The Next Reel Film Podcast

“Don’t give me any of that ‘intelligent life’ stuff. Find me something I can blow up!”John Carpenter and Dan O'Bannon met as film students at USC in the early 1970s. Together they created a 45-minute student film called Dark Star that ended up gaining traction on the film festival circuit. With additional funding, they expanded it into a feature film that was released in 1974. This sci-fi comedy film became a cult classic, despite its tiny budget and limited release. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Dark Star.Here's a hint at what we talk about:In our discussion of Dark Star, we dive into the film's origins as a student project and how it evolved into a feature film. We analyze the absurdist tone and philosophy of the story, as well as the mix of comedy and horror elements. Though we find some flaws, we appreciate the ambition and creativity behind this early work by Carpenter and O'Bannon.Here are a few other points in our discussion:The impressive visual effects and production design given the microbudgetMemorable characters and comedic performancesThought-provoking themes about technology and human natureInfluences on later sci-fi classics like Alien and Red DwarfIn the end, we see Dark Star as a unique cult film that shows the promise of Carpenter and O'Bannon as emerging filmmakers. Despite its uneven moments, it offers an imaginative vision and bold filmmaking. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“You’re so funny when you’re sexually frustrated.”In 1975, producer Alvy Moore teamed up with director L.Q. Jones to bring Harlan Ellison’s 1969 novella A Boy and His Dog to the big screen. With a budget of just $400,000, Jones cast newcomer Don Johnson alongside canine actor Tiger in this post-apocalyptic sci-fi that would go on to earn acclaim and cult status. Join us – Pete Wright and Andy Nelson – as we kick off the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about A Boy and His Dog.Here's a hint at what we talk about:We dive into the fascinating dystopian world depicted in the film, analyzing how the survivalist society shapes the animalistic characters. We discuss the interesting gender politics and debate whether the controversial elements hold up today. And we talk about the great casting, including Don Johnson's standout performance and the fitting voice work for Blood.Here are a few other points in our discussion:The shocking ending and how it subverts expectationsThe hilarious dynamic between Vic and BloodThe lo-fi retro aesthetic of the visualsHarlan Ellison's legacy in sci-fiIn the end, we find A Boy and His Dog to be a wholly unique entry in the post-apocalyptic sci-fi genre that was ahead of its time. Despite flaws, it presents a creative vision of humanity's dark future that leaves a lasting impression. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerOriginal MaterialLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“A painting means as much to you as a string of pearls to an ape.”In the early 1960s, French author Rose Valland pitched the idea for The Train to producer Jules Bricken. Valland had worked at the Jeu de Paume Museum in Paris during World War II, overseeing the Nazi looting of French art treasures. Intrigued by her true story of resisting Nazi art theft, Bricken brought in director Arthur Penn to develop the film. Penn saw it as a vehicle for his friend Burt Lancaster and got him on board to star and co-produce. But creative differences led Penn to depart the project, with action director John Frankenheimer taking over. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Train.Here's a hint at what we talk about:We dive into the real history behind this fictionalized account of protecting French art from the Nazis in WWII. We discuss Frankenheimer’s groundbreaking filming techniques using real trains and locations. And we debate the deeper themes around valuing art over human life.Here are a few other points in our discussion:Highlighting the standout performance by Burt LancasterAppreciating Paul Scofield as the obsessive Nazi colonelNoting the exceptional black and white cinematographyPoking fun at the uneven accentsPraising the thrilling climactic train yard action sequencesThe Train is a thoroughly engrossing WWII action-drama that also makes you think. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerOriginal MaterialLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“My life is an empty place.”Harold Pinter adapted Penelope Mortimer’s 1962 semi-autobiographical novel The Pumpkin Eater into a screenplay for this 1964 British drama film directed by Jack Clayton. With acclaimed performers Anne Bancroft and Peter Finch on board, Clayton and cinematographer Oswald Morris shot the black and white film partly on location in London and Shepperton Studios. Despite its downbeat subject matter, The Pumpkin Eater was considered a prestige picture with a relatively large budget upon its production. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Pumpkin Eater.Here's a hint at what we talk about:In this episode, we dive deep into the complex psychology of the characters and relationships in The Pumpkin Eater. We discuss how the film provides an intimate portrait of a woman struggling with depression and a crumbling marriage in 1960s England. The stellar performance by Anne Bancroft anchors the film, while the script by Harold Pinter brings emotional honesty through raw, confrontational dialogue. We also analyze how the movie explores challenging themes like women's rights, mental health, fidelity, and family.Here are a few other points in our discussion:Appreciation for Jack Clayton’s skilled directionThe intriguing nonlinear structure using flashbacksJames Mason’s supporting turn as the angry betrayed husbandThe Pumpkin Eater is a psychologically complex drama that impressed us both. The gorgeous black and white cinematography transports you into this intimate story. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerOriginal MaterialLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“This is something that happens.”Talking About Paul Thomas Anderson’s 1999 film Magnolia with our guest, cinematographer Lyn MoncriefOn this episode of Movies We Like, hosts Andy Nelson and Pete Wright invite cinematographer Lyn Moncrief to discuss his career and one of his favorite films, Paul Thomas Anderson’s sprawling 1999 drama Magnolia.We talk with Lyn about how he first got interested in cinematography and making the move to Los Angeles to pursue his passion. He discusses some of his early work in independent films and horror movies, explaining that the genre can allow for creative freedom visually. Lyn also touches on his collaborations with director Emma Tammi, including the recent Five Nights at Freddy's adaptation.When we dive into Magnolia, we analyze the film's unique visual style, editing, and how the different storylines weave together. We highlight standout emotional performances, especially from Tom Cruise and Julianne Moore. We also praise the film's musical interludes featuring songs written for the movie by Aimee Mann. Lyn explains how Magnolia inspired him as a young cinematographer and made him want to be part of ambitious filmmaking.With its sprawling stories, raw performances, and stunning cinematography, Magnolia is truly a modern classic. This was a fascinating discussion about both Lyn's career and one of his favorite films. We clearly had an excellent time geeking out over this towering achievement. Be sure to check out Magnolia if you haven't seen it and listen to Lyn's insights from working in the industry.Film SundriesFind Lyn on His Website or InstagramWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

"Gentlemen, you can’t fight in here! This is the war room!"REBROADCASTStanley Kubrick didn’t do comedy often which is a shame because “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” is arguably one of the funniest films ever made. What’s interesting is that Kubrick intended on making a serious film about one of his greatest fears at the time: the threat of nuclear war. But after several attempts at finding the right way to tell the story seriously (including one involving aliens watching us from above, discussing our penchant for destruction), he hit on the idea of making it funny. And his dark comedy classic was born.Join us – Andy Nelson and Pete Wright – as we wrap up our brief vacation challenge with Andy’s choice of his favorite end-of-the-world comedy, Kubrick’s 1964 film “Dr. Strangelove.” We talk about how we were introduced to this film and why it may not be a film that one connects to immediately but a film that one has to find the humor over time. We discuss the actors – Peter Sellers, George C. Scott, Slim Pickens, Sterling Hayden, Keenan Wynn, even James Earl Jones in his first screen role – and the level of comedy brilliance they all achieve individually and how it ties to the overall film. We single out Sellers, of course, as we discuss the three roles he played in the film and what makes them all so unique. We touch on the look of the film, shot by Gilbert Taylor with impeccable production design by Ken Adam, pointing out just what it took to make the war room one of the most iconic sets ever made. We mention the sequel that Kubrick wanted to make with the help of Terry Gilliam. And we argue about its placement on our Flickchart, as we inevitably do every week. It’s one of the best films out there and well worth a discussion. Haven’t seen it? Give it a try. Just be aware that you may not connect on the first viewing. This is one of those movies that may need a few shots. But it’ll be well worth it. We promise you.Film SundriesCheck out our Watch Page to get links to rent or buy this movie and everything else we’ve coveredScript TranscriptOriginal theatrical trailerOriginal poster artworkArt of the TitleRed Alert by Peter GeorgeFlickchartLetterboxdDr. Strangelove — Internet Movie Firearm Database Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“But where is Becket’s honour?”Before cameras could roll on Becket, the film's producers had to secure the screen rights to Jean Anouilh's original French play. Anouilh was initially hesitant to sell the rights, but the persistence of producer Hal B. Wallis convinced him to sign on. With the acclaimed playwright on board, the next task was finding a director who could bring the theatrical story to life on the big screen. The producers eventually landed on Peter Glenville, an experienced theater director who had recently made the jump to film. With Glenville set to direct, Wallis turned his attention to casting the two crucial lead roles. Several big names were considered, but it ultimately came down to Richard Burton and Peter O’Toole. The two actors had never worked together before, but their chemistry and talent made them the perfect choices to embody this complex medieval tale of friendship and betrayal. Join us – Pete Wright and Andy Nelson – as we kick off the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about Glenville’s 1964 film Becket.Here's a hint at what we talk about:We dive deep into the fascinating central relationship between King Henry II and Thomas Becket. Their intimate friendship takes surprising twists and turns, and we examine how Burton and O'Toole bring nuance, humor, and gravitas to their performances. We also discuss how Becket grapples with weighty themes like loyalty, honor, and the separation of church and state. Though we take issue with some historical inaccuracies, we find the film an engrossing character study bolstered by its two talented leads.Here are a few other points in our discussion:Appreciating Becket's unexpected comedic tone and banterThe riveting confrontations between Henry and BecketQuestioning the importance of the Saxon/Norman divideAssessing Peter Glenville's brisk direction and Anne V. Coates’ editingBurton and O'Toole's captivating performancesBecket gives a revealing look at how friendship, politics, and religion collide for two powerful men. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerOriginal MaterialLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“Stella! Hey, Stella!”Tennessee Williams' Pulitzer Prize-winning play A Streetcar Named Desire took Broadway by storm in 1947. Four years later, director Elia Kazan decided to adapt the play for the big screen, bringing together many members of the original Broadway cast like Marlon Brando, Kim Hunter, and Karl Malden. After a tumultuous pre-production filled with casting conflicts and clashes over censorship, Kazan was finally able to begin filming on location in New Orleans in 1950. The end result was a critical and commercial smash, earning 12 Oscar nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Kazan’s A Streetcar Named Desire.Here's a hint at what we talk about:In this episode, we dive deep into Marlon Brando's electrifying performance as Stanley Kowalski and how it paved the way for method acting in film. We also discuss how Elia Kazan's stage experience enabled him to open up the world of the play through evocative cinematography and set design. Additionally, we analyze Vivien Leigh's complex portrayal of Blanche DuBois and debate whether the film adaptation fully captures the darkness of Tennessee Williams' original story.Here are a few other points in our discussion:Our initial reactions to revisiting this classic filmThe jazzy, atmospheric score by Alex NorthMemorable scenes like Brando screaming "Stella!" and the final sceneDifferences between the film and Williams' original playThe talented supporting cast like Kim Hunter and Karl MaldenWe have a great time unpacking this landmark dramatic film, so tune in to hear our thoughts. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchor check out our new Watch page to get links for all the films we’ve discussed on our shows!Script OptionsTheatrical trailerOriginal MaterialLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“Criss cross.”In 1951, Alfred Hitchcock was at a low point in his career after the disappointing critical reception of his previous two films, Under Capricorn and Stage Fright. Desperate for a hit, he wanted to adapt the 1950 Patricia Highsmith novel Strangers on a Train about a chance encounter that leads to a murder pact between two very different men. He bought the rights and enlisted screenwriter Raymond Chandler to adapt the book for the screen. Though Chandler delivered a script, Hitchcock ultimately rejected it in favor of a rewrite by Czenzi Ormonde and an uncredited Barbara Keon. With his leads locked in – Farley Granger as tennis pro Guy Haines and Robert Walker as the villainous Bruno Antony – Hitchcock began production on what would become another tension-filled thriller. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Strangers on a Train.Here's a hint at what we talk about:In this episode, we dive deep into the fantastic performances by Robert Walker as the creepy and charismatic Bruno and Farley Granger as the morally conflicted Guy. We also discuss the homoerotic undertones in the film and how Hitchcock used them to toy with ideas about sexuality and identity. Though we find a few plot holes, overall we both agree this is one of our favorite Hitchcock films thanks to its psychological tension, unique visual style, and fun fairground climax.One of the standout elements of Strangers on a Train is the striking black-and-white cinematography by Robert Burks. In his first collaboration with Hitchcock, Burks brought an experimental flair that heightens the psychological tension. The use of shadows, unique camera angles, stylized lighting, and innovative techniques like the curved lens shot of Miriam's murder create an atmosphere of dread and danger. Burks' innovative work garnered him an Oscar nomination and built the foundation for a longtime partnership with Hitchcock.Strangers on a Train is a taut, psychologically complex thriller brought to life by Hitchcock’s masterful direction. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | AudibleFilm SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerOriginal MaterialLetterboxd

“I think I could turn into you if I really tried.”Talking About Persona with our guest, writer/director Sophie BarthesOn this episode of Movies We Like, we speak with writer/director Sophie Barthes about one of her favorite films, Ingmar Bergman’s 1966 psychological drama Persona. We also discussed Barthes' own directing career and thoughts on filmmaking.We have an in-depth discussion about Bergman's avant-garde masterpiece Persona, analyzing its dreamlike atmosphere, innovative editing and cinematography, complex characters and themes of identity and psychology. We talk about how the film's shocking opening montage and sparse narrative puts the viewer in an unsettled state of mind. Overall, we find Persona to be an endlessly discussable classic that still feels fresh and boundary-pushing today.We also speak with Barthes about her three feature films - Cold Souls, Madame Bovary, and The Pod Generation. Barthes explains how she often explores themes of consumerism, psychology and identity through different genres and time periods. She shared insights into her creative process, from conceptualizing stories based on her dreams to her highly-stylized production design. Barthes also discussed the challenges of portraying human truths and darkness as a director today versus Bergman's time.Barthes gives thoughtful perspective as both a director and film lover. Her pick certainly leads to a rich discussion about cinematic art today as Persona proves to be a multilayered classic ripe for analysis.Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.Check out Sophie’s filmsCold SoulsMadame BovaryThe Pod Generation on Amazon or AppleWatch Persona on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerPoster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible