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The Next Picture Show

The Next Picture Show

Looking at cinema's present via its past. The Next Picture Show is a biweekly roundtable by the former editorial team of The Dissolve examining how classic films inspire and inform modern movies. Episodes take a deep dive into a classic film and its legacy in the first half, then compare and contrast that film with a modern successor in the second. Hosted and produced by Genevieve Koski, Keith Phipps, Tasha Robinson and Scott Tobias.

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#414: Beach Bummers, Pt. 2 ? How to Have Sex

Molly Manning Walker?s debut feature HOW TO HAVE SEX takes place more than six decades after 1960?s WHERE THE BOYS ARE, but as our discussion of the two films illuminates, frustratingly little has changed in that time when it comes to the blurred lines around consent, particularly in situations involving teenagers, alcohol, and social pressure around sex. We?re joined once again by Marya E. Gates to discuss HOW TO HAVE SEX?s deft navigation of that context before bringing WHERE THE BOYS ARE back in to discuss what has and hasn?t changed about the desires and dangers of being a student on unchaperoned holiday. And in Your Next Picture Show, we offer up a film that could form a triple feature with this week?s pairing, Céline Sciama?s GIRLHOOD. Please share your comments, thoughts, and questions about WHERE THE BOYS ARE, HOW TO HAVE SEX,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Ethan Coen?s DRIVE-AWAY DOLLS and the Coen Brothers? RAISING ARIZONA Learn more about your ad choices. Visit megaphone.fm/adchoices
2024-02-27
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#413: Beach Bummers, Pt. 1 ? Where the Boys Are (1960)

The new British coming-of-age film HOW TO HAVE SEX follows a group of girlfriends on a post-exam holiday into an environment where peer pressure, alcohol, and coercion can erode the boundaries of consent. But these problems aren?t unique to the film?s contemporary setting, as we?ll see in this week?s companion film, the seemingly frivolous 1960 spring break romp WHERE THE BOYS ARE. Special guest Marya Gates brings us some historical context about the film?s place in the continuum of ?beach party? movies, and the degree to which audiences still a few years out from the sexual revolution would be receptive to the film?s relative frankness about sex. And in Feedback we continue the debate about the usefulness of film ratings, and respond to the charge that a recent pairing was our worst-ever choice of new film. Please share your comments, thoughts, and questions about WHERE THE BOYS ARE, HOW TO HAVE SEX,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2024-02-20
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#412: Road Trip Trios, Pt. 1 ? The Holdovers

A road trip through a chilly New England winter represents only one section of Alexander Payne?s THE HOLDOVERS, but the film?s overlap with Hal Ashby?s THE LAST DETAIL goes beyond that narrative echo. As in Ashby?s 1973 film, one of the examples of 1970s cinema Payne drew on for the look and feel of THE HOLDOVERS, a central triumvirate of two adults and their younger charge have a funny but imperfect bonding experience that avoids simplistic found-family conclusions. We talk through the ways THE HOLDOVERS finds nuance in its different permutations of that trio before turning back to THE LAST DETAIL to compare these films? versions of ?showing the kid a good time? in spite of bitter cold and absent parents. And in Your Next Picture Show we stick up for LAST FLAG FLYING, Richard Linklater?s little-loved ?spiritual sequel? to THE LAST DETAIL. Please share your comments, thoughts, and questions about THE LAST DETAIL, THE HOLDOVERS,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Molly Manning Walker?s HOW TO HAVE SEX and Henry Levin?s WHERE THE BOYS ARE Learn more about your ad choices. Visit megaphone.fm/adchoices
2024-02-13
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#411: Road Trip Trios, Pt. 1 ? The Last Detail

Alexander Payne has cited Hal Ashby?s THE LAST DETAIL as one of several 1970s movies informing the look and feel of THE HOLDOVERS, but there?s narrative resonance there as well, particularly in the films? central threesomes: two disaffected older adults and their troubled teenage charge, each navigating a chilly East Coast winter, a road trip, and a series of disappointments and discoveries. We begin this week by focusing on THE LAST DETAIL?s trio of military-prison-bound sailors: what defines and distinguishes each of them, how their relationships change over the course of the movie, and whether the lack of resolution the film provides them is a feature or a bug. And in Feedback we respond to some alternate readings of a couple of our other favorite films of last year, BARBIE and MAY DECEMBER. Please share your comments, thoughts, and questions about THE LAST DETAIL, THE HOLDOVERS,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2024-02-06
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#410: Hunting Games, Pt. 2 ? Self Reliance

We return to the arena of comedic deathsport via Jake Johnson?s new debut as a writer-director, SELF RELIANCE. Despite a high-concept premise, it?s a film that seems most comfortable in the realm of hangout-slash-romantic comedy, but is that a satisfying approach when dealing with an ostensible story of life and death? That?s up for debate in our discussion of the film, which extends into Connections when we bring Elio Petri?s 1965 cult oddity THE 10TH VICTIM back into the conversation to compare these two films? bloodless approach to gamified murder. And in Your Next Picture Show we offer up a recommendation for a real-life televised murder game in which no blood gets spilled and Alan Cumming is having the time of his life. Please share your comments, thoughts, and questions about THE 10TH VICTIM, SELF RELIANCE,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Alexander Payne?s THE HOLDOVERS and Hal Ashby?s THE LAST DETAIL.  Learn more about your ad choices. Visit megaphone.fm/adchoices
2024-01-30
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#409: Hunting Games, Pt. 1 ? The 10th Victim

Jake Johnson?s new directorial debut SELF RELIANCE draws from a deep well of ?Most Dangerous Game? storytelling, but its interest in murder-for-sport as televised entertainment combined with its rom-com underpinnings put us most in mind of 1965 cult oddity THE 10TH VICTIM. Elio Petri?s film functions as a piece of pop art first, a satire second, and a romance a distant third, and this week we?re attempting to parse it on all three levels, when we?re not getting sidetracked by the many incidental details comprising this inconsistent, perhaps incoherent, but always interesting film. And in Feedback, a listener prompt about whether movie ratings are a net negative for film culture inspires us to do a little self-reflection, and institute a new (temporary) NPS ratings system.  Please share your comments, thoughts, and questions about THE 10TH VICTIM, SELF RELIANCE,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2024-01-23
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#408: Succession, Pt. 2 ? The Iron Claw

THE IRON CLAW is about a wrestling dynasty, not an organized-crime one, but Sean Durkin?s new biopic makes the family business seem just as dangerous as the one at the heart of Francis Ford Coppola?s THE GODFATHER. We?re joined once again by guest and wrestling aficionado Siddhant Adlakha to talk through THE IRON CLAW?s approach to said family business and the trauma it inflicts on both its characters and viewers. Then we bring THE GODFATHER back into the conversation to compare how these two family businesses and their respective succession drama are shaped by the American Dream, toxic masculinity, and the women on the sidelines. And then we keep it in the ring with some Your Next Picture Show suggestions for some complementary IRON CLAW viewing.  Please share your comments, thoughts, and questions about THE GODFATHER, THE IRON CLAW, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Elio Petri?s THE 10TH VICTIM and Jake Johnson?s SELF RELIANCE Learn more about your ad choices. Visit megaphone.fm/adchoices
2024-01-16
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#407: Succession, Pt. 1 ? The Godfather

A dangerous family business, an imposing, aging patriarch, and a group of brothers with varying aptitudes vying to succeed him: Sean Durkin?s wrestling-family biopic THE IRON CLAW and Francis Ford Coppola?s 1972 mafia epic THE GODFATHER chart a very similar narrative within two very different worlds. Will THE IRON CLAW also shape how we talk and think about other wrestling films for decades to come? That remains to be seen, but this week we?re joined by freelance film critic Siddhant Adlakha to mull THE GODFATHER?s impact on the gangster movie as we know it, consider which set pieces and characters take on new shading in repeat viewings, and unpack the Corleone family dynamics that lie at the heart of this pairing. Plus, we?re keeping the 2023 film conversation going with a listener recommendation for an underseen favorite from last year. Please share your comments, thoughts, and questions about THE GODFATHER, THE IRON CLAW,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2024-01-09
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#406: Our Top 10 Films of 2023

2023 was an idiosyncratic yet satisfying year for movies and the audiences who watch them, as reflected in the combination of across-the-board crowd-pleasers and one-off favorites comprising our Top 10 lists of the year?s best films. As per tradition, Tasha, Scott, and Keith convened to compare their respective lists and examine the points where they converge and diverge, and celebrate the high points of another year that supports the idea that every year is a good one for movies.   Please share your thoughts about and own picks for the best movies of 2023, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next pairing: Sean Durkin?s THE IRON CLAW and Francis Ford Coppola?s THE GODFATHER Learn more about your ad choices. Visit megaphone.fm/adchoices
2024-01-02
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#405: She's Alive! Pt. 2 ? Poor Things

Yorgos Lanthimos? POOR THINGS is many things, among them a whimsical retelling of the story of Frankenstein?s monster as codified in James Whale?s iconic 1930s classics FRANKENSTEIN and BRIDE OF FRANKENSTEIN. But there?s a lot of other stuff animating POOR THINGS? surface pleasures and just-below-the-surface ideas, which we parse before moving into Connections to compare these three films? depictions of playing God and twisted parent-child relationships; mad science and the mad scientists who practice it; and stylized, unnatural versions of reality as perceived by stylized, unnatural creatures. And in Your Next Picture Show we give a brief nod to two other POOR THINGS pairing possibilities, Francois Truffaut?s THE WILD CHILD and Werner Herzog?s THE ENIGMA OF KASPAR HAUSER.  Please share your comments, thoughts, and questions about FRANKENSTEIN, BRIDE OF, POOR THINGS or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-12-27
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#404: She's Alive! Pt. 1 ? Frankenstein (1931) and Bride of Frankenstein (1935)

Yorgos Lanthimos?s POOR THINGS is so open in its allusions to Frankenstein ? both scientist and monster ? that it inspired us to stitch together our first dual pairing, of James Whale?s 1931 classic, which established the on-screen language of Mary Shelley?s monster, and his 1935 follow-up THE BRIDE OF FRANKENSTEIN, which set up nearly a century of expectations for sequels in Hollywood. But despite many commonalities, chief among them a literally iconic Boris Karloff performance, these films are two distinct creatures, so we?re dissecting them both to talk through their different tones, relationships to their source material, and legacies.  Please share your comments, thoughts, and questions about FRANKENSTEIN, BRIDE OF, POOR THINGS or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-12-19
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#403: Miyazaki in Wonderland, Pt. 2 ? The Boy and the Heron

Like Chihiro in SPIRITED AWAY, the protagonist of Hayao Miyazaki?s latest film, THE BOY AND THE HERON, is drawn into a fantastical world populated by strange creatures that help usher him through a coming-of-age journey ? but Mahito is a very different protagonist, and his journey unfolds in a very different way. We?re joined once again by Vulture editor and animation expert Eric Vilas-Boas to unpack the imagery and ideas populating Miyazaki?s latest wonderland, and debate the animation auteur?s feelings about birds, before bringing SPIRITED AWAY back in to compare these films? depictions of children and parents, villains and allies, and ?weird little guys.? And in Your Next Picture Show, Eric offers a recommendation for another film that joins BOY AND THE HERON on his list of the year?s best animation for Vulture. Please share your comments, thoughts, and questions about SPIRITED AWAY, THE BOY AND THE HERON, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Yorgos Lanthimos?s POOR THINGS and James Whale?s FRANKENSTEIN & BRIDE OF FRANKENSTEIN Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-12-12
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#402: Miyazaki in Wonderland, Pt. 1 ? Spirited Away

Studio Ghibli's latest, THE BOY AND THE HERON, is unmistakably a Hayao Miyazaki creation, drawing multiple specific elements from the animator?s life and past work ? most conspicuously 2001?s SPIRITED AWAY, another film in which a sad young person is whisked away to a wondrous-slash-terrifying realm filled with memorable creatures and its own dream logic. Before we venture into Miyazaki?s latest idiosyncratic, shifting world, we?re joined by Vulture editor and animation reporter Eric Vilas-Boas for a look back at what makes Miyazaki?s earlier adventures in the spirit realm simultaneously sticky and slippery, and what primed SPIRITED AWAY for crossover success. And in Feedback, we continue the discussion of how we?re meant to read KILLERS OF THE FLOWER MOON?s ambiguous ending.  Please share your comments, thoughts, and questions about SPIRITED AWAY, THE BOY AND THE HERON, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-12-05
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#401: Coppola's Queens, Pt. 2 ? Priscilla

As biopics go, the new PRISCILLA is decidedly less rambunctious than the 2006 provocation MARIE ANTOINETTE, but each of these intimate, sympathetic portraits of a woman who lived in a man?s shadow and under his control are unmistakable as the work of Sofia Coppola. This week we get into how our reactions to PRISCILLA ? both positive and negative ? were affected, even shaped, by its place in Coppola?s filmography, and whether the film?s compressed third act is a feature or a bug. Then we head into Connections, which is stacked with comparison points between the two films? ideas about power and identity as expressed through fashion, sex, physical vulnerability, and inappropriate puppies. And in Your Next Picture Show, we give the spotlight to another film that?s currently in theaters and was in contention for this week?s pairing: Alexander Payne?s THE HOLDOVERS. Please share your comments, thoughts, and questions about MARIE ANTOINETTE, PRISCILLA, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-11-21
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#400: Coppola's Queens, Pt. 1 ? Marie Antoinette

Might the response that greeted MARIE ANTOINETTE in 2006 have been warmer if audiences at the time had the context of Sofia Coppola?s latest, PRISCILLA, which takes a similarly unconventional narrative and musical approach to a famous marriage? Both films are biopic-shaped containers for Coppola?s now-well-established thematic obsessions, with little interest in the details of history that fall outside that purview, making for one of the more direct one-to-one pairings we?ve done in some time. We kick it off this week with a discussion of the ways time has been kind to MARIE ANTOINETTE?s elision of history and narrowness of focus, how the anachronistic music and performances express the film?s rebellious spirit, and what exactly we?re meant to make of these bumbling teen royals. And in Feedback, a reader broaches another recent film for inclusion on our informal list of the best science-fiction of the 21st century, and in the process reopens our discussion of the many thematic nuances in AFTER YANG. Please share your comments, thoughts, and questions about MARIE ANTOINETTE, PRISCILLA, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-11-15
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#399: True West, Pt. 2 ? Killers of the Flower Moon

Martin Scorsese?s new KILLERS OF THE FLOWER MOON and the 1950 Delmar Daves Western BROKEN ARROW are both films made by non-Native filmmakers seeking to confront stereotypes about Native Americans, but they are reflective of two distinct cultural moments separated by decades of change when it comes to representation in Hollywood storytelling. This week we spend some time wrestling with the characters, contradictions, and compartmentalization in FLOWER MOON before bringing BROKEN ARROW back in to see how attitudes have progressed when it comes to correcting the historical record and shaking viewers out of their assumptions, how the two films intersect and diverge in their depictions of white outsiders and cross-cultural marriages, and to what degree each embodies the limitations of Indigenous stories told from a non-Indigenous perspective. And for Your Next Picture Show we take a brief look at Michael Apted?s 1992 Sundance sensation INCIDENT AT OGLALA, another film we considered for this pairing that takes a documentary approach to a different true-life story of crime and culture clash on a Native American reservation.  Please share your comments, thoughts, and questions about BROKEN ARROW, KILLERS OF THE FLOWER MOON, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Sophia Coppola?s PRISCILLA and MARIE ANTOINETTE Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-11-07
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#398: True West, Pt. 1 ? Broken Arrow

Martin Scorsese?s new Killers of the Flower Moon, based on David Grann?s horrifying non-fiction true-crime book, tracks systematic murder in a 1920s Osage tribe by a group of white men looking to secure the tribe?s profitable oil rights. Among the players are a couple, played by Leonardo DiCaprio and Lily Gladstone, who appear to truly love each other while not entirely realizing they?re also in a predator-prey relationship. The interracial romance, racial tension, and struggle for survival pairs well with the 1950 Western Broken Arrow, also based on real historical events and real figures, and centering on a different interracial couple ? Jimmy Stewart as a weary fortysomething veteran who begins brokering a peace between Arizona settlers and an Apache tribe, and Debra Paget in redface as a member of that tribe. This week we start our Western wandering with a look at Broken Arrow?s spot in history, as a first step toward Hollywood depicting Native Americans as multifaceted people instead of stock Western villains. We sort through the film?s pros and cons, including the specter of clumsy, careful message movies trying to counteract decades of stereotypes. And we discuss how stiff execution and the 25-year age difference between Stewart and Paget hinders what?s supposed to be a romance for the ages. Please share your comments, thoughts, and questions about Broken Arrow, Killers of the Flower Moon, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-10-31
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#397: Outback Outsiders, Pt. 2 ? Royal Hotel

Kitty Green?s new ROYAL HOTEL takes the rural Australian bar-culture setting of 1971?s WAKE IN FRIGHT and explores how placing two young women in the role of outsider changes the threat level. We start this week by parsing the film?s micro- and mega-aggressions, and whether those inflicting them are capital-B Bad men, or just regular men wrapped up in bad power dynamics. Then we bring WAKE IN FRIGHT back in to consider how both films are on some level about the intertwined desires for identity and acceptance, as well as alcohol?s deleterious effect on both. Please share your comments, thoughts, and questions about WAKE IN FRIGHT, ROYAL HOTEL, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Martin Scorsese?s KILLERS OF THE FLOWER MOON and Delmer Daves? BROKEN ARROW Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-10-24
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#396: Outback Outsiders, Pt. 1 ? Wake In Fright

Kitty Green?s new THE ROYAL HOTEL follows two women stranded amid the oppressive masculinity of a rough-and-tumble Australian mining town, a purposeful gender subversion of Ted Kotcheff?s 1971 Australian cult classic WAKE IN FRIGHT. We begin our two-week journey through the fringes of civilization with a trip to WAKE IN FRIGHT?s ?the Yabba? to discuss how the film?s more harrowing elements, including its infamous kangaroo hunt, play in a context of sheer lawlessness, debate whether it feels like a representative Australian film, and try to decipher the strange allure of ?two up.? And in Feedback, we consider a couple of listener-submitted contenders for our informal and always-expanding list of the greatest sci-fi of the 21st century. Please share your comments, thoughts, and questions about WAKE IN FRIGHT, THE ROYAL HOTEL, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-10-17
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#395: Alien Nation Pt. 2 ? No One Will Save You

It?s perhaps a bit unfair to compare the new NO ONE WILL SAVE YOU to UNDER THE SKIN, a film widely considered (by us) to be one of the best science-fiction films of the last 20 years, but at least one of our co-hosts was taken by Brian Duffield?s virtually dialogue-free story of a solitary woman fending off extraterrestrials. In the first half of this week?s episode, they get into it with the rest of our panel ? joined once again by comedian Joe Kwaczala (?Funny Songs and Sketches?) ? over the film and whether its divisive ending is a subversively dark conclusion or an arbitrary attempt to be shocking. Then we bring UNDER THE SKIN back in to compare how these two films fill the space between their minimal dialogue and the degree to which they let us into the headspace of two alienated women with opposing yet complementary motivations. Please share your comments, thoughts, and questions about UNDER THE SKIN, NO ONE WILL SAVE YOU, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Kitty Green?s ROYAL HOTEL and Ted Kotcheff?s WAKE IN FRIGHT Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-10-10
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#394: Alien Nation, Pt. 1 ? Under the Skin

The new NO ONE WILL SAVE YOU follows a lonely, socially isolated woman through an alien invasion, a narrative it shares with UNDER THE SKIN, though in Jonathan Glazer?s 2013 instant classic, said woman also happens to be the invading alien. Both protagonists are enigmatic in their own way, and the films around them follow suit, with heightened tones and minimal dialogue providing two distinct takes on human nature through alien eyes. This week we plunge into the eerie depths of UNDER THE SKIN with the help of comedian and film fan Joe Kwaczala (@joekjoek), to talk through the dynamic of of Scarlett Johansson?s central performance against the array of non-actors embodying her victims, the subtle shifts in power that take place between them, and the enduring horror of that beach sequence. And in lieu of Feedback this week, we consider some of the other films that join UNDER THE SKIN in contention for the title of greatest science-fiction film of the 21st century. Please share your comments, thoughts, and questions about UNDER THE SKIN, NO ONE WILL SAVE YOU, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-10-03
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#393: Larrain's Pinochet Pt. 2 ? El Conde

Pablo Larraín has approached the legacy of Augusto Pinochet from several angles over the course of his filmography, but never quite as directly as in his latest, EL CONDE. And yet even when casting the Chilean dictator as his protagonist, Larraín seems less interested in the real man ? who, as far as we know, is not an undying vampire ? than what he represents about power, manipulation, and history?s ongoing cycle thereof. We talk through our thoughts about how that plays out in EL CONDE, before bringing back Larraín?s NO, a film that approaches Pinochet with more historical fidelity and less overt cynicism, but a similar interest in political deceit, compromised resistances, and what it takes to strike back at a dictator. And in Your Next Picture Show we recommend a couple of new releases with ties to this week?s pairing: the Chilean documentary THE ETERNAL MEMORY and the Gael Garcia Bernal biopic CASSANDRO. Please share your comments, thoughts, and questions about NO, EL CONDE, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Brian Duffield?s NO ONE WILL SAVE YOU and Jonathan Glazer?s UNDER THE SKIN Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-09-26
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#392: Larraín's Pinochet Pt. 1 ? No (2012)

Augusto Pinochet ruled Chile as a dictator for nearly 20 years and left behind a complicated legacy, one Chilean filmmaker Pablo Larraín has approached sideways in various ways over the course of his career. His new EL CONDE, which renders Pinochet a literal vampire, is a more fantastical expression of that approach than 2012?s NO, a behind-the-scenes dramatization of the marketing campaign that helped end Pinochet?s rule, but both films are rich with complications of trust, hope, and public opinion. We unpack some of those complications in this week?s dive into NO, as well as how the film?s 1980s-broadcast-news visual aesthetic and thinly characterized protagonist work for and against its primary focus, and where it ultimately falls on the cynicism-to-optimism spectrum. And in Feedback, a listener attempts to make sense of the MCU?s vision of the afterlife, only to leave us even more confused.  Please share your comments, thoughts, and questions about NO, EL CONDE, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-09-19
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#391: Clique, Clique, Boom Pt. 2 ? Bottoms

HEATHERS is just one of many reference points at work in Emma Seligman?s new BOTTOMS, but the two films taken together illustrate just how differently the ?dark comedy? designation can be applied to high-school movies. So after searching for meaning in BOTTOMS, and coming to terms with the idea that meaninglessness may actually be its point, we compare how these two expressions of high-school hierarchies under attack function as dark comedy, how they put familiar tropes about cliques and clueless adults to different ends, and how one of them defuses a bomb the other is willing to set off. And in Your Next Picture Show, we add a third explosive high-school rebellion to the mix, with a recommendation for 1979?s ROCK ?N? ROLL HIGH SCHOOL.  Please share your comments, thoughts, and questions about HEATHERS, BOTTOMS, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing (dropping 9/19/23 and 9/26/23) Pablo Larraín?s EL CONDE and NO Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-09-05
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#390: Clique, Clique, Boom Pt. 1 ? Heathers

Almost immediately after BOTTOMS premiered at this year?s SXSW, the heightened mix of satire and violence in Emma Seligman?s new film drew comparisons to Michael Lehmann?s HEATHERS, which in 1989 set a new high-water mark for upending the high-school movie tropes of the day through a darkly comedic lens. How does a movie that turns teenage suicide (don?t do it) into a punchline fare by today?s standards? That?s up for discussion in this half of our pairing, along with how HEATHERS executes its tricky tonal balance, its characterization of the high school experience and the parents and teachers who just don?t understand, and an ending that?s either a cop-out or the complete opposite, depending on who you ask and when. And in a Feedback letter inspired by our recent episode on ENCHANTED, a listener challenges us to name some recent films that could become ?flawed pioneers,? without the benefit of hindsight. Please share your comments, thoughts, and questions about HEATHERS, BOTTOMS, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-08-29
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#389: Throupling, Pt. 2 ? Passages

Ira Sachs? new PASSAGES centers on a relationship broadly similar to the one at the center of SUNDAY BLOODY SUNDAY, but approaches it with a different level of intimacy and intensity (one that earned it an NC-17 rating before the filmmakers opted to release it unrated). We?re joined once again by freelance critic and friend of the show Noel Murray to talk through the different points of characterization and performance on PASSAGES? love triangle, before looking at how the two films compare and contrast in their critiques of hetero-monogamous normativity, their ideas about suppressed jealousy and art, and their frank, arguably ?graphic? depictions of homosexual desire. And in Your Next Picture Show, we offer a mini-revisitation of another John Schlesinger film that is impossible to avoid when considering this pairing.  Please share your comments, thoughts, and questions about SUNDAY BLOODY SUNDAY, PASSAGES, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Emma Seligman?s BOTTOMS and Michael Lehmann?s HEATHERS Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-08-22
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#388: Throupling, Pt. 1 ? Sunday Bloody Sunday

Ira Sachs? new PASSAGES is treading ground that was broken in part by John Schlesinger?s 1971 British drama SUNDAY BLOODY SUNDAY, which also concerns the tortured intimacies of an MMF love triangle, albeit with a bit more reserve. We?re joined by freelance critic and friend of the show Noel Murray to talk over our responses to that reserved approach in relation to SUNDAY BLOODY SUNDAY as a product of its era and as a counterpoint to Schlesinger?s previous film, MIDNIGHT COWBOY; how this portrayal of a love triangle balances desperation and dignity; and whether this movie actively hates kids, or if the Hodson children serve a greater thematic purpose. Then we reopen the BARBIE discussion with the help of a couple of listener comments in Feedback. Please share your comments, thoughts, and questions about SUNDAY BLOODY SUNDAY, PASSAGES, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-08-15
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#387: Fantasy Women, Pt. 2 ? Barbie

Did ENCHANTED walk so that BARBIE could fly? Or is Greta Gerwig?s blockbuster, which has us wondering if it might actually change the world, operating on a satiric level the 2007 Disney-princess pastiche could only dream of? Our panel, joined once again by Vulture/New York Magazine critic Jen Chaney, is divided on that point, but in agreement that BARBIE gives us much more to discuss in its nuanced, subversive gender critique. After talking through our responses to the world and worldviews of Barbie, Ken, and most importantly Allan, we bring ENCHANTED back into the discussion to see how it stacks up to its successor in its big musical production numbers, fish-out-of-water comedy, and ability to create an ?authentically artificial? world. Please share your comments, thoughts, and questions about ENCHANTED, BARBIE, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Ira Sachs? PASSAGES with John Schlesinger?s SUNDAY BLOODY SUNDAY Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-08-08
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#386: Fantasy Women, Pt. 1 ? Enchanted

Greta Gerwig?s mega-hit BARBIE is both a satirical sendup of and a loving tribute to the titular fashion doll, which is a not-unheard-of storytelling approach, though few stories attempting to strike the balance have done so with such direct involvement of the corporate entity responsible for their existence. That element of Mattel?s BARBIE is what led us to Disney?s ENCHANTED, Kevin Lima?s 2007 live-action fractured fairy tale that prods at Disney Princess tropes without quite upending them. This week we?re joined by Vulture critic Jen Chaney to consider what?s made the comparatively slight ENCHANTED such a touchstone for some viewers, the areas where its gentle subversion works and where it falters, whether there?s anything redeeming in the film?s messy final act, and, naturally, what Abel Ferrara?s ENCHANTED might look like. And we continue the trope talk in Feedback, inspired by a listener?s response to a certain GUARDIANS OF THE GALAXY VOL. 3 gag. Please share your comments, thoughts, and questions about ENCHANTED, BARBIE, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-08-01
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#385: Play Time, Pt. 2 ? Theater Camp

Like its obvious predecessor WAITING FOR GUFFMAN, the new THEATER CAMP is an improv-heavy mockumentary about a cash-strapped theatrical operation ? but in this case at least there?s real talent in the mix, thanks to the many gifted child actors populating the AdirondACTS summer program for aspiring young performers. This leaves THEATER CAMP?s adult cast, some of them former child actors themselves, free to lean into self-satirizing buffoonery while maintaining a degree of sincere admiration for theatrical weirdos everywhere. We dig into the ups and downs of that tonal balance in THEATER CAMP before comparing it to GUFFMAN?s own blend of affection and condescension toward amateur theater, the people who make it, and the audiences who respond to it, as well as how the mockumentary style has evolved in the years separating the two films. And in Your Next Picture Show, we use the presence of Molly Gordon and Ayo Edebiri in THEATER CAMP as an excuse for a mini bonus episode on a recent season of TV that also features both: THE BEAR.  Please share your comments, thoughts, and questions about WAITING FOR GUFFMAN, THEATER CAMP, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Greta Gerwig?s BARBIE with Kevin Lima?s ENCHANTED Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-07-25
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#384: Play Time, Pt. 1 ? Waiting For Guffman

The new Sundance favorite THEATER CAMP, which uses the mockumentary format to lovingly skewer amateurs pursuing their theatrical dreams, is clear in its homage to WAITING FOR GUFFMAN, a comedy whose own skewering of wannabe actor types is somewhat less loving. Our revisitation of Christopher Guest?s 1996 film considers GUFFMAN?s tricky tonal balance of satire and sincerity, along with the benefits and limitations of both its mockumentary format and improvisation-based filming style, and whether we should read condescension or admiration into Guest?s portrayal of Corky St. Clair and the small town that adores him. And in Feedback we tackle a reading of ASTEROID CITY that we hadn?t considered, courtesy of an astute listener.  Please share your comments, thoughts, and questions about WAITING FOR GUFFMAN, THEATER CAMP, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-07-18
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#383: Separate Ways, Pt. 2 ? Past Lives

Celine Song?s new slow-burn drama PAST LIVES is an unrequited-love story in the same way John Carney?s slow-burn musical drama ONCE is ? that is, just on the surface. But each film?s central would-be romance is a delivery device for deeper ideas about the weight of carrying nostalgia for past relationships and always wondering ?what if??. We?re joined once again by David Chen of DecodingEverthing.com to talk through PAST LIVES and how it functions as a different kind of immigration narrative, and the way it connects to ONCE in its depiction of sublimated longing, creative pursuits, and the language barriers that both unite and divide. And in Your Next Picture Show we take a brief look back through the many, many unrequited-love stories we?ve covered on this podcast over the years.  Please share your comments, thoughts, and questions about ONCE, PAST LIVES, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Molly Gordon and Nick Lieberman?s THEATER CAMP and Christopher Guest?s WAITING FOR GUFFMAN.  Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-07-11
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#382: Separate Ways, Pt. 1: Once

Celine Song?s feature directorial debut PAST LIVES follows two not-quite lovers through different points in their lives as they figure out how to move past the possibility of romance, a story of low-key longing and bad timing that reminded us of the serendipitous musical relationship at the heart of John Carney?s 2007 arthouse hit ONCE. So before taking up the multiple timelines of PAST LIVES, we?re joined this week by David Chen of Decoding Everything to dig into ONCE?s single, transient moment of musical and romantic connection, characters who express themselves best (and maybe only) through music, and how the film?s DIY, of-the-moment style reflects both its demo-tape narrative and a singular transitional moment in digital filmmaking. Plus, a Feedback letter asking us to go deeper into Wes Anderson?s ASTEROID CITY sends us down a rabbit hole.  Please share your comments, thoughts, and questions about ONCE, PAST LIVES, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-07-04
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#381: Heavy Meta, Pt. 2 ? Asteroid City

As filmmakers, Wes Anderson and Charlie Kaufman have distinct styles without a lot of obvious overlap, but Anderson?s new ASTEROID CITY and Kaufman?s 2008 directorial debut SYNECDOCHE, NEW YORK share a central concern ? the struggle to create art ? that invites a degree of self-awareness and metatextuality that plays well with both of those distinct styles. So after attempting to pull apart the layers of ASTEROID CITY?s play-within-a-play-within-a-TV-production-within-a-movie, we return to SYNECDOCHE to compare the different ends to which these filmmakers apply their respective meta moves, the ways they deploy their sprawling ideas and even more sprawling casts, and how each navigates the overlapping worlds of theater and film. Then in Your Next Picture Show, we share a few thoughts on another film we considered for this week?s pairing. Please share your comments, thoughts, and questions about SYNECDOCHE, NEW YORK, ASTEROID CITY, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: John Carney?s ONCE and Celine Song?s PAST LIVES Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-06-27
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#380: Heavy Meta, Pt. 1 ? Synecdoche, New York

Wes Anderson?s new ASTEROID CITY is a self-aware film about making art from a director of exacting control, which put us in mind of Charlie Kaufman?s 2008 directorial debut, SYNECDOCHE, NEW YORK, a self-aware film about making art from a director of exacting chaos. Kaufman is one of our most-discussed filmmakers on this podcast, as both a writer and a director, but that doesn?t make parsing the immersive, shapeless, bleak SYNECDOCHE any easier. But we do our best to track Kaufman?s various obsessions through the film?s unconventional structure, and even attempt to unearth some moments of (arguable) levity along the way. Then the meta hijinks continue in Feedback, when a special guest calls in to put our hosts on the spot when it comes to their position on Charlie Kaufman, director. Please share your comments, thoughts, and questions about SYNECDOCHE, NEW YORK, ASTEROID CITY, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-06-20
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#379: Film Criticism, Pt. 2 ? You Hurt My Feelings

Nicole Holofcener?s new YOU HURT MY FEELINGS finds its characters grappling with many of the same issues as those in 2001?s LOVELY & AMAZING, but with a couple more decades of personal growth informing how they let outside criticism inform their own self-worth. It?s a more mature, less prickly film, and whether that?s an asset or a liability is up for debate in our discussion of YOU HURT MY FEELINGS, along with how acceptable it is to share an ice cream cone with your significant other in public. Then we look at the two films side by side to see what?s changed and what?s stayed the same when it comes to Holofcener?s ideas about soliciting and rejecting criticism, professional flailing, and the intersection of validation and vanity. And in Your Next Picture Show, we offer up another recent Holofcener to keep the conversation going. Please share your comments, thoughts, and questions about LOVELY & AMAZING, YOU HURT MY FEELINGS, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Charlie Kaufman?s SYNECDOCHE, NEW YORK and Wes Anderson?s ASTEROID CITY  Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-06-13
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#378: Film Criticism, Pt. 1 ? Lovely & Amazing

Indie writer-director Nicole Holofcener?s observational comedies eschew high-concept hooks in favor of burrowing deeply into a theme from many different angles. Her new YOU HURT MY FEELINGS spells out its intersecting thematic interests right there in the title ? criticism, insecurity, and the need for validation ? and reminded us of the multigenerational study in low self-esteem that is LOVELY & AMAZING. So we?re revisiting Holofcener?s prickly 2001 film to consider the many ways in which the Marks women, played by Brenda Blethyn, Catherine Keener, Emily Mortimer, and Raven Goodwin, reinforce each other?s insecurities, and how Holofcener coaxes such light comedy out of such weighty themes. And in Feedback, a listener brings up a missing piece from our recent discussion of ARE YOU THERE GOD? IT?S ME, MARGARET. Please share your comments, thoughts, and questions about LOVELY & AMAZING, YOU HURT MY FEELINGS, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-06-06
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#377: Rocket Manimal, Pt. 2 ? Guardians of the Galaxy Vol. 3

GUARDIANS OF THE GALAXY VOL. 3 director James Gunn has been open about the various reference points dotting his final entry in the Marvel Cinematic Universe, but none are as extended or explicit as the one informing the film?s primary antagonist and his history with Bradley Cooper?s Rocket, which draws directly from H.G. Wells? deranged scientist Dr. Moreau and by extension 1932?s ISLAND OF LOST SOULS. Rocket?s backstory forms the spine of GUARDIANS 3, but as this is an ensemble story with plenty of established lore and character relationships, we spend some time unpacking our reactions to the non-Rocket parts of the film, including the Guardians? current dynamic, that hallway fight, and a closing dance sequence that managed to breach our long-held defenses against closing dance sequences. Then we dig into how it converges with, and diverges from, ISLAND?s ideas about cruelty to animals, charismatic madmen with selfish goals and noble pretensions, and the scientific search for perfection. Then in Your Next Picture Show, we highlight another of GUARDIANS? obvious reference points, this one inside the pages of a comic that has nothing to do with the MCU and everything to do with cute animals strapped with big ol? guns.  Please share your comments, thoughts, and questions about ISLAND OF LOST SOULS, GUARDIANS OF THE GALAXY VOL. 3, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Nicole Holofcener?s LOVELY & AMAZING and YOU HURT MY FEELINGS Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-05-30
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#376: Rocket Manimal, Pt. 1 ? Island of Lost Souls (1932)

James Gunn?s new closing entry in his GUARDIANS OF THE GALAXY trilogy for Marvel revolves around a tragic backstory for Rocket-don?t-say-Racoon that draws from a history of creation-vs.-creator narratives that stretches back to Mary Shelley?s Frankenstein. But Gunn himself has cited the cruel experimentations of H.G. Wells? Doctor Moreau, and specifically the 1932 film adaptation ISLAND OF LOST SOULS, as the reference point for Rocket?s journey. So we traveled through the fog of time to explore Erle C. Kenton?s depiction of Moreau?s island, where the animal-man makeup effects and Charles Laughton?s unique take on the mad scientist take center stage. Plus, a listener request for commentary track recommendations invites a slew of suggestions from our resident enthusiast.   Please share your comments, thoughts, and questions about ISLAND OF LOST SOULS, GUARDIANS OF THE GALAXY VOLUME 3, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-05-23
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#375: Pre-Teen Sensations, Pt. 2?Are You There God? It's Me, Margaret.

Kelly Fremon Craig?s winning new adaptation of Judy Blume?s ARE YOU THERE GOD? IT?S ME, MARGARET is as gentle and good-natured as the other film in this pairing, Todd Solondz?s WELCOME TO THE DOLLHOUSE, is acerbic and off-putting. But both films are frank in their own way about a stage of life that cinema often ignores, so after talking through MARGARET?s warm and welcoming 1970s vision of suburban New Jersey adolescence, we bring DOLLHOUSE?s grim and grungy 1990s depiction into the discussion to compare the films? respective takes on puberty, peer pressure, crushes, and bullying.  Please share your comments, thoughts, and questions about WELCOME TO THE DOLLHOUSE, ARE YOU THERE GOD? IT?S ME, MARGARET, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Erle C. Kenton?s ISLAND OF LOST SOULS and James Gunn?s GUARDIANS OF THE GALAXY VOL. 3 Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-05-16
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#374: Pre-Teen Sensations, Pt. 1 ? Welcome to the Dollhouse

Inspired by the new adaptation of Judy Blume?s classic coming-of-age novel ARE YOU THERE GOD? IT?S ME, MARGARET, we?re beginning this pairing by looking back at another rocky journey through adolescence in the New Jersey suburbs ? though Dawn Wiener?s journey in Tom Solondz?s 1995 indie WELCOME TO THE DOLLHOUSE is considerably rockier. Where MARGARET is gentle and warm, DOLLHOUSE is as prickly as its protagonist, and unsparing in the way it mines dark comedy by stacking the decks against her at every turn. Whether that comedy is worth the accompanying discomfort is a topic of discussion this week, along with the film?s left-field ending move and Solondz?s continuing adventures in the cinematic Wienerverse. Plus, a listener letter about BEFORE SUNRISE raises a question for discussion: Has any genre of movie benefitted from the addition of cell phones? Please share your comments, thoughts, and questions about WELCOME TO THE DOLLHOUSE, ARE YOU THERE GOD? IT?S ME, MARGARET, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-05-09
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#373: Our Favorite Films of 2023 (So Far)

The first few months of the year have a reputation ? arguably an unfair one ? as a dumping ground for films unlikely to draw blockbuster crowds or notice from awards-giving bodies. Here at The Next Picture Show, we don?t subscribe to the idea that no movies of value come out during these months, but we will acknowledge how rarely one of these films makes it onto our final Best of the Year lists. So before summer movie season commences and wipes our collective cultural consciousness of what preceded it, Scott and Keith got together for a special one-off episode focused on ten such films. Whether they end up being the best of the year, or just the best of the first third of the year, they?re worth a closer look. Please share your picks on the year?s best so far, along with any other comments, thoughts, or questions, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Todd Solondz?s WELCOME TO THE DOLLHOUSE and Kelly Fremon Craig?s ARE YOU THERE GOD? IT?S ME, MARGARET. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-05-02
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#372: Shoe Me the Money, Pt. 2 ? Air

Like Cameron Crowe?s JERRY MAGUIRE, Ben Affleck?s new AIR takes place in the world of sports but is more concerned with matters off the playing field. In the case of AIR, those matters ultimately come down to a triumph of capitalism and marketing, leaving us all a little confused about the film?s rooting interests, but nonetheless entertained by its confident showmanship. But is that enough for the film to hold its own against JERRY MAGUIRE? We hash it out in Connections by tracing the two films? character analogues and respective ideas about showing us the money.  Please share your comments, thoughts, and questions about JERRY MAGUIRE, AIR, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-04-25
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#371: Shoe Me the Money, Pt. 1 ? Jerry Maguire

Ben Affleck?s new AIR is a feel-good capitalist tale about a guy-behind-the-guy who bets it all on a single sports star, a.k.a ?pulling a Jerry Maguire,? but that premise really only represents one half of Cameron Crowe?s 1996 crowd-pleaser. Much like its protagonist, JERRY MAGUIRE splits its attention between sports and romance, and how successfully the film marries the two is a topic of some debate in this week?s discussion, along with the general efficacy of Tom Cruise, romantic lead.  Please share your comments, thoughts, and questions about JERRY MAGUIRE, AIR, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-04-18
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#370: Stranger Flings, Pt. 2 ? Rye Lane

While the new RYE LANE shares a basic premise with 1995?s BEFORE SUNRISE ? two strangers meet by chance and spend the day exploring a city and getting to know each other ? Raine Allen-Miller?s film operates as a romcom first and foremost. Whether that?s to the film?s benefit or detriment is at the heart of our discussion of the new film, and RYE LANE?s romcom nature proves a frequent point of contrast when placed alongside BEFORE SUNRISE in Connections. It also inspires this week?s Your Next Picture Show challenge, to provide an on-the-fly recommendation of a great 21st-century romcom.  Please share your comments, thoughts, and questions about BEFORE SUNRISE, RYE LANE, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Cameron Crowe?s JERRY MAGUIRE and Ben Affleck?s AIR Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-04-11
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#369: Stranger Flings, Pt. 1 ? Before Sunrise

The new Sundance hit RYE LANE is broadly speaking a romantic comedy, but it is more specifically a walk-and-talk romance, focused on two attractive young strangers who share a moment that turns into a day spent traveling around a city while getting to know each other. That naturally pointed us in the direction of Richard Linklater?s BEFORE SUNRISE, in which strangers on a train make a momentary connection that they decide to extend through the night ? and, eventually, through two more films in the resulting trilogy. It?s hard not to discuss those subsequent films in this week?s revisitation of BEFORE SUNRISE, and we don?t entirely succeed, but we do our best to remain in the moment of Jesse and Céline?s first date as we discuss the film?s interest in transitory moments, cynicism in the face of romance, and all the varied ways in which humans communicate.  Please share your comments, thoughts, and questions about BEFORE SUNRISE, RYE LANE, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-04-04
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#368: Revenge Tour, Pt. 2 ? John Wick Chapter 4

The John Wick series originated as the straightforward story of a skilled killer on a mission of revenge, but since then its mythology has expanded to encompass four films spanning multiple countries, an ever-mounting body count, and increasingly opaque motivations for Keanu Reeves? titular revenger. We?re joined once again by Vulture critic and friend of the show Alison Willmore to discuss the newest entry in the Wickiverse, whether its extreme closing speed offsets a baggy middle section, and how the film?s illusion of closure is undercut by an array of spinoff-ready characters. Then we return to the origin of this pairing by bringing POINT BLANK back into the discussion to talk codes of honor and disposable underlings as they pertain to men on a mission of revenge. Please share your comments, thoughts, and questions about POINT BLANK, JOHN WICK: CHAPTER 4, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Richard Linklater?s BEFORE SUNRISE and Raine Allen-Miller?s RYE LANE Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-03-28
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#367: Revenge Tour, Pt. 1 ? Point Blank (1967)

The revenge narrative has proven fertile ground for film in general (indeed, this is not our first pairing inspired by the subject) and the John Wick franchise specifically, which has just spawned its fourth chapter tracing a one-man killing machine?s path of righteous destruction across the globe. It?s also provided us with a fine excuse to revisit 1967?s POINT BLANK, the John Boorman cult classic that follows Lee Marvin on a more localized but no less brutal revenge tour of his own. So in preparation for John Wick?s globe-trotting mayhem, this week we?re joined by Vulture film critic and returning guest Alison Willmore to talk over POINT BLANK?s alternately dreamlike and bleak portrait of a man who?s lost his humanity ? symbolically or literally, depending on your read ? plunging violently back into the human world. Please share your comments, thoughts, and questions about POINT BLANK, JOHN WICK: CHAPTER 4, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-03-21
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#366: Round Three, Pt. 2 ? Creed III

Michael B. Jordan?s Adonis Creed begins the new CREED III in a similar position to that of Sylvester Stallone?s Rocky Balboa in ROCKY III, as a highly regarded, highly comfortable champion who must return to his roots in order to triumph in the ring. But CREED III?s antagonist figure, Johnathan Majors? Damian Anderson, comes with a more interesting set of motivations and resentments, which we talk over with returning guest Matt Singer in our discussion of the new film. Then we get into the echoes between these two related points on the extended Rocky timeline, from their deployment of narratively convenient character deaths and training montages, to their respective ideas about underdog narratives and what one generation owes the next one.  Please share your comments, thoughts, and questions about ROCKY III, CREED III, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-03-14
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#365: Round Three, Pt. 1 ? Rocky III

Originating as a late-stage ROCKY sequel, CREED has since evolved into its own multi-sequel franchise, with the new third entry bringing star Michael B. Jordan back into the ring as well as the director?s chair. That?s the same dual role Sylvester Stallone had for 1982?s ROCKY III, which similarly finds its star prizefighter far from his scrappy beginnings, and needing to humble himself in order to find glory again. There?s a lot connecting these two films, but only one of them can boast the involvement of Hulk Hogan, so we?re joined by critic, friend of the show, and ROCKY III advocate Matt Singer to discuss what issues Stallone and the franchise were working through with this underestimated second sequel. Plus, our extended discussion of extended sequences continues in Feedback as we consider some less-loved examples of the long take. Please share your comments, thoughts, and questions about ROCKY III, CREED III, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. Outro music: ?Eye of the Tiger? by Survivor Learn more about your ad choices. Visit megaphone.fm/adchoices
2023-03-07
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