The Next Picture Show

The gamified murder and mayhem of the recent horror-comedy READY OR NOT put us in mind of a similarly scrappy, low-budget affair with board games in its DNA: John Landis and Jonathan Lynn’s flop-turned-cult-classic CLUE. In this CLUE-centric half of our deadly games pairing, we get into how much both sides of that flop/cult reputation are earned, how much of the film’s genesis in a board game comes across on screen, and how much those additional endings add to the film. Plus, we respond to some feedback taking us to task for one of the many controversial elements of ONCE UPON A TIME IN HOLLYWOOD that we left out of our discussion of the film.

Please share your comments, thoughts, and questions about CLUE, READY OR NOT, or anything else film-related, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Works Cited:• “The Crazy Story Of How ‘Clue’ Want From Forgotten Flop To Cult Triumph” by Adam B. Vary (Buzzfeed.com)

• “Why Are You Laughing At Bruce Lee?” By Walter Chaw (Vulture.com)

• “Bruce Lee’s Daughter Says Quentin Tarantino ‘Could Shut Up’ About Her Father’s Portrayal” by Audrey Cleo Yap (Variety.com)

Outro music: Bill Haley and the Comets, “Shake, Rattle and Roll”

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A few decades and a whole industry removed from Barbara Kopple’s HARLAN COUNTY, USA, Steven Bognar and Julia Reichert’s AMERICAN FACTORY is an entertaining yet dispiriting illustration of how much working conditions, labor relations, and blue-collar work have changed — and, in some ways, haven’t. After wrestling with AMERICAN FACTORY’s sometimes-funny, sometimes-demoralizing portrayal of the current state of American industry, unions, and national identity, we dive what unites and separates these films’ approach to depicting the struggles and setbacks of the working American. 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 HARLAN COUNTY USA, AMERICAN FACTORY, 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: 

• Keith: INFINITY TRAIN on Cartoon Network

• Genevieve: Barbara Kopple and Cecilia Peck’s SHUT UP AND SING

• Scott: Barbara Kopple’s AMERICAN DREAM

• Tasha: Richard Linklater’s WHERE’D YOU GO BERNADETTE?

Outro music: Bruce Springsteen, “Factory”

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The new Netflix documentary AMERICAN FACTORY is funnier than Barbara Kopple’s 1976 Oscar-winning documentary HARLAN COUNTY USA, and not nearly as fraught with violence, but it pivots on many of the same core tensions between workers and corporate bosses. In this half of our pairing of labor struggles past and present, we look back at HARLAN COUNTY to see how the time Kopple’s team spent embedded in Harlan County shaped the film, as well as the 1973 miners strike it depicts; how the film’s style reflects Kopple’s involvement with the Maysles brothers and direct cinema; and which of Harlan County’s colorful residents leave the biggest mark on the film. Plus, we respond to some feedback on recent episodes and go over some of the dozens of suggestions we got for 2019 pairings we received when we recently put the call out on Twitter.

Please share your comments, thoughts, and questions about HARLAN COUNTY USA, AMERICAN FACTORY, or anything else film-related, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Outro music: Hazel Dickens, “They’ll Never Keep Us Down”

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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 FAREWELL

Outro music: The Mamas & The Papas, “Dedicated To The One I Love”

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Quentin Tarantino’s ONCE UPON A TIME… IN HOLLYWOOD filters its wistful look at the end of an era through the lens of a real historical event (albeit one altered for the film), an approach that mirrors the one taken by director Hal Ashby and star/co-writer Warren Beatty in 1975’s SHAMPOO, which situates its late-1960s Hollywood satire within the broader sociopolitical context of the Nixon presidential election. Both films concern characters looking out at an uncertain future and fearing what unhappy endings might await them, and both function as after-the-fact reflections on a turning point in Hollywood, and American, history. In this half of our pairing we dive into SHAMPOO to consider how well it’s aged, whether it feels prophetic about our current reality, and to what extent we’re meant to sympathize with/pity its lothario protagonist. Plus, we respond to two listeners who wrote in with the same observation regarding our recent episode on THE ART OF SELF DEFENSE.

Please share your comments, thoughts, and questions about SHAMPOO, ONCE UPON A TIME... IN HOLLYWOOD, or anything else film-related, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Outro music: The Beach Boys, “Wouldn’t It Be Nice”

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Riley Stearns’ new dark comedy THE ART OF SELF-DEFENSE centers on an underground scene of fighters who engage in their own version of the transgressive tactics Tyler Durden plays with in 1999’s FIGHT CLUB, but both films are ultimately about the catharsis of violence. After digging into how ART OF SELF-DEFENSE spins the “fight club” premise to its own ends, we pit these two films against each other to see which reigns supreme!…Or, to determine what each movie has to say about their shared interests in misogyny, toxic masculinity, and the dehumanization of life in corporate America. 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 FIGHT CLUB, THE ART OF SELF-DEFENSE, 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: 

• Keith: Alfred E. Green’s BABY FACE

• Tasha: Tom Harper’s WILD ROSE

• Scott: Avi Belkin’s MIKE WALLACE IS HERE

Outro music: AC/DC “Spoilin’ For A Fight”

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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”

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Our look at musical films that willfully straddle the line between fact and fiction brings in Martin Scorsese’s newest effort for Netflix, ROLLING THUNDER REVUE: A BOB DYLAN STORY, to see how it applies that MO to a documentary format, where Todd Haynes’ VELVET GOLDMINE applied it to a narrative one. After debating to what extent ROLLING THUNDER REVUE tells us anything about its slippery subject, we bring these two films together to see how they each play with ideas about alter-egos and disposable identities, what they have to say about art and commerce, and how each reflect their 1970s setting. 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 VELVET GOLDMINE, ROLLING THUNDER REVUE, 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:

• “Truth and Legends: The Extraordinary Documentaries of Martin Scorsese,” by Scott Tobias (theringer.com)

Your Next Picture Show: 

• Keith: Larry Charles’ MASKED AND ANONYMOUS

• Scott: Martin Scorsese’s GEORGE HARRISON: LIVING IN THE MATERIAL WORLD

• Genevieve: John Cameron Mitchell’s HEDWIG AND THE ANGRY INCH

Outro music: Bob Dylan, “A Hard Rain’s a-Gonna Fall [Live]”

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Martin Scorsese’s new ROLLING THUNDER REVUE takes a documentary-esque approach to Bob Dylan’s titular 1970s tour-slash-roadshow, blending fact and fiction in a manner reminiscent of Todd Haynes’ 1998 cult favorite VELVET GOLDMINE, which creates a similar sort of parallel fiction around an extraordinary moment in music history. In this half of our pairing looking at “print the legend” musical histories, we focus on VELVET GOLDMINE and its dense, post-modern approach to crafting an ersatz Bowie biopic, debating the advantages and disadvantage of doing a fictionalized history of a real movement, and whether it matters that Bowie himself did not approve. Plus, still more GODZILLA feedback and a theory inspired by our recent BIG episode.

Please share your comments, thoughts, and questions about VELVET GOLDMINE, ROLLING THUNDER REVUE, or anything else film-related, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Outro music: Shudder to Think, “Hot One”

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What went wrong with F. Gary Gray’s attempt to revive a franchise with MEN IN BLACK: INTERNATIONAL?

There are many answers to that question, which we dig into this week, but a lot of the DOA sequel’s problems can be traced directly back to the successes of 1997’s MEN IN BLACK. We look at the newest MEN IN BLACK alongside its much funnier, more sprightly forebear to see how the two films’ respective use of humor, movie stars, and setting contribute to their success, or lack thereof. 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 any and all MENS IN BLACK, 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:

• “Rewrites, Infighting and No ‘Urgency’: Behind Sony’s Lackluster ‘Men in Black’ Relaunch,” by Borys Kit (The Hollywood Reporter)

• “‘Men In Black: International’ and the Zombie Franchises That Won’t Die,” by Tim Grierson

Your Next Picture Show: 

• Tasha: John Dahl’s THE LAST SEDUCTION

• Keith: Steven Knight’s SERENITY

• Genevieve: HOMECOMING: A FILM BY BEYONCÉ

• Scott: The CHILD’S PLAY franchise, particularly BRIDE OF CHUCKY and SEED OF CHUCKY

Outro music: Danny Elfman & Chris Bacon, “Red Button”

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The lackluster new MEN IN BLACK: INTERNATIONAL has failed to rekindle much interest in the action-comedy franchise — more on that in the next episode — which makes the 1997 blockbuster from which it stems seem like even more of a miracle in hindsight. Having seen how the franchise’s formula can fail, we’re going back to the source to see how director Barry Sonnenfeld, with no small assist from stars Will Smith and Tommy Lee Jones and effects master Rick Baker, achieved that rarest of cinematic feats: a weird blockbuster. This week we dig into the strange performances, mindful effects, and sharp political allegory that enliven this lean, mean galaxy-defending machine. Plus, some feedback on our recent GODZILLA episodes, and a thought experiment inspired by CHINATOWN.

Please share your comments, thoughts, and questions about any and all MEN IN BLACK movies, or anything else film-related, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Works Cited: • “An Oral History of Vincent D’Onofrio’s Perfect Men in Black ‘Sugar Water’ Scene,” by Rachel Handler (vulture.com)

Outro music: Will Smith, “Men In Black”

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The new GODZILLA: KING OF THE MONSTERS looks and acts a lot more like one of the other recent entries in Warner Bros’ “Monsterverse” than it does the classic creature features inspired by the original GODZILLA, but it also consciously echoes Ishiro Honda’s 1954 film in some key ways. After airing our grievances with the frustratingly incoherent KING OF THE MONSTERS, we dig into what links this newest film to its very different predecessor, from its city-flattening monster effects to its shaky attempts to inject human drama amid the kaiju destruction. 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 any and all GODZILLAs and/or monsters, 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: Kirill Serebrennikov’s LETO

• Tasha: Olivia Wilde’s BOOKSMART

• Keith: William Gibson’s ALIEN III (an Audible Original Drama)

Outro music: The Flaming Lips, “Godzilla Flick”

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The new CGI spectacle GODZILLA: KING OF THE MONSTERS further extends the longest running film franchise in history, but it’s a far cry (roar?) from the 1954 film that first set this fire-breathing, city-flattening phenomenon in motion. So this week we’re looking back at Ishiro Honda’s originating film to speculate how and why its central nuclear metaphor shifted over the decades, to discuss how the film and its effects—don’t call them dated or Keith will be sad!—benefit from Godzilla’s literal and figurative weight, and debate what, if anything, the central love triangle adds to this story. Plus, some feedback taking us to task for some things we overlooked in our recent discussions of THE WARRIORS and JOHN WICK 3.

Please share your comments, thoughts, and questions about any and all GODZILLA movies, or anything else film-related, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Outro music: Kesha, “Godzilla”

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We return again to the deadly streets of the Big Apple at night to discuss Chad Stahelski’s latest entry in the JOHN WICK franchise, CHAPTER 3—PARABELLUM, and its place in the action pantheon alongside Walter Hill’s 1979 cult classic THE WARRIORS. After talking over our reactions to the latest JOHN WICK, and the series as a whole, we bring in THE WARRIORS to compare how these two films’ respective styles approach the streets of New York and action choreography, how they both embrace the trope of “honor among thieves,” and how their respective portrayals of masculinity play on the juxtaposition of vulnerability and indomitability. 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 WARRIORS, JOHN WICK 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**

Your Next Picture Show:

• Keith: Stanley Kramer’s ON THE BEACH

• Scott: Sebastian Lelio’s GLORIA BELL

• Tasha: Marti Noxon’s TO THE BONE

Works Cited:

•”Horror Sequels Are The Exact Opposite of Horror” by Tasha Robinson (thedissolve.com)

• The Big Picture Podcast, “Making John Wick: Chapter 3—Parabellum With Chad Stahelski, and Watching It With Shea Serrano” (theringer.com)

Outro music: Crazy Ex-Girlfriend, “Angry Mad”

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The latest chapter in the JOHN WICK saga, the new PARABELLUM, follows its assassin hero on a long perilous journey through hostile territory, a setup that brought to mind Walter Hill’s controversial hit turned cult classic THE WARRIORS. In this half of our pairing of violent journeys through the night, we examine Hill’s film in the context of the director’s late-’70s/early-’80s hot streak, to discuss how its rain-slicked streets and stylized version of New York gang culture came to typify a certain strain of ’80s action filmmaking, and debate whether its portrayals of masculinity and romance work in the context of Hill’s bare-bones approach to storytelling. Plus, the UNDER THE SILVER LAKE feedback keeps rolling in.

Please share your comments, thoughts, and questions about THE WARRIORS, JOHN WICK 3, or anything else film-related by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Works Cited:

• Primer: Walter Hill, by Scott Tobias (avclub.com)

Outro music: Pop Will Eat Itself, “Can U Dig It?”

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It’s rare for a rom-com to situate itself firmly in the realm of contemporary American politics, which makes Jonathan Levin’s new Charlize Theron and Seth Rogen-starring LONG SHOT feel in many ways like a spiritual sequel to 1995’s THE AMERICAN PRESIDENT, right down to both films’ exploration of moral compromise through a big environmental initiative. But LONG SHOT takes a distinctly different comedic approach to its material, which we dig into before bringing these two political romances together to talk about the role dignity, or lack thereof, plays in selling their respective fantasies, how they function as both a romance and a comedy, and how each pulls off its respective grand gesture. 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 AMERICAN PRESIDENT, LONG SHOT, 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: Jason Reitman’s YOUNG ADULT

• Scott: James L. Brooks’ HOW DO YOU KNOW?

• Keith: Yimou Zhang’s SHADOW

• Genevieve: Andrew Rossi’s THE FIRST MONDAY IN MAY

Outro Music: Boyz II Men, “Motownphilly”

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The new Charlize Theron/Seth Rogan rom-com LONG SHOT looks for comedy at the intersection of love and the highest tier of American politics, an unusual combination that positions it as a spiritual successor to an earlier, much more earnest portrayal of a similarly unlikely romance — that of Rob Reiner’s 1995 Aaron Sorkin-penned crowd-pleaser THE AMERICAN PRESIDENT. In this half of our pairing of the two films, we look back at THE AMERICAN PRESIDENT to consider how its Clinton-era populism scans in today’s much different political atmosphere, how it functions as both a political film and a rom-com, and how it handles the extreme power differential at the core of its central romance. Plus, some feedback inspired by our recent episode on UNDER THE SILVER LAKE.

Please share your comments, thoughts, and questions about THE AMERICAN PRESIDENT, LONG SHOT, or anything else film-related by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Outro music: Kylie Minogue, “Mr. President”

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David Robert Mitchell’s wandering, shaggy, endlessly referential UNDER THE SILVER LAKE isn’t nearly as tightly plotted as Roman Polanski’s CHINATOWN, one of its many cinematic reference points, but it’s just as stark and cynical about both human nature and its Los Angeles setting. In this half of our pairing of twisty, paranoid LA mysteries, we dig into whether UNDER THE SILVER LAKE is a movie that can be solved, or a movie that mocks attempts to solve it, before bringing in CHINATOWN to see how these two films approach conspiracies and paranoia, L.A. as a setting and symbol, and women and their would-be saviors. 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 CHINATOWN, UNDER THE SILVER LAKE, 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: Joe Cornish’s THE KID WHO WOULD BE KING

• Tasha: Julia Hart’s FAST COLOR

• Scott: Alex Ross Perry’s HER SMELL

Outro Music: R.E.M. “Strange Currencies”

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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”

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The new superhero movie SHAZAM owes such a debt to Penny Marshall’s weird and whimsical 1988 comedy BIG that it includes a giant piano as an homage, but the connections between these two wish-fulfillment fantasies go beyond their shared premises. After discussing how SHAZAM distinguishes itself from other superhero films, and what it might say about the future of the DCEU, we bring in BIG to see how these two films echo and refract each other in their ideas about what maturity looks like to kids, in their depictions of home and family, and in their use of toys as signifiers of childhood. 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 BIG, SHAZAM, 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: Wim Wenders’ WINGS OF DESIRE (via The Criterion Channel)

• Genevieve: Madeleine Sami and Jackie van Beek’s THE BREAKER UPPERERS

• Keith: Joseph H. Lewis’ MY NAME IS JULIA ROSS (via The Criterion Channel’s ‘Columbia Noir’ Collection)

• Scott: Don Siegel’s THE LINEUP (via The Criterion Channel’s ‘Columbia Noir’ Collection)

Outro Music: Queen, “Don’t Stop Me Now”

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The new SHAZAM, about a 14-year-old kid granted the power of becoming a grown-up superhero, openly acknowledges the debt it owes to Penny Marshall’s 1988 breakthrough BIG, which made a potent comic fantasy out of what adolescents imagine adulthood to be. In this first half of our pairing of the two films, we wrestle with BIG's age-shifted central relationship and marvel over how stars Tom Hanks and Elizabeth Perkins manage to find some real sweetness within an uncomfortable romantic scenario, which leads us to consider how the horrors lurking beneath the comedic premise reveal themselves with age, and whether the film works despite that. Plus, some feedback inspired by our recent episodes on INVASION OF THE BODY SNATCHERS and US, and a response to some criticism of our recent string of superhero pairings.

Please share your comments, thoughts, and questions about BIG, SHAZAM, or anything else film-related by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Works Cited:

• ’Big’ Is Secretly a Horror Movie, by Shea Serrano (TheRinger.com)

• ‘Big’ Review, by Keith Phipps (TheDissolve.com)

• Robert De Niro and the origin of “The Face,” by Scott Tobias (TheDissolve.com)

Outro music: Nelly, “Country Grammar”

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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

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Jordan Peele’s new US extends a long history of horror stories that use doppelgängers to explore identity, one that includes as a cornerstone Philip Kaufman’s 1978 adaptation of INVASION OF THE BODY SNATCHERS. This episode we delve into the film’s eerie version of San Francisco to talk about how its atmosphere of dread and late-‘70s malaise distinguishes it from other versions of this story, and amplifies the human drama within this classic alien-invasion narrative. Plus, some feedback inspired by our recent TOTAL RECALL episode and a broader question on the state of film criticism.

Please share your comments, thoughts, and questions about INVASION OF THE BODY SNATCHERS, US, or anything else film-related by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Outro music: Imogen Heap, “Bad Body Double”

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Our pairing of sci-fi action films with a side of meditation on memory and identity brings in the new CAPTAIN MARVEL to see how Carol Danvers’ journey of lost and reclaimed memories looks next to the very different (and much bloodier) journey taken by Douglas Quaid in Paul Verhoeven’s TOTAL RECALL. We share our reactions to CAPTAIN MARVEL and its choice to center its narrative on an amnesiac hero, then bring in TOTAL RECALL to compare the two films’ approaches to their central ideas about memory, how they function as science-fiction stories, how they treat their female characters, and more. 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 TOTAL RECALL, CAPTAIN MARVEL, 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:• Captain Marvel’s Cat Wrangler Explains How Goose Became a Flerken Hero on Set, by April Wolfe (Vulture.com)

Your Next Picture Show: 

• Scott: Cristina Gallego and Ciro Guerra’s BIRDS OF PASSAGE, and Movie Premieres Unlimited (@NightOpening)

• Keith: Robert Aldrich’s VERA CRUZ

• Genevieve: Robbie Thompson and Niko Henrichon’s MEET THE SKRULLS comic, and FX’s WHAT WE DO IN THE SHADOWS

Outro Music: Smashing Pumpkins, “Today”

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The newest MCU entry CAPTAIN MARVEL is, among other things, an action-packed science-fiction film that’s also interested in the question of how memory relates to identity. That, plus the film’s 1990s setting, put us in mind of another cosmic blockbuster from that era with similar ideas crackling beneath its action-movie surface: Paul Verhoeven’s TOTAL RECALL. In this half of our pairing of brawny-yet-brainy blockbusters, we debate how much TOTAL RECALL is asking us to interrogate the bloody action in which it revels, whether casting Arnold Schwarzenegger as a would-be ordinary Joe contributes to or detracts from the film’s self-awareness, and if there’s any validity to the reading that Quaid’s memory trip is all just a dream. Plus, some feedback inspired by our recent pairings, and pairings that could have been.

Please share your comments, thoughts, and questions about TOTAL RECALL, CAPTAIN MARVEL, or anything else film-related by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Outro music: Jerry Goldsmith, "The Big Jump"

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Like WHITE MEN CAN’T JUMP, Steven Soderbergh’s new Netflix digital experiment HIGH FLYING BIRD looks at what it takes for talented basketball players to survive outside of the professional leagues, with a high-stakes corporate heist in place of that film’s street-level hustle. This week, we talk over our reactions to HIGH FLYING BIRD’s story, dialogue, and in particular its iPhone cinematography, before bringing these two films together to look at how they each depict baller life outside the NBA, and how their respective cinematic styles buck sports-movie conventions. 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 WHITE MEN CAN’T JUMP, HIGH-FLYING BIRD, 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: 

• Keith: Dean DeBlois’ HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD

• Genevieve: Spike Lee’s PASSING STRANGE

• Scott: Christian Petzold’s TRANSIT

• Tasha: Christopher Caldwell and Zeke Earl’s PROSPECT and Lee Cronin’s THE HOLE IN THE GROUND

Outro Music: Lupe Fiasco & Evidence, “Catch Me I’m Ballin’”

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Steven Soderbergh’s new quick-and-dirty Netflix film HIGH FLYING BIRD follows a basketball agent’s bold attempt to work outside the dictates of a professional league, a hustle that calls to mind the Venice Beach street-ball scene of Ron Shelton’s 1992 comedy WHITE MEN CAN’T JUMP. In this half of our look at freelance ballers and the games they play on and off the court, we talk about what WHITE MEN CAN’T JUMP has to say about the game, friendship, race, and how they intersect, and dig into how and why Shelton has so reliably put his own unique spin on the sports movie. Plus, some feedback inspired by our VELVET BUZZSAW episode and the Academy’s newly crowned Best Picture.

Please share your comments, thoughts, and questions about WHITE MEN CAN’T JUMP, HIGH FLYING BIRD, or anything else film-related by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  

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Like Roger Corman’s A BUCKET OF BLOOD, the new Netflix release VELVET BUZZSAW, director Dan Gilroy’s follow-up to NIGHTCRAWLER, presents as an art-world satire wrapped around the bones of a horror movie, though it doesn’t deliver on the horror element until pretty deep into the film. We talk over whether that approach is a benefit or detriment to both sides of the horror-satire equation, and about whether Netflix’s current content model is a natural evolution of the “give ‘em what they want” strategy that guided Corman’s American International Pictures. 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 BUCKET OF BLOOD, VELVET BUZZSAW, 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: Steven Soderbergh’s HIGH FLYING BIRD

• Keith: Samuel Fuller’s 40 GUNS

• Tasha: Chiwetel Ejiofor’s THE BOY WHO HARNESSED THE WIND, and “At Netflix Who Wins

When It’s Hollywood Vs. The Algorithm?,” by Shalini Ramachandran and Joe Flint (wsj.com)

Outro Music: Talking Heads, “Artists Only”

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Inspired by Dan Gilroy’s new VELVET BUZZSAW — and a listener suggestion — we’re looking back this week at another darkly humorous tweaking of the destructive world of high art and those who inhabit it: Roger Corman’s 1959 low-budget horror-comedy A BUCKET OF BLOOD. In this half of the pairing we talk about how Corman and screenwriter Charles B. Griffith balance the film’s tricky tone, how its obvious cheapness reflects Corman’s storied ability to work within restrictions, and what it’s like to watch iconic character actor Dick Miller in one of his rare starring turns. Plus, some feedback on our recent episodes on UNBREAKABLE and WIDOWS.

Please share your comments, thoughts, and questions about A BUCKET OF BLOOD, VELVET BUZZSAW, or anything else film-related by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  

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Chris Smith’s new Netflix doc FYRE tells the story of huckster Billy McFarland and his doomed Fyre Festival as a compelling piece of meat-and-potatoes journalism that’s far from the verité of Smith’s portrait of Mark Borchardt in 1999’s AMERICAN MOVIE. But for all their surface differences, at heart FYRE is another movie about a charismatic leader who overpromises and under-delivers. After dissecting what FYRE shows us — and doesn’t show us — about McFarland’s history of scammy endeavors, we dig into what connects and separates Smith’s two protagonists in terms of their ambitions, their approaches, and their intent. 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 AMERICAN MOVIE, FYRE, 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:

• Fyre Fest Fiasco GoFundMe (gofundme.com/exuma-point-fyre-fest-debt)

• Fyre Fight: The Inside Story of How We Got Two Warring Fyre Festival Documentaries in the Same Week, by Scott Tobias (TheRinger.com)

• Amateurs, Con Artists, and Vanishing Movie Stars: Inside the World of Chris Smith’s Documentaries, by Scott Tobias (TheRinger.com)

• The Best Movies That Lost Best Picture at the Oscars, by Keith Phipps (Vulture.com)

Your Next Picture Show: 

• Keith: George Hill’s THE BIG HOUSE

• Scott: Talal Derki’s OF FATHERS AND SONS

• Genevieve: Jason Reitman’s TULLY

Outro Music: Beth Ditto, “Fire”

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The new Netflix documentary FYRE: THE GREATEST PARTY THAT NEVER HAPPENEDfinds director Chris Smith returning to a character type that defined his 1999 Sundance breakout AMERICAN MOVIE: the charismatic dreamer who overpromises and under-delivers. In AMERICAN MOVIE, that dreamer is one Mark Borchardt, an independent filmmaker from Milwaukee whose moviemaking dreams are continually stymied by circumstance, both external and of his own making. In this half of our Smith pairing, we revisit AMERICAN MOVIE and Borchardt to see how our perceptions of both have been changed by time and distance, debate what we’re to make of the film’s curious relationships, and analyze how Smith constructs a compelling story around an ambitious eccentric. Plus, some feedback on recent episodes.

Please share your comments, thoughts, and questions about AMERICAN MOVIE, FYRE, or anything else film-related by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  

Outro Music: The Kinks, “Groovy Movies”

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The evolution of a divisive auteur.

We return once more to the Shyamalaniverse to dig into the culmination of the so-called Eastrail 177 trilogy, the new GLASS, which purports to be the thrilling conclusion of a story that began with 2000’s UNBREAKABLE. Has divisive auteur M. Night Shyamalan discovered a new trick up his sleeve, or is GLASS and its climactic parking lot fight yet another example of the diminishing returns that have plagued his filmography? After breaking down our reactions to GLASS, we bring in UNBREAKABLE to talk over what the films reveal about Shyamalan’s evolution, or lack thereof, what they have to say about the idea of determination vs. free will, and whether Shyamalan’s female characters will ever catch a break. 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 UNBREAKABLE, GLASS, or any other corner of the Shyamalaniverse by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

• Genevieve: Barry Jenkins’ IF BEALE STREET COULD TALK

• Scott: Chris Smith’s COLLAPSE

• Tasha: The Odd Splice podcast and Karyn Kusama’s DESTROYER and THE INVITATION

Outro Music: Annie Lennox, “Walking on Broken Glass”

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With M. Night Shyamalan’s new GLASS purporting to be the culmination of his so-called Eastrail 177 trilogy, we’re returning to the film that set it in motion, and that many rank among the divisive writer-director’s best: UNBREAKABLE. How does this brooding, stylistically bold superhero origin story look today, in a culture where both comics and their movie adaptations play a much more central role than they did in 2000? How do Shyamalan’s various auteur signatures, good and bad alike, play out in  this film and his filmography more generally? We get into all that and more, with some bonus disagreement on Shyamalan’s breakthrough, THE SIXTH SENSE, and some feedback on our recent episodes on THE FAVOURITE and INTO THE SPIDERVERSE.

Please share your comments, thoughts, and questions about UNBREAKABLE, GLASS, or any other corner of the Shyamalaniverse by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  

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The remarkable new animated film SPIDER-MAN: INTO THE SPIDERVERSE has us thwipping through the beloved web-slinger’s cinematic history to see how it culminated in a Miles Morales origin story that doubles as a giddy trip through Spidey-lore. After some collective swooning over SPIDERVERSE’s unique and eye-popping style and clever conceit, we put the new film in conversation with another top-tier Spider-man film, Sam Raimi’s 2004 sequel SPIDER-MAN 2, to see what the films share, and how they differ, in their respective handling of their various Spider-entities, their villains, and their setting. 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 SPIDER-MAN 2, INTO THE SPIDERVERSE, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

*Show Notes*

Works Cited

• “Spider-Man: Into the Spider-Verse directors on the film’s gorgeous style,” by Devon Maloney (TheVerge.com)

Your Next Picture Show:

• Genevieve: Phil Johnson and Rich Moore’s RALPH BREAKS THE INTERNET and Jacques Audiard’s THE SISTERS BROTHERS

• Keith: Jon S. Baird’s STAN & OLLIE

• Tasha: Hirokazu Koreeda’s SHOPLIFTERS

• Scott: Travis Knight’s BUMBLEBEE, George Tillman Jr.’s THE HATE U GIVE, patreon.com/gemko

Outro Music: Chris Pine, “Spidey-Bells”

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Spider-Man, the web-slinging comics creation of Stan Lee and Steve Ditko, has made the leap to movie screens many times, but arguably never as successfully as in Sam Raimi’s 2004 sequel SPIDER-MAN 2 — or, perhaps, in the new animated entry INTO THE SPIDER-VERSE. This week we’re putting two of Spidey’s cinematic high-water marks in conversation, beginning with a deep dive into why SPIDER-MAN 2 holds up so well, how its performances and action work together to honor its comic-book roots, and whether we prefer our web-shooters organic or engineered. Plus, some feedback on recent episodes and a reader question about whether different generations regard the film canon differently.

Please share your comments, thoughts, and questions about any and all Spider-men (or Spider-women, or Spider-pigs) by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  

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Our trip through Girl World makes its second stop with Yorgos Lanthimos’ new period piece THE FAVOURITE, to see how its portrayal of women battling for social advantage in Queen Anne’s court looks next to the more contemporary high-school machinations of 2004’s MEAN GIRLS. After sharing our reactions to THE FAVOURITE and pinpointing its most “Lanthimosian” characteristics, we pit these two films against each other to see which portrayal of the cruelty and backbiting of Girl World—and Guy World!—is ultimately more fetch. 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 MEAN GIRLS, THE FAVOURITE, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show:

• Keith: Roy Del Ruth’s IT HAPPENED ON FIFTH AVENUE

• Tasha: John McPhail’s ANNA AND THE APOCALYPSE 

• Scott: Michael Dweck’s THE LAST RACE

• Genevieve: Wash Westmoreland’s COLETTE

Outro Music: New Kids on the Block, “Favorite Girl”

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Yorgos Lanthimos’ THE FAVOURITE is, in the words of star Rachel Weisz, a bit like a “high-stakes MEAN GIRLS”: It’s the story of a woman in power challenged by a fresh young outsider, only it plays out in the halls of court rather than the halls of a suburban high school. In this half of our pairing examining the power plays and back-biting of “Girl World,” we look back first at Mark Waters’s MEAN GIRLS to ask whether the much-quoted Tina Fey-penned comedy is still totally fetch, and which of its insights about teen girl-dom circa 2004 still resonate today. Plus, some feedback on recent episodes and a discussion of other pairings we considered for THE FAVOURITE.

Please share your comments, thoughts, and questions about MEAN GIRLS, THE FAVOURITE, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Outro Music: Boomkat, “Rip Her to Shreds”

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We return to the City of Big Shoulders circa the present day for a discussion of Steve McQueen's thrilling new WIDOWS, a Chicago-set heist movie that builds on a foundation of urban corruption in a manner reminiscent of Michael Mann's 1981 debut THIEF. After sharing our reactions to WIDOWS, we look at the two films in tandem to see how they portray their respective criminal leaders, how they incorporate the city's deeply entrenched corruption and cynicism, and how they each handle Scott's Beloved Violence (TM). 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 THIEF, WIDOWS, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show: 

• Genevieve: Sara Colengelo's THE KINDERGARTEN TEACHER

• Scott: Lazarus Lake's THE BARKLEY MARATHONS: THE RACE THAT EATS ITS YOUNG

• Tasha: The Coen Bros.' THE BALLAD OF BUSTER SCRUGGS

Outro Music: Sade, "The Big Unknown"

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Director Steve McQueen’s new thriller WIDOWS is a Chicago-set heist film that puts to good use the city’s notorious corruption, which puts it in the company of Michael Mann’s stylish 1981 feature debut THIEF. In this half of our Windy City-centric pairing, we dig into THIEF and its strangely compelling criminal protagonist Frank, played by James Caan, to see what the film says about the kind of city Chicago was (and is), and the kind of filmmaker Mann would become. Plus, still more feedback on Bradley Cooper's version of A STAR IS BORN.

Please share your comments, thoughts, and questions about THIEF, WIDOWS, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Outro Music: Tangerine Dream, “Final Confrontation”

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A landmark first feature shot in the 90s but never seen until now.

Where Orson Welles' THE OTHER SIDE OF THE WIND is the story of a movie finished years after its director let it go, Sandi Tan’s new SHIRKERS is the story of a film its director could never really let go. In this half of our discussion on lost films found, we share our reactions to Tan’s unusual film, before bringing in Welles' WIND to see what the two films share in their portraits of auteurism, their difficult production histories, and their respective movies-within-the-movie. 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 OTHER SIDE OF THE WIND, SHIRKERS, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730..

Your Next Picture Show: 

• Scott: Frederick Wiseman’s MONROVIA, INDIANA

• Keith: Luca Guadagnino’s SUSPIRIA

• Tasha: Christopher Caldwell and Zeek Earl’s PROSPECT

Outro Music: Weish’s “Tick Tick”

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Orson Welles' final film is finally finished.

We’re switching things up this week to look at a pair of new films that are also old films — sort of — which together show that while making movies is always hard, some are harder than others. Orson Welles shot THE OTHER SIDE OF THE WIND decades ago, but the previously unfinished film is only seeing the light of day now, alongside a documentary about another kind of lost film, Sandi Tan’s SHIRKERS. In this first half, we dig in to why WIND is the loudest of the many ghosts haunting Welles’ filmography, debating whether it feels like a finished film, or even a good film, and to what degree it needs to be either. Plus, some feedback on would-be pairings past and our recent query on what a ‘90s STAR IS BORN would look like.

Please share your comments, thoughts, and questions about THE OTHER SIDE OF THE WIND, SHIRKERS, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Outro Music: Queen, “Ride The Wild Wind”

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Bradley Cooper’s debut directorial feature A STAR IS BORN is the fourth film to bear that title, and the second to translate this Hollywood tale of rising and falling fame to the music industry. And much like George Cukor’s 1954 version starring Judy Garland, it’s a fantastic showcase for its leading lady, played this time around by Lady Gaga as an aspiring songwriter to Bradley Cooper’s fading rock god. In bringing this oft-told tale to the screen, Cooper’s version follows most of of the broad strokes of its predecessors — but does it do enough to distinguish itself among its lineage? We talk it over before getting into the connections between Cooper and Cukor’s STARS, from their respective approaches to musical performance to their messy gender dynamics. 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 any and all versions of A STAR IS BORN by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

*Show Notes*

Works Cited

• “How the Media Would Have Covered the Events of A Star Is Born,” by Nate Jones (Vulture.com)

• “A Star Is Born Makes a Romance of Rock’s Most Damaging Myths,” by Sam Adams (Slate.com)

Your Next Picture Show: 

• Genevieve: George Cukor’s WHAT PRICE HOLLYWOOD?

• Keith: Elizabeth Chomko’s WHAT THEY HAD

• Tasha: Joseph Kahn’s BODIED

• Scott: Ol Parker’s MAMMA MIA! HERE WE GO AGAIN

Outro Music: Lady Gaga, “La Vie En Rose”

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Bradley Cooper’s new A STAR IS BORN remake is a current-day spin on a Hollywood fable that’s been around since the 1930s, about a struggling male star and the young ingenue he pushes toward fame. But its music-industry setting makes it a particularly apt match for George Cukor’s 1954 musical spin on the tale, starring a career-redefining Judy Garland as the titular star to James Mason’s fading one. In this half of our two-part discussion of the films, we dig into the legend and legacy of Cukor’s STAR, piece together what the film lost and gained via studio meddling and reconstruction, and debate the nature of the story’s central tragedy. Plus, by listener request, we give some of our recommendations for first-time film festival-goers.

Please share your comments, thoughts, and questions about any and all of Hollywood’s takes on A STAR IS BORN by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Outro Music: Judy Garland, “Born In A Trunk”

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Robert Redford says that his starring role in David Lowery’s new THE OLD MAN AND THE GUN will be his final film performance, and if that turns out to be the case, it is in many ways an ideal bookend to Redford’s breakout role in the classic 1969 Western BUTCH CASSIDY AND THE SUNDANCE KID. In this second half of our Redford pairing, we talk over the many echoes between OLD MAN and BUTCH CASSIDY, from their respective views on a life of crime and methods of robbery, to how each treats their central cad’s trusting love interest. 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 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.

Your Next Picture Show: 

• Genevieve: Drew Goddard’s BAD TIMES AT THE EL ROYALE

• Scott: The Ringer’s HALLOWEEN UNMASKED podcast, Tamara Jenkins’ PRIVATE LIFE

• Keith: Robert Siegel’s CRUISE and Phil Alden Robinson’s SNEAKERS

Outro Music: Bonnie “Prince” Billy, “Easy Does It”

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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”

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Is FAHRENHEIT 11/9, Michael Moore’s latest essay-film about the state of the nation under Trump, a natural extension of the techniques used in his 1989 debut ROGER & ME, or a worst-case-scenario evolution of Moore’s filmmaking style? We try to wrap our heads around that question as we put the two films in conversation, looking at what they tell us about the figure Moore has become, how he’s affected the development of first-person documentary, and whether his approach plays in 2018’s heightened political climate. 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 ROGER & ME, FAHRENHEIT 11/9, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

• Keith: Alan J. Pakula’s STARTING OVER

• Genevieve: Andrew Bujalski’s SUPPORT THE GIRLS

• Scott: Robert Greene’s BISBEE ’17

Outro Music: K’naan, “With God On Our Side”

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With Michael Moore’s latest provocation, FAHRENHEIT 11/9, in theaters, we’re returning to the liberal gadfly’s cinematic origins: 1989’s ROGER & ME, a first-person documentary about the declining fortunes of Moore’s hometown of Flint, Michigan, which makes a notable return appearance in his latest film. In this half of the pairing, we consider the impact of Michael Moore, for better and worse, on the culture and documentary form alike, and whether the criticisms leveled at the film upon its release have grown more or less relevant over time. Plus, we take a bite out of the feedback we received on our recent mega-shark double feature.

Please share your comments, thoughts, and questions about ROGER & ME, FAHRENHEIT 11/9, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  

Outro Music: The Beach Boys, “Wouldn’t It Be Nice”

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Though BLACKKKLANSMAN is, like MALCOLM X, drawn from real life, Spike Lee’s newest film takes more liberties in telling its ostensibly true story (something that’s drawn criticism from some corners). And also like MALCOLM X, it’s a film set in the past that’s commenting, often directly, on the present. Together the two films give us a lot to talk about, from their respective uses of speechmaking and divided identities, to their perspectives on white allies. 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 MALCOLM X,

BLACKKKLANSMAN, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Show Notes

Works Cited:

• Boots Riley’s thoughts on Blackkklansman:

twitter.com/BootsRiley/status/1030575674447212544

Your Next Picture Show: 

• Tasha: Colin Minihan’s WHAT KEEPS YOU ALIVE

• Scott: Bing Liu’s MINDING THE GAP

• Genevieve: Susan Johnson’s TO ALL THE BOYS I’VE LOVED BEFORE

• Keith: Steve Mitchell’s KING COHEN: THE WILD WORLD OF FILMMAKER LARRY COHEN

Outro Music: Cornelius Brothers & Sister Rose’s “Too Late To Turn Back Now”

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Spike Lee’s new BLACKKKLANSMAN is an urgent call to look to the past to understand the present, an approach it shares with many of Lee’s films, though perhaps none as strongly as his 1992 epic biopic MALCOLM X. The films revisit two different chapters in 20th-century history, and star two different members of the Washington family — Denzel and his son, John David — but both are pure Lee in both their narrative motivations and their filmmaking technique. In this half, we consider what makes MALCOLM X the rare cradle-to-grave biopic that works, how Lee finds the dynamism in near-constant speechmaking, and whether Angela Bassett elevates a thankless role, or simply channels its innate nuance. Plus, some feedback asking our two less confrontational co-hosts to step up with their unpopular opinions.

Please share your comments, thoughts, and questions about MALCOLM X, BLACKKKLANSMAN, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Outro Music: Sam Cooke, “A Change Is Gonna Come”

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Jon Turteltaub’s new late-summer sharkstravaganza THE MEG isn’t shy about the debt it owes to Steven Spielberg’s JAWS, nor about its clear conception as an international co-production partially aimed at the Chinese market. We discuss whether those qualities end up being an asset or a liability in our discussion of THE MEG, before bringing in JAWS to examine how the shark movie has progressed, and not, from 1975 through the current day. 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 JAWS, THE MEG, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Show Notes

Works Cited: 

• “The 20-year journey of The Meg, the movie the internet wouldn’t let die,” by Brian Raftery (Wired.com)

Your Next Picture Show: 

• Keith: byNWR.com

• Genevieve: Lenny Abrahamson’s THE LITTLE STRANGER

• Tasha: Jon M. Chu’s CRAZY RICH ASIANS

Outro Music: Lady Gaga, “Teeth”

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