The Next Picture Show

Steven Soderbergh’s recent return to feature filmmaking, LOGAN LUCKY, has drawn comparisons to the director’s 2001 smash hit OCEAN’S ELEVEN, and not without good reason: The two crowd-pleasing heist films share a lot in terms of their structure, team dynamics, and filmmaking style. In this first half of our discussion of the two films, we dive into Soderbergh’s OCEAN’S to talk over how this finely tuned entertainment machine reflects its director’s preoccupations as a filmmaker, how it utilizes its movie-star-heavy cast, and whether it has anything deeper on its mind than a good time at the movies. Plus, some belated feedback from our recent episodes on 1968's PLANET OF THE APES and WAR FOR THE PLANET OF THE APES.

Please share your comments, thoughts, and questions about OCEAN’S ELEVEN, LOGAN LUCKY, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Outro music: “A Little Less Conversation” by Elvis Presley 

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Like Gillo Pontecorvo’s BATTLE OF ALGIERS, Kathryn Bigalow’s new film DETROIT expresses a strong point of view on racial injustice through a careful recreation of a real historical event — and also like BATTLE OF ALGIERS, it’s stirred up some controversy surrounding its docu-journalistic approach. We unpack that controversy, and DETROIT more generally, before diving into how the two films compare in their visceral style, their portrayals of law enforcement, their use of 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 THE BATTLE OF ALGIERS, DETROIT, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

• Tasha: Dave McCary’s BRIGSBY BEAR

• Keith: Sabaah Folayan and Damon Davis’ WHOSE STREETS? and Ronal Neame’s HOPSCOTCH

• Scott: Gillo Pontecorvo’s BURN

• Genevieve: Amanda Lipitz’s STEP

Outro music: The Roots, “It Ain’t Fair”

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Kathryn Bigelow’s intense, controversial new docu-drama DETROIT owes no small debt to Gillo Pontecorvo’s intense, controversial 1966 film THE BATTLE OF ALGIERS, which covers another volatile historical moment with a potent mixture of newsreel-style realism and expressionistic fervor. In this half of our comparison of the two films, we discuss what makes BATTLE OF ALGIERS such an unsettling and resonant film, debate what point it’s making around the issues of terrorism and torture, and, somehow, find the echoes of Pontecorvo’s film in James Cameron’s AVATAR. Plus, a listener takes us up on our request for feedback on “anything else film-related” with a fruitful prompt on unadaptable adaptations.

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

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We return to the PLANET OF THE APES series to see how it’s evolved from the 1968 original to Matt Reeves’ stunning new WAR FOR THE PLANET OF THE APES. After discussing why the new trilogy, and WAR in particular, works so well in the current era, we examine how the two ends of this franchise speak to each other over the span of five decades, discussing their ape effects, their social themes, and their very different central performances. 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 PLANET OF THE APES, WAR FOR THE PLANET OF THE APES, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

• Scott: Amanda Lipitz’s STEP, Kogonada’s COLUMBUS, and Brett Leonard’s THE LAWNMOWER MAN

• Keith: the rest of the PLANET OF THE APES original series

• Genevieve: The Ross Bros.’ CONTEMPORARY COLOR

Outro music: The Kinks, “Apeman”

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This week, we’re exploring two films from the opposite ends of the same ape-filled franchise. First, we focus on the cry of “YOU MANIACS” heard ’round the world, 1968’s PLANET OF THE APES, which introduced a fruitful concept that would continue evolve through sequels, TV series, remakes, and a modern prequel series, the most recent installment of which, WAR FOR THE PLANET OF THE APES, we’ll discuss in Pt. 2. In this half, we tease out the various thematic notions that have kept this premise enticing over the decades, debate the merits of Charlton Heston’s hammy lead performance, and more. Plus, some spirited feedback from our recent episode on A GHOST STORY.

Please share your comments, thoughts, and questions about PLANET OF THE APES and WAR FOR THE PLANET OF THE APES, and all other ape-related queries, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

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We return to a plane somewhere between life and death (and between horror and drama) to discuss David Lowery’s new A GHOST STORY, both on its own and in the context of Herk Harvey’s similar haunting and genre-defying CARNIVAL OF SOULS. We talk over how the two films tackle big, weighty concepts like the nature of time and the afterlife, as well as how their distinctive use of music contributes to their eeriness. 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 CARNIVAL OF SOULS, A GHOST STORY, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

• Genevieve: Douglas McGrath’s EMMA

• Tasha: Tom Weaver’s interviews with Candace Hilligoss on BMonster.com and Hirokazu Koreeda’s AFTER LIFE

• Scott: Brian Knappenberger’s NOBODY SPEAK: TRIALS OF THE FREE PRESS and Malcolm D. Lee’s GIRLS TRIP

Outro music: Dark Rooms, “I Get Overwhelmed” from A GHOST STORY

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Inspired by David Lowery’s new A GHOST STORY, we’re looking back at another microbudget horror-drama that’s haunting in both the literal and puntastic sense: Herk Harvey’s creepy cult hit CARNIVAL OF SOULS, a 1962 oddity about a woman trapped somewhere between life and death who can’t ditch the strange figures following her. In this half of the discussion, we look for links to Harvey’s background in industrial filmmaking and interest in European cinema, contextualize the film’s strangely wooden performances, and consider just what makes this strange film work, seemingly against all odds. Plus, some feedback on recent episodes and a brief discussion of another pairing we discussed for this week.

Please share your comments, thoughts, and questions about CARNIVAL OF SOULS, A GHOST STORY, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

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Bong-Joon Ho’s new Netflix release OKJA has some commonalities with Chris Noonan’s 1995 family film BABE — beyond just a porcine protagonist — but it’s a decidedly different animal. In this half of the discussion, we talk over the odd beast that is OKJA, then consider the how it and BABE both engage with the question of whether it’s wrong to eat meat, how they use very different settings and time periods to similar effect, 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 BABE, OKJA, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

• Keith: Nicholas Ray’s THEY LIVE BY NIGHT

• Scott: Alison Maclean’s THE REHEARSAL

• Genevieve: Edgar Wright’s BABY DRIVER, Michael Showalter’s THE BIG SICK, and James Mangold’s LOGAN NOIR

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

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Inspired by Bong Joon-ho’s new OKJA, we look back at another whimsical fantasy film about a super-pig and its human, albeit one of a decidedly different breed: BABE, Christopher Noonan’s 1995 family hit about a taciturn farmer and his innocent sheep-pig. In this half of the discussion, we consider the film’s well-honed storybook sensibility, the endurance of its then-cutting-edge special effects, and the note-perfect perfect performance at its center. Plus, some of the excellent feedback we received on our recent episodes on THE THING and IT COMES AT NIGHT.

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

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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 VERTICAL

Outro music: Brian McOmber, “It Comes At Night”

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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. 

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We return to the battlefields of WWI to talk over Patty Jenkins’ new WONDER WOMAN, both on its own and as it relates to Stanley Kubrick’s PATHS OF GLORY. After discussing what worked and didn’t work in WONDER WOMAN, we bring in the Kubrick film to discuss how these two stories approach themes of leadership and the military, as well as their views of the Great War specifically and all war in general. 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 PATHS OF GLORY, WONDER WOMAN, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show:

• Tasha: Karl Freund's THE MUMMY (1932)

• Keith: Amber Tamblyn's PAINT IT BLACK and Bill Morrison's DAWSON CITY: FROZEN TIME

• Scott: kogonada.com and the work of Kogonada

• Genevieve: The One Perfect Shot video-essay database (video.filmschoolrejects.com)

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Patty Jenkins’ new WONDER WOMAN takes World War I as its setting, opening up a host of comparisons to a much earlier, much different cinematic vision that looks to the Great War to uncover the best and worst of humanity: Stanley Kubrick’s 1957 anti-war drama PATHS OF GLORY. In this half of the discussion, we focus on PATHS OF GLORY, marveling at its efficiency and technical achievement — and at how both contribute to the film’s delicate but scathing unilateral indictment of the military system. And in lieu of feedback this week, we also discuss some other potential pairings we considered for this episode.

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

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We brave the choppy comedic waters of the new BAYWATCH movie to see how it stacks up against the parodic TV-to-film genius of 1995’s THE BRADY BUNCH MOVIE. Spoiler: Not well. But the comparison allows us to unpack the nuances of each film’s comedic approach, and consider how the films’ respective approaches to self-awareness, casting, and sophomoric humor contribute to their overall success. 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 BRADY BUNCH MOVIE, BAYWATCH, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

* Genevieve: Howard Zieff’s PRIVATE BENJAMIN

* Tasha: “Logan: Superhero Movies Get Old” by YouTube user Nerdwriter1

* Keith: Goran Olsson’s THE BLACK POWER MIXTAPE 1967-1975

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Inspired by the less-than-inspiring new BAYWATCH movie, we consider the strange alchemy that is the cheesy-TV-show-to-feature-film adaptation, via one of the genre’s standout entries: Betty Thomas’ 1995 spoof THE BRADY BUNCH MOVIE. In this half of the discussion, we debate how essential knowing the source material is to the BRADY BUNCH MOVIE’s comedy, which of the many standout Brady performances reigns supreme, and whether the film’s moments of slapstick add anything to a movie that thrives on a very different strain of humor. Plus, some feedback from recent episodes.

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

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In this half of our appreciation of the late, great director Jonathan Demme, we bring what would be his final film, JUSTIN TIMBERLAKE + THE TENNESSEE KIDS, into the mix, to see what connects it to the director’s first foray into the concert-film genre, STOP MAKING SENSE. The two films focus on very different musical acts, but they’re undeniably connected via “the Demme touch,” and function as appropriate bookends to an impressive filmmaking career (which we can’t help but explore a little more broadly in this discussion 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 STOP MAKING SENSE, JUSTIN TIMBERLAKE + THE TENNESSEE KIDS, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

* Scott: Kitty Greene’s CASTING JONBENET

* Genevieve: Paul Thomas Anderson’s music video for Haim’s “Right Now”

* Keith: Ben Young’s HOUNDS OF LOVE

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We’re still mourning the recent death of Jonathan Demme, a director of incredible range capable of working across many different genres — most notably, for our purposes, the concert film. This week, we hold our lighters aloft for Demme by looking at his first and last concert films, 1984’s STOP MAKING SENSE and 2016’s JUSTIN TIMBERLAKE + THE TENNESSEE KIDS. In this half, we consider the first film’s enduring legacy and influence on the concert-film genre, and how the film functions as a symbiosis of the unique talents of both Demme and Talking Heads frontman David Byrne. Plus, some very strange but undeniably well-executed feedback on our recent episodes on BURDEN OF DREAMS and  THE LOST CITY OF Z.

Please share your comments, thoughts, and questions about STOP MAKING SENSE, JUSTIN TIMBERLAKE + THE TENNESSEE KIDS, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

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There’s a lot more connecting Les Blank's BURDEN OF DREAMS with James Gray’s new THE LOST CITY OF Z than the jungle setting, though that of course factors into our discussion of the two films. In this half, we share our reactions to Gray’s stately new film before delving into how the two films engage with obsession and hubris, the clash between European and South American cultures, and the handling of early-19th-century stories. 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 BURDEN OF DREAMS, THE LOST CITY OF Z, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

* Genevieve: Paul F. Tompkins’ “The Great Undiscovered Project” and Jonathan Demme’s RICKI AND THE FLASH

* Keith: Les Blank’s GARLIC IS AS GOOD AS TEN MOTHERS

* Scott: Francois Ozon’s FRANTZ

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James Gray’s new jungle adventure THE LOST CITY OF Z inspired us to take another trip to the Amazon via Les Blank’s BURDEN OF DREAMS, the 1982 documentary chronicling the notoriously difficult filming of Werner Herzog’s Amazonian epic FITZCARRALDO. In this half, we talk about Herzog — both the director and the pop-culture character we’ve come to know — and the borderline-mania that seems to drive his unique process. We also wrestle with what BURDEN reveals about how the indigenous people who worked on Herzog’s film were treated. Plus, some feedback from our recent episodes on THE MATRIX and GHOST IN THE SHELL.

Please share your comments, thoughts, and questions about BURDEN OF DREAMS, THE LOST CITY OF Z, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

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In this half of our discussion of the “weird conceptual sandwich” that is THE MATRIX and GHOST IN THE SHELL, we puzzle over why the latter hyper-stylish, cerebral film fails where the former succeeds. The two films ultimately have different aims, but their approaches are surprisingly similar — though it’s how they differ that’s most telling. 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 MATRIX, GHOST IN THE SHELL, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

* Keith: Makoto Shinkai’s YOUR NAME and David Cronenberg’s EXISTENZ

* Genevieve: Netflix’s FIVE CAME BACK

* Tasha: Jonathan Glazer’s UNDER THE SKIN

* Scott: Oz Perkins’ I AM THE PRETTY THING THAT LIVES IN THE HOUSE and THE BLACKCOAT'S DAUGHTER

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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. 

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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. 

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We return to Skull Island to puzzle over the stylish curiosity that is Jordan Vogt-Roberts’s new take on the classic film monster, KONG: SKULL ISLAND. Why is this movie aping APOCALYPSE NOW? Have we reached our limit of giant CGI creatures pummeling each other? And, most pertinent of all, how does this bigger, bolder vision of Kong reflect and react to the legacy of its legendary cinematic ancestor, 1933's KING KONG? 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 KING KONG, KONG: SKULL ISLAND, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

* Genevieve: Macon Blair’s I DON’T FEEL AT HOME IN THIS WORLD ANYMORE

* Keith: Robert Zemeckis’ ALLIED

* Tasha: Danny Boyle’s T2: TRAINSPOTTING 

* Scott: Theo Anthony’s RAT FILM and the True/False film festival

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Does every generation get the Kong it deserves? That’s the question on our minds with the release of Jordan Vogt-Roberts’ new take on the great ape, KONG: SKULL ISLAND, which inspired us to go all the way back to the source: 1933’s medium-defining KING KONG. In this half of the discussion, we attempt to separate the movie from the cinema myth, grapple with some less savory aspects of the film’s legacy, and give Keith a few more opportunities to rail against the term “dated.” Plus, a few of the many, many great comments we received in response to our last discussion on GET OUT.

Please share your comments, thoughts, and questions about KING KONG, KONG: SKULL ISLAND, or any other Kongs present and future, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

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Jordan Peele’s writing-directing debut GET OUT translates the satirical horror of Wes Craven’s THE PEOPLE UNDER THE STAIRS from the Reagan era to the Obama era, to very different — and highly entertaining — effect. In this half of our discussion of the two films, we rave for a bit about GET OUT’s willingness to make us uncomfortable, then discuss the two films’ respective horror-to-satire ratios, as well as their approach to comedy. 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 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. 

Your Next Picture Show: 

* Keith: Gore Verbinski’s A CURE FOR WELLNESS

* Tasha: Colm McCarthy’s THE GIRL WITH ALL THE GIFTS

* Scott: Anthony Mann/John Alton collaborations T-MEN, RAW DEAL, and HE WALKED BY NIGHT

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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. 

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Tim Burton’s BATMAN kick-started the cinematic and pop-culture proliferation of the now-ubiquitous Batman, who today can not only sustain multiple movies at once, but also provides ample fodder for the reference-happy new THE LEGO BATMAN MOVIE. In this half of our discussion of all things Batmen, we talk about all the ways LEGO BATMAN draws on — and benefits from — the character’s long history, and consider how the larger Bat Universe has evolved on film since Burton’s 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 BATMAN, LEGO BATMAN, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

* Tasha: ’66 BATMAN, BATMAN: RETURN OF THE CAPED CRUSADERS, and BOY WONDER: MY LIFE IN TIGHTS

* Keith: Kirsten Johnson’s CAMERAPERSON

* Genevieve: Stephen Frears’ FLORENCE FOSTER JENKINS

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We turn our attention now to Josh Kriegman and Elyse Steinberg's cringe-inducing 2016 behind-the-scenes campaign documentary WEINER, which plays in many ways like a natural extension of 1993’s THE WAR ROOM. After discussing how WEINER plays today — after its star, disgraced Congressman and mayoral candidate Anthony Weiner, arguably had a hand in sinking Hillary Clinton’s presidential hopes — we talk about how the newer film’s versions of scandal, politics, and media compares to those of THE WAR ROOM. 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 WAR ROOM, WEINER, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

* Genevieve: Michael Dowse’s WHAT IF

* Keith: Michael Dudok du Wit’s THE RED TURTLE

* Scott: Clay Tweel’s GLEASON

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This week’s pairing tracks the rise and fall of Clintonism in America via two behind-the-scenes documentaries following dramatic Democratic campaigns: 1993’s THE WAR ROOM and 2016’s WEINER. In this deep-dive discussion of the earlier film, we talk over the advantages and limitations of Chris Hegedus and D.A. Pennebaker's fly-on-the-wall documentary style, compare the yin-yang personalities of stars James Carville and George Stephanopoulos, and, inevitably, wonder about the lasting effects of Bill Clinton’s 1992 presidential campaign on the 2016 election. Plus, some feedback from our last few episodes.

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

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In lieu of our regularly scheduled episode — postponed two weeks due to the collision of illness and the Sundance Film Festival — we bring you a recording of our recent live episode, recorded at the Chicago Podcast Festival in November 2016. Inspired by the selection process that goes into each Next Picture Show pairing, with each host pitches a future episode inspired by a 2016 film (and letting the audience decide which we'll do). Plus, a game where the hosts — and live audience — challenge each other to find the connective tissue linking two seemingly unrelated films. 

Enjoy, and come back in two weeks for our discussion of WEINER and THE WAR ROOM.

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Jim Jarmusch’s new PATERSON is one of 2016’s best films, and plays like a natural mirror to his breakthrough, STRANGER THAN PARADISE. After waxing rhapsodic about PATERSON for a while, we talk about how the two movies are connected, through their observational approaches, their quirky relationships with time, and their appreciation for the small things in life. We also try in vain to determine whether Jarmusch actually hates dogs, or just finds them unpredictable. 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 STRANGER THAN PARADISE, PATERSON, 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 Schlesinger’s COLD COMFORT FARM

* Scott: Fritz Lang’s American films, specifically FURY, YOU ONLY LIVE ONCE, SCARLET STREET, and HOUSE BY THE RIVER (as curated from this Noel Murray overview of Lang’s career: thedissolve.com/features/career-view/222-the-sprawling-obsessive-career-of-fritz-lang)

* Keith: Wim Wenders’ KINGS OF THE ROAD

* Genevieve: Alexis Bloom and Fisher Stevens’ BRIGHT LIGHTS

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Our melancholy-musical double feature heads from Cherbourg, France, to Los Angeles USA, to see how Damien Chazelle’s new “modern-throwback” musical LA LA LAND stacks up against Jacques Demy’s UMBRELLAS OF CHERBOURG. We talk over LA LA LAND’s nostalgic appeal and speculate about its staying power, then compare how the two films utilize their settings, love stories, and singing to different but complementary ends. 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 UMBRELLA OF CHERBOURG, LA LA LAND, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

*Genevieve: Jeff Nichols’ LOVING

* Keith: Martin Scorsese’s SILENCE, Maren Ade’s TONI ERDMANN, Pedro Almodovar’s JULIETA

* Scott: Karyn Kusama’s THE INVITATION

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Damian Chazelle’s new big-screen musical LA LA LAND takes its cues from various singing-and-dancing cinematic predecessors, but its melancholy tone is directly descended from Jacques Demy’s classic 1964 musical THE UMBRELLAS OF CHERBOURG — a Next Picture Show favorite that we dig into in this first half. We talk over the effects of the film’s sung-through style and working-class setting, and try to pinpoint that certain je ne said quoi that makes UMBRELLAS so indelible. Plus, some feedback on our recent episodes on MOANA and ARRIVAL.

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

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Disney Feature Animation had some ups and downs—both artistic and commercial—in the years between MULAN and MOANA, and we chart them in the second half of our comparison of the two films. After taking a moment for a big collective squee over the great MOANA, we get into the evolution of the Disney female heroine (and her sidekicks) and discuss how music features in these films—perhaps with some singing involved. (You're welcome!) 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 MULAN, MOANA or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Supplemental materials:

*"The Translation of 'We Know The Way' From 'Moana' Makes Perfect Sense" (Bustle): bustle.com/articles/196387-the-translation-of-we-know-the-way-from-moana-makes-perfect-sense

*"How Pacific Islanders Helped Disney's 'Moana' Find Its Way" (Vanity Fair): vanityfair.com/hollywood/2016/11/moana-oceanic-trust-disney-controversy-pacific-islanders-polynesia

*The 25 Best Films of 2016: A Video Countdown (David Ehrlich): vimeo.com/194508152

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MOANA is a successful new entry in Disney Feature Animation’s ongoing experimentation with non-Western stories and non-white characters, an experiment that was still in its nascent stages around the time of 1998’s MULAN. Inspired by an ancient Chinese poem about a female warrior who disguises herself as a man, the film is an odd mishmash of comedy and war movie, of ancient and modern reference points, and of traditional and CG animation. In this half, we talk over how MULAN fares in 2016, and puzzle over a couple of the movie’s stranger casting choices. Plus, lots of feedback, most of it on ARRIVAL.

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

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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-RISE

50:41-53:41 - Outro 

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This week, we look to the skies to consider two films about the difficulty of communication between worlds, and the inward journeys involved in looking to the stars. Inspired by Denis Villeneuve’s new ARRIVAL, we begin with an in-depth discussion of an earlier film with which it shares many thematic and narrative elements: Robert Zemeckis' 1997 Carl Sagan adaptation CONTACT. We consider the film’s ambition, dissect its blockbuster qualities, and try to determine what makes this unwieldy, emotional movie work so well, almost despite itself. (Spoiler: It’s mostly Jodie Foster.) Plus, a brief feedback discussion on cultural empathy and the movies.

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. 

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Our discussion of lyrical portraits of unrequited love turns its attention to Barry Jenkins’ MOONLIGHT, the look and feel of which—the final third in particular—recalls the bittersweet tone of Wong Kar-Wai’s IN THE MOOD FOR LOVE. We share our reactions to MOONLIGHT, and consider the two films’ shared qualities, including their use of unusual framing and the thematic importance placed on food. 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 IN THE MOOD FOR LOVE, MOONLIGHT, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Time Codes:

Intro: 00:00-03:00

Main Discussion: 03:01-39:50

Your Next Picture Show: 39:50-

*Tasha: Mike Mitchell and Walt Dohrn’s TROLLS

*Keith: Kelly Fremon Craig’s THE EDGE OF SEVENTEEN

*Scott: David Farrier’s TICKLED

*Genevieve: Park Chan-Wook’s THE HANDMAIDEN

Outro: 51:07-54:30

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Inspired by one of the year’s biggest indie sensations, Barry Jenkins’ MOONLIGHT, we’re looking at another highly romanticized tale of unrequited love: Wong Kar-wai’s beautiful 2000 film IN THE MOOD FOR LOVE. In this half, we talk about how affecting LOVE’s central non-love-story is - and why - and consider how the film reflects Wong’s improvisational methods and his desire to create a dreamlike return to the Hong Kong of his childhood. Plus, feedback from our last episode on AMERICAN HONEY and MY OWN PRIVATE IDAHO.

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

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This week’s regular episode has been postponed a week, but in the meantime, Tasha and Genevieve get together to chat a little about why we’re postponing, and how we’re collectively figuring out how to care about movies again when so much else is going on in the world. 

Check back in two weeks for our regular episodes on IN THE MOOD FOR LOVE and MOONLIGHT.

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This week, we’ve all come to look for America, and we’re looking for it in a pair of road movies about underprivileged outsiders and the dreams that keep them hustling from place to place. Inspired by Andrea Arnold's sprawling new AMERICAN HONEY, we look back at Gus Van Sant's 1991 indie-punk-surrealist-fantasy-coming-of-age mishmash MY OWN PRIVATE IDAHO. In this half, we attempt to wrangle IDAHO's many moving parts, admire and mourn its central performances, and share some crazy (or not so crazy??) fan theories.

Please share your comments, thoughts, and questions about MY OWN PRIVATE IDAHO, AMERICAN HONEY, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Intro/Keynote: 00:00-06:11 

Main Discussion: 06:12-34:47

Feedback/Outro: 34:48-43:38

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We return to WESTWORLD in the second half of our double-feature, this time venturing into the wilds of television to discuss HBO's high-profile new series, which uses the concept of Michael Crichton's 1973 film as a jumping off point for a sprawling meditation on humanity, AI, evil, and where they intersect. We talk about how the series extends some of the ideas of the original film, and talk about what the two share—and don't—in their portrayals of humans, robots, and techno-paranoia. 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 WESTWORLD v.1.0, WESTWORLD v.2.0, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Time Codes:

Intro: 00:00-01:50

Main Discussion: 01:51-42:22

Your Next Picture Show: 42:23-53:56

 *Genevieve: Every Frame A Painting

 *Scott: Kelly Reichardt's CERTAIN WOMEN

 •Keith: Babak Anvari's UNDER THE SHADOW

 *Tasha: "How Hollywood Whitewashed the Old West" (The Atlantic), and Rick Morales' BATMAN: RETURN OF THE CAPED CRUSADERS

Outro: 53:57-57:09

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This week, we take two trips to Westworld—one via hovercraft, in Michael Crichton's 1973 film of the same name, and one via underground train, in the new HBO series that blows out the film's premise to a serialized-television scale. In this half we focus on Crichton's film, questioning whether it's a political film or just a sci-fi lark, how WESTWORLD plays into its creator's ongoing fixations (ahem, JURASSIC PARK), and what the deal is with those weird robot hands. And yes, we also talk robot sex. 

Please share your comments, thoughts, and questions about WESTWORLD v.1.0, WESTWORLD v.2.0, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Time Codes

Intro/Keynote: 00:00-06:50

Main Discussion: 06:51-36:52

Feedback/Outro: 36:53-44:31

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In this half, we look at a successor to WAIT UNTIL DARK that puts a very different sort of blind person in the middle of a home invasion: Fede Alvarez's recent horror-thriller DON'T BREATHE, which stars Stephen Lang as a blind ex-Marine who turns out to be much more than a simple victim. We talk over the new movie's more grisly aspects, and compare how the two films both use their settings and space, empathy, and blindness itself to eke different kinds of thrills from their viewers. 

Please share your comments, thoughts, and questions about WAIT UNTIL DARK, DON'T BREATHE, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Time Codes

Intro: 00:00-02:19

Main Discussion: 02:20-37:10

Your Next Picture Show: 37:11-44:43

 *Keith: IMAGINARY WORLDS podcast

 *Scott: Kirsten Johnson's CAMERAPERSON

 *Tasha: Andrea Arnold's AMERICAN HONEY and Mira Nair's QUEEN OF KATWE

Outro: 44:44-48:33

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We return from hiatus with a much-requested pairing inspired by Fede Alvarez's new breakout horror hit, DON'T BREATHE, which reminded us, and our listeners, of a different cinematic take on the story of a blind person fending off a home invasion: Terence Young's WAIT UNTIL DARK, a 1967 Audrey Hepburn-starring thriller that plays on different sympathies than its modern successor, but delivers similarly chilling results.

Please share your comments, thoughts, and questions about WAIT UNTIL DARK, DON'T BREATHE, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Time Codes

Intro/Keynote: 00:00-06:35

Main Discussion: 06:36-40:21

Feedback/Outro: 40:22-50:06

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We turn our discussion of puppet-driven fairy-tale adventure stories to Laika Studios' new stop-motion wonder, KUBO AND THE TWO STRINGS, to see how it extends THE DARK CRYSTAL's tradition of deep personal investment on the part of committed craftspeople. We discuss the two films' shared strengths and weakness, and how they're reflected in how each utilize puppetry, villains, and mythology. Plus, Your Next Picture Show, where we share recent film-related experiences in hopes of putting something new on your radar. 

Please share your comments, thoughts, and questions about THE DARK CRYSTAL, KUBO AND THE TWO STRINGS, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Time Codes

Intro: 00:00-01:59

Main Discussion: 02:00-37:08

Your Next Picture Show: 37:09-49:46

 *Keith: THE ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION

 *Tasha: "How the father of Claymation lost his company" (via Priceonomics.com); Imagination Illustrated: The Jim Henson Journal; Mark Osborne's THE LITTLE PRINCE (Netflix)

 *Genevieve: Jim Henson's Creature Show Challenge, "Return of the Skekses"; Journey; WEINER

Outro: 49:47-52:50

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Inspired by the new Laika stop-motion marvel KUBO AND THE TWO STRINGS, we look back at another unconventional children's movie, made by unconventional creators pushing the envelop of their craft: Jim Henson's live-action puppet fantasy THE DARK CRYSTAL. In this half, we talk about how Henson and conceptual designer Brian Froud created their high-fantasy world, and wonder whether there's room for a satisfying story among all the visual wizardry. Plus, we talk over some of the other suggestions we got for KUBO pairings from our listeners.

Please share your comments, thoughts, and questions about THE DARK CRYSTAL, KUBO AND THE TWO STRINGS, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Time Codes

Intro/Keynote: 00:00-07:01

Main Discussion: 07:02-41:53

Feedback/Outro: 41:54-50:55

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The director of the new Disney live-action remake PETE’S DRAGON, David Lowery, recently cited as inspiration Carroll Ballard’s 1979 film THE BLACK STALLION, noting the older film’s careful merging of art and the mainstream. Following Lowery’s example, we look back this week at THE BLACK STALLION’s wondrous beauty and split structure, and try to ascertain what makes the film unique among films aimed at children. Plus, we’re still fielding feedback from our GHOSTBUSTERS episodes, and we have some more to share. 

Please share your comments, thoughts, and questions about THE BLACK STALLION, PETE’S DRAGON, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Time Codes

Intro: 00:00-03:41

Keynote: 03:42-07:16

Main Discussion: 07:17-40:35

Feedback/Outro: 40:36-47:28

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Our comparison of bad-guys-doing-good films continues with THE DIRTY DOZEN’s ultra-modern, ultra-messy progeny, the new DC Extended Universe entry SUICIDE SQUAD. We try to make sense of the many issues plaguing the newer film, and decipher how the two films each come down on the ideas of villainy and leadership. 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 DIRTY DOZEN, SUICIDE SQUAD, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Time Codes:

Intro: 00:00-01:45

Main Discussion: 01:46-42:44

Your Next Picture Show: 42:43-52:56

 *Scott: Joachim Trier’s LOUDER THAN BOMBS

 *Keith: Justin Lin’s STAR TREK BEYOND

 *Tasha: Sian Heder’s TALLULAH

 *Genevieve: Andrew Haigh’s LOOKING: THE MOVIE

Outro: 52:57-55:01

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Our GHOSTBUSTERS discussion turns its attention to Paul Feig's new remake, which was made with obvious affection for (and cameos from) the 1984 version, and replicates certain character types and plot points. But it also breaks from it in significant ways we'll discuss, as well as thoughts on the effects, the villains, New York City, blockbuster culture, 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 Oldbusters, Newbusters, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. 

Intro: 00:00-02:09

Main Discussion: 02:10-51:24

Your Next Picture Show: 51:25-58:50

 *Genevieve: Emily Carmichael's STRYKA

 *Tasha: Entertainment Weekly's GHOSTBUSTERS oral history

 *Scott: Hirokazu Koreeda's OUR LITTLE SISTER

 *Keith: King Hu's A TOUCH OF ZEN

Outro: 58:51-1:02:58

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