The Next Reel Film Podcast

“This doesn’t just happen. This guy — this doesn’t happen. He doesn’t just come to a meeting and say ‘bugs.’”The script came easily to Gary Ross & Anne Spielberg, but finding the right team and cast to make Big still took some time. By the time the film released in theatres, it was the fourth body-switching comedy to come out in a few years, even though it had been the first to be greenlit. But the script was smart and didn’t truck in dumb jokes, the casting was impeccable, and Penny Marshall found a way to navigate the fantasy and romantic nature of the film, and because of all these things, this film is the body-switching comedy from the late 80s that people still talk about. Join us – Pete Wright and Andy Nelson – as we continue our John Heard series with Marshall’s 1988 film Big.We’re big on BigIt’s hard to argue that Tom Hanks’ career moved to new level with his performance in this film. He’s perfect in this film, playing brilliantly a 13-year-old in a 30-year-old’s body. But a lot of the success comes from Penny Marshall’s comedy smarts when capturing this story by avoiding the easy jokes.It doesn’t hurt that Hanks has Elizabeth Perkins, Robert Loggia, and the man bringing this series together –John Heard – to work with as they all carry their weight. It’s interesting, however, to read the names of the other actors’ names mentioned for the roles. Robert De Niro? Really?And then there’s David Moscow as young Josh and Jared Rushton as Billy, the two kids in the film who create the core childlike center of the film and ground it in youth. It works.We do talk about the troubling aspect of Susan sleeping with a 13-year-old kid – even if she didn’t know he was only 13. How does that hold up? And what was poor Mercedes Ruehl doing the whole time he was gone? There are definitely darker aspects to this film, but again, Marshall smartly focuses on the Josh’s story and makes it work.It’s a wonderful film. We have a great time talking about it and are happy to enter it into our library of shows, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!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 Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical 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

“Why didn’t I meet you first?”After working with John Heard on her 1977 film Between the Lines, writer/director Joan Micklin Silver knew that she wanted to cast him in her next feature Chilly Scenes of Winter. He plays a fairly complex, lovestruck character that dances right on the edge of being a bit too crazy, but he pulls it off with an authenticity that leaves you rooting for him, even when you’re shaking your head at some of his decisions. Join us – Pete Wright and Andy Nelson – as we continue our John Heard series with Micklin Silver’s 1979 film Chilly Scenes of Winter.It may be called Chilly Scenes of Winter, but it’s full of genuine comic moments.The studio heads didn’t get it at all, releasing the film initially as Head Over Heels with an artificially happy ending. No one wanted to see that and the film bombed. It took Micklin Silver three years to get the original version released, and it was a success.Do we like the way the movie plays out in this version? Absolutely. How does John Heard do as this crazy character who rides the line with stalking Laura, the woman he falls in love with? What does the movie say about relationships, particularly when one side is more in love than the other side?How about the idea of being the ‘other’ in a relationship? Talk about the cast – aside from Heard, who is perfect in his role, we have Mary Beth Hurt as Laura, Peter Riegert, Gloria Grahame, Kenneth McMillan, Nora Heflin, and more. It’s a delightful cast and they’re all bringing their A-games here.It’s a challenging but fascinating movie about relationships and finding yourself. 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!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 Film Podcast through your own membership.Script TranscriptTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxd 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

“We are still about telling the truth. We are still about something big here, and not many people can say that, man.”After her success with Hester Street, it seemed fitting that director Joan Micklin Silver would make an ensemble film about a group of journalists at an alternative paper. She’d worked at The Village Voice, so clearly knew that world. Her writers did as well. Join us – Pete Wright and Andy Nelson – as we wrap up our ‘Journalist’ series and kick off our ‘John Heard’ series with Micklin Silver’s 1977 film Between the Lines.There’s a lot going on between the lines in Between the Lines.One of the things we love so much about the film is the ensemble nature of the story. While we feel John Heard’s character Harry is the protagonist, we’re following half a dozen people fairly closely with another half dozen prominent supporting players. While it’s not Altman, there’s a definite feel here that Micklin Silver is opening up a portal to this world and we’re here experiencing it with her.But it is John Heard’s story. He was here with the start of the paper and we follow the story through his inevitable departure after the paper’s essentially eaten up by a corporation coming in and taking over all the ‘little guys.’ That being said, how fair is it to call him the protagonist? Couldn’t more than one be the protagonist?Micklin Silver does a wonderful job of weaving us through the lives of these people, both within the world of the paper and without. We see romances form and fall apart. We see raises get denied. We see dancing. We see interviews. It’s a painting of this world, and we’re right here for it.It’s a marvelous film and absolutely works for us. Definitely check it out then tune in. The Next Reel – when the movie ends, our conversation begins!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 Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical 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

“I thought you were snapping a few photographs, not reopening the whole case.”We’re not sure how Kathryn Bigelow came to direct the adaptation of Anita Shreve’s book “The Weight of Water” for the big screen, but it feels a bit odd in her body of work. It’s arguably the least masculine film she’s made, and is a mystery told between two time periods, so it feels different for her. But what did we think of it? Join us – Pete Wright and Andy Nelson – as we continue our Journalists series with Bigelow’s 2002 film The Weight of Water.Is there much weight to The Weight of Water?This is a film we really struggle with. For a mystery film, it doesn’t leave much mystery. And the relationship angle feels sloppy. Why did Bigelow take on this project? Was the book any better? We didn’t connect with the two stories and their lack of actual connection. That being said, the actors largely work.It’s just a shame they didn’t either focus on the story of the true murders on Smuttynose Island or the story in present day. Dancing between the two of them just doesn’t work.Regardless, it’s another film checked off our Bigelow filmography, and we’re always happy to do that. So check out the movie if you can track it down and then tune in. The Next Reel – when the movie ends, our conversation begins!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 Film Podcast through your own membership.Find places to watch this at JustWatchTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxd 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, I give you the holy state of matrimony, modern style! Single lives, twin beds, and triple bromides in the morning!”Dorothy Arzner is a filmmaker we want to look at more closely.It’s surprising and a tad shameful to learn this late in the game about Dorothy Arzner. There had been other female filmmakers in the early days of the Hollywood system, but Arzner was largely the only woman regularly working as a director in the 30s and 40s. Her film Merrily We Go to Hell has some comedy in it but largely is a drama about a young couple who fall in love only to have their marriage affected by alcoholism and infidelity. But what’s so fascinating about it is that the woman sees what her husband’s up to and decides to do it too. It is a modern marriage, after all. Join us – Pete Wright and Andy Nelson – as we continue our Journalists series with Arzner’s 1932 film Merrily We Go to Hell.For a series about journalists, journalism is barely recognized in this film.Okay, so it’s not a perfect film for this series. But our protagonist, played by Frederic March, is a journalist so there’s at least some semblance of a loose connection. What he is is an incredible alcoholic, but Sylvia Sidney, the woman who falls for him, doesn’t see it that way. But do we buy their romance?And what do we think of the modern marriage elements of the story? (It’s not so hard to believe, though, that she’d hook up with Cary Grant, great to see in an early role.)What do we think of the title which gives it more of a comedic feel even though the film is much more of a drama?How do the elements play in the pre-Code days?And what stands out about Arzner’s direction?It’s an entertaining and interesting film – but the story has some elements that don’t completely work for us. Regardless, it opened the door for us to Arzner and we definitely want to see more of her works. So check out the film then tune in. The Next Reel – when the movie ends, our conversation begins!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 Film Podcast through your own membership.Find places to watch this at JustWatchTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxd 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

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"The government doesn’t let us mix with foreigners. You’ll get us into trouble if you take photos here.”Ann Hui had been working on a documentary for a Hong Kong network when she interviewed a number of ‘boat people,’ people fleeing Vietnam from the rule of China. This piqued her curiosity in the subject and defined her next two films, The Story of Woo Viet and Boat People. This ‘Vietnam Trilogy’ of hers, and particularly the last film, gave Ann Hui a boost in her career as it took off around the world, marking her as one of the Hong Kong New Wave directors. Join us – Pete Wright and Andy Nelson – as we close out our series on Hui as well as kick off a series on journalists with her 1982 film Boat People.Boat People gives us the blank slate reporter we’ve been looking for.There are many comments and reviews about this film that dislike the portrayal of the journalist as being too naïve. For us, it feels like a character choice and works well to set up the film as a journey for this photographer – our audience surrogate – as the layers are slowly peeled back to reveal what sort of atrocities are really going on in China-ruled Vietnam after the US left.Add to that exceptional child actor performances as the kids that connect with our photographer, not to mention the visceral violence that shakes us up, and it’s easy to see why this film affects us. The cinematography, the music, the locations, the performances, the direction – everything works well to deliver a powerful film that depicts a unique conflict in this part of the world we learned little about in our history books.We have differing opinions on how well the film stuck with us, but no matter how you slice it, it was a film that affected us and worked well. We have a great conversation about it so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!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 Film Podcast through your own membership.Find places to view this at JustWatchTheatrical 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

“See you after the victory.”As a filmmaker in Hong Kong, there’s an inevitable balancing act they need to do with their stories and how they depict China. This story portrays an interesting element of World War II that wasn’t often taught in Western history classes – the Japanese occupation of Hong Kong. Having it told from the Hong Kong perspective is also unique to us. That being said, the film was made to celebrate the 20th anniversary of Hong Kong’s return to the fold of China. Does that affect the tone of the story? Join us – Pete Wright and Andy Nelson – as we continue our series on Hong Kong New Wave director Ann Hui with her 2017 film Our Time Will Come.The time has come to discuss Our Time Will Come.It’s hard to not start our conversation with celebration of the fantastic delight we get from Eddie Peng as the revolutionary Blackie Lau. Every time he’s on screen, it lights up. How does everyone else do? Honestly, lots of performances to celebrate, and when we’re not celebrating Eddie Peng, it’s Deannie Ip, Xun Zhou, Wallace Huo, or many of the other performers in the film.But does the story work? It works differently for each of us, and we debate why. Is it because our unfortunate lack of knowledge in the history in this part of the world during WWII? Or whether there should be a romance? Or if the story delivers enough tension in the action scenes and sequences? Or maybe the story never quite delivers?And why does the CG in the film look less than top notch?Regardless, it’s an interesting film with characters we generally like that shows how simple school teachers and mothers can end up becoming spies. We have a great time in our conversation with the film. It’s worth checking out, so do so then tune in. The Next Reel – when the movie ends, our conversation begins!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 Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical 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

There are a lot of elements from Ann Hui’s own life in her film Song of the Exile. It’s not a biographical film, though. Knowing that, what are we meant to take away from it? Is it an exploration of Hui’s own life? A chance for her to exorcise some demons from her youth? Or did she simply use those elements as a way to frame this story about a daughter slowly growing to know her own mother? Join us – Pete Wright and Andy Nelson – as we continue our Ann Hui series with her 1990 film Song of the Exile.We didn’t find as much to connect with in Song of the Exile.This was a frustrating film experience for us. There were interesting story elements throughout the film, but they never congealed to make a complete film for us. It’s the story of a self-centered daughter who has to learn that her mother isn’t just someone to hate but who is a person with their own life journey and baggage. It’s the story of a mother who has to reconnect with her own past to find reconciliation and acknowledge that the life she’s living now is actually pretty good. But could it be more clear? We think so.There are also elements of the East/West mentality throughout the film, though never completely clear with their intent. Is that simply because it was a Hong Kong film made at a time when China was getting close to taking over control of what was at the time a British colony? Or was there more here?That speaks to some of our overall difficulties with the film – we don’t have a good understanding of the conflicts between China, Japan, and Manchuria, where some of this film takes place. Would more knowledge of that history have helped us? And would all of this work better for an audience from Hong Kong and the area?Despite all of that, Maggie Cheung and Lu Hsiao-fen work well as daughter and mother. But this feels like a film that gets lost in its telling. Is this the mother’s story? The daughter’s? All in all, there are a lot of interesting elements and it certainly is a film worth looking at. We just found it disappointing in the end, but plenty of people seem to love this film, so perhaps it’s for you. So check out the movie then tune in to the episode! There is a lot to talk about in the film. The Next Reel – when the movie ends, our conversation begins!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 Film Podcast through your own membership.Watch this on YouTubeScript TranscriptTheatrical 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

"No one gets an unwrapped present on my watch!”The original idea for Arthur Christmas, at the time called Operation Rudolph, had a much darker thread in it involving reindeer burgers. Luckily, the story evolved and turned into a wild story about a hereditary line of Santas running things with a million elves helping out (really doing all the work). The story is one of commerce and efficiency, but also about the meaning of Christmas and believing. Sarah Smith had experience with complex stories, so this film’s clever script fits right in with her live action work she’d done before with Armando Iannucci. Directing her first animated film, with help from Barry Cook, she crafted a holiday classic. Join us – Pete Wright and Andy Nelson – as we wrap up our 10 Year Anniversary series with Smith’s 2011 film Arthur Christmas.Arthur Christmas makes us happy.This is an easy film to love. Wonderful characters, fun character design from the minds of the Aardman team, and a heartwarming story about Santa’s youngest son, Arthur, who works in the mail department. He may be a bit clumsy, but he has the true spirit of the holiday. James McAvoy brings him to life in a performance full of goofy charm. He’s helped by Jim Broadbent, Hugh Laurie, and Bill Nighy as they set out to deliver a present that got missed.The story is touching, and it’s smarter than a lot of animated films. Small jokes, big jokes, Aardman jokes – everything’s in there. And we laugh a lot throughout this one. But there’s also a thread of commerce and big business taking over operations of this sort of place, brought to live in Hugh Laurie’s character Steve, who has transformed delivery with the sleigh into the highest of high tech jobs, with the actual sleigh replaced by what looks like the Starship Enterprise painted red. It’s a genius idea, and it speaks to the idea of commerce vs. the true meaning of Christmas.It’s hard to go wrong with Arthur Christmas. We have such a great time with this one. It’s an annual viewing at Andy’s house and will be for years to come. If you haven’t seen it yet, check it out then tune in. And let us know what you think! The Next Reel – when the movie ends, our conversation begins!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 Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical 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