our previous BATMAN discussion.Please share your comments, thoughts, and questions about THE PEOPLE UNDER THE STAIRS, GET OUT, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Inspired by Jordan Peele’s excellent new writing-directing debut GET OUT, we’re looking at another horror film that openly addresses race, inequality, and its era: the 1991 Wes Craven oddity THE PEOPLE UNDER THE STAIRS. In this half, we debate how the earlier film’s central metaphor holds up divorced from the Reagan era that inspired it, how it reflects and fits into Craven’s directorial viewpoint, and to what extent it's actually scary and/or funny. Plus, excerpts from some of the most detailed feedback we’ve ever received, on our previous BATMAN discussion.Please share your comments, thoughts, and questions about THE PEOPLE UNDER THE STAIRS, GET OUT, or both by sending an email to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a>(773) 234-9730</a>.  Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#066: (Pt. 1) Get Out / People Under The Stairs

Two women skip town in a hurry and find themselves in an isolated place, overseen by a gentle-toned but temperamental host: You might think us mad to compare PSYCHO and 10 CLOVERFIELD LANE, but we all go a little mad sometimes. There's more than just the setup connecting these two films, though. In this half of the discussion, we dig deep into Alfred Hitchcock's 1960 horror-suspense classic, getting into its legacy, style, and psychology, and how all three affect a modern viewing of the film. Plus, we wrestle with some of the feedback we got for our contentious MASH episode.Please share your comments, thoughts, and questions about PSYCHO, 10 CLOVERFIELD LANE, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.       Learn more about your ad choices. Visit megaphone.fm/adchoices

Two women skip town in a hurry and find themselves in an isolated place, overseen by a gentle-toned but temperamental host: You might think us mad to compare PSYCHO and 10 CLOVERFIELD LANE, but we all go a little mad sometimes. There's more than just the setup connecting these two films, though. In this half of the discussion, we dig deep into Alfred Hitchcock's 1960 horror-suspense classic, getting into its legacy, style, and psychology, and how all three affect a modern viewing of the film. Plus, we wrestle with some of the feedback we got for our contentious MASH episode. Please share your comments, thoughts, and questions about PSYCHO, 10 CLOVERFIELD LANE, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>

#021: Psycho (1960) / 10 Cloverfield Lane (Pt. 1)

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Best Parenting Podcasts

The best podcast episodes of anyone with an interesting story. With famous guests like Obama, LeBron James, Drake, Oprah Winfrey, Richard Branson, Michelle Obama, Serena Williams, to anyone who has a unique and interesting story to tell. Add episodes you're interested into your queue below!