The Next Reel Film Podcast

Roger Corman’s always made profitable films, and sometimes that meant stealing some ideas from current releases to capitalize on the similarities. That’s certainly the case with the film he produced that ripped off Steven Spielberg’s Jaws: Joe Dante’s Piranha. Often, these films fell into legal issues, but with this film, Spielberg himself gave it his blessing and Universal stopped its injunctions. With that, we’re able to enjoy and talk about one of Dante’s early films. Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Dante’s 1978 film Piranha. We talk about the nature of rip-offs and how this one feels like it’s a bit more than just a rip-off. We chat about the nature of Dante’s comedy and horror, particularly how it pairs with the script by none other than John Sayles. We look at the story and chat about the tropes it contains but also how much fun it is. We touch on some of the actors and why they work well in this film. We laugh at a story Andy shares about watching it with his 10-year-old son. And we revel in the greatness that is Pino Donaggio’s score. It’s not a great film but it’s a ton of fun. We have a great time chatting 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 — visit TruStory FM.Watch this film: iTunes • Amazon • HuluScript TranscriptOriginal theatrical trailerOriginal poster 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

From the time artists began creating, there were those stealing their ideas. This certainly holds true in film, where some filmmakers from around the world see one movie’s success as the opportunity to rip it off and make their own version of it. True, this often leads to litigation, but that doesn’t stop some filmmakers from trying to find ways around it anyway. After all, if it’ll make a buck, it’s worth doing, right? Steven Spielberg’s Jaws was such a success that it spawned countless rip-offs. One of the early ones was the Italian-American giant octopus production called Tentacles. Helmed by Oliver Hellman, aka Ovidio G. Assonitis, this Jaws rip-off doesn’t bring much new to the screen. But is it any good? Join us – Pete Wright and Andy Nelson – as we kick off our Aquatic Killers series with Assonitis’ 1977 film Tentacles. We talk about the nature of rip-offs and if they can be any good (and when you draw the line – we’re looking at you, Asylum!). We chat about the bonkers cast here – John Huston, Shelley Winters, Henry Fonda, and more – and what, if anything, they bring to the table. We look at the octopus and what, if anything works about it. We discuss some of the octopus’s kills, including a baby right at the start of the film, and what they’re lacking to really make this work. And we talk about the cinematic sin of being boring, to which this film falls prey.It’s an interesting film to kick things off with. Full of problems, a few interesting elements to entertain, but largely dull. Still, it makes for a great conversation! Check it out then tune in to this week’s show! 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 — visit TruStory FM.Watch this film: Amazon • YouTubeOriginal theatrical trailerOriginal poster 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

It should come as no surprise that while making Snowpiercer, writer/director Bong Joon-Ho came up with the idea for Parasite. They’re both films that deal with social class after all. But where Snowpiercer tells its story in a dystopian, frozen sci-fi future aboard a train perpetually traveling the world, Parasite is a story grounded in reality. Perhaps that’s the reason it found a connection with so many more people. Join us – Pete Wright and Andy Nelson – as we wrap up our Foreign Language Films Nominated for Best Picture series with the film that broke the mold and became the first foreign language film to win Best Picture, Bong Joon-Ho’s 2019 film Parasite. We talk about why the film works so well and the themes Bong explores. We look at the construction of the film and the ways Bong separates the classes both in the story and visually. We chat about the fantastic production design of the Park house and why it brings so much to the film. We discuss the stairs and the descent and how that’s used in perfect ways as the story builds. We look at the performers and other craftspeople involved. And we talk about its popularity at awards season and how it set a new benchmark at the Academy Awards.It’s a brilliant film and we’re thrilled to end our current series with it. 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 — visit TruStory FM.Watch this film: iTunes • Amazon • Netflix • Hulu • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxdBinging with Babish: Ram-Don from Parasite 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

The conversations about Roma at the time of its release and discussions about awards seemed to center on the fact that it was released on Netflix with only a limited theatrical run. People were convinced it wouldn’t have a shot for this very reason, but the quality of the film proved that even a Netflix release could be considered for Best Picture. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Alfonso Cuarón’s 2018 film Roma. We talk about the tone of the story and why it works well, regardless of viewing format. We look at what Cuarón did technically to achieve the look of the film. We discuss the acting, both by newcomers and pros, and how they bring so much life to the story. We touch on the personal connection Cuarón had in the making of this film and why capturing his own memories was so important, especially in moments like the Halconazo riot. And we look at the nature of the ‘upstairs/downstairs’ sense of this film and how small, personal stories intersect with larger ones.It’s a powerful film that gets better with age and certainly is one deserving of a conversation. We have a great time talking about it this week, 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 — visit TruStory FM.Watch this film: NetflixEnglish ScriptSpanish ScriptOriginal theatrical trailerOriginal poster 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

Michael Haneke is always one to provoke with his films, but rarely do they feel so personal as his 2012 film Amour. He pulled from personal experience with the suicide of his 90-year-old aunt to write the story and then crafted a film that maintains the Haneke distance even while allowing for an emotional film. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Haneke’s 2012 film Amour. We talk about why this film works even though it’s a film that’s incredibly hard to watch. We chat about Haneke and his filmmaking style, and how that pairs with Darius Khondji’s cinematography. We discuss the powerful performances at the heart of this film from Jean-Louis Trintignant and Emmanuelle Riva. We debate the nature of this type of story and what it takes to be nominated for Best Picture. And we look at the still camerawork throughout and return to one of our favorite websites, Cinemetrics, to look at average shot length.It’s not an easy film to watch but it is one that lingers. We have a great chat about it on this week’s show so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!Khondji Nights: Something Darius Khondji did so well when working with David Fincher he does here in spades — filming night scenes so dark that you can’t see anything happening on screen at all, to the point you think the projection is somehow broken.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 — visit TruStory FM.Watch this film: iTunes • Amazon • Netflix • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster 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

During pre-production on Flags of Our Fathers, Clint Eastwood was doing research and became curious about who it was on the Japanese side of the Battle of Iwo Jima who was leading their troops. This interest led him down a rabbit hole of curiosities that made him want to tell that story too. When he brought this up to producer Steven Spielberg, they decided that it was interesting enough to make a second film detailing that perspective. With that, Letters From Iwo Jima was born. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Eastwood’s 2006 film Letters From Iwo Jima. We talk about the interesting journey this film took in getting put together as a companion piece to the film Eastwood was originally making about the famous WWII battle. We discuss the reasons this film ended up in our series but was not eligible to be nominated for a Best Foreign Language Film Oscar. We look at the nature of Japanese society and the rituals depicted in this film, and chat about why this film connected with so many Japanese people on its release. We chat about Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, and Ryô Kase and look at what they each bring to the table. We also talk about the casting and the nature of acting, and why this was Phyllis Huffman’s last film with Eastwood as his casting director. We look at the incredible albeit muted cinematography of Tom Stern paired with the great production design by the legendary Henry Bumstead in his last film. And we touch on the music and the composers behind it.It’s another strong entry into our series and despite its sobering content, we have a fantastic 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • Netflix • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster 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

Ang Lee has made a career of always doing something different, so it likely came as no surprise to people after his Jane Austen adaptation, his 70s period family drama, and his western that he then moved straight into a Chinese wuxia film full of magical realism. Despite the wide variance between subjects, his passion for stories full of emotion and repression is reflected in them all in some capacity. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Lee’s 2000 film Crouching Tiger, Hidden Dragon. We talk about the nature of this film and how it became such a touchstone for not only celebrating Asian culture but also a shift in wirework and stunts in films. We look at the nature of emotion in Lee’s films and how that’s reflected throughout with various characters here. We discuss the challenge of making a film like this with a cast who didn’t all speak Mandarin, or did with heavy accents. We chat about the performers and how much Chow Yun-Fat, Michelle Yeoh, Zhang Ziyi and Chang Chen bring to their roles. We discuss the color green and its use here paired with Peter Pau’s cinematography and Yuen Woo-ping’s action choreography. We touch on Tan Dun’s amazing score, and we debate about the Oscars and how things played out.It’s a brilliant film that holds up just as well as it did on its initial release. We have a great time talking about it, so check it out then tune in to this week’s show! 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkCrouching Tiger, Hidden Dragon Book 4 by Wang DuluFlickchartLetterboxd 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

By 1998’s awards season, Miramax’s marketing machine was cranking away at its hardest, and some would argue hit a point that was offensive. In the 1999 Oscar ceremony, not only did their film Shakespeare in Love usurp the odds-on favorite of Saving Private Ryan for Best Picture as well as Gwyneth Paltrow’s Best Actress award over several other arguably stronger performances, but their film Life Is Beautiful won for Best Actor, Best Score, and Best Foreign Language Film, not to mention the fact that it was one of the very small club of foreign films earning a nomination for Best Picture. Roberto Benigni’s chair-jumping and over-the-top pronouncement of his love for everybody was fun to watch, but in the end, was Life Is Beautiful all that and a bag of chips? Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Benigni’s 1997 film Life Is Beautiful. We talk about the passage of time and how that’s affected our feelings about this film, even if it’s hard to argue that it’s the worst film ever made as some do. We debate Benigni as director, screenwriter, and actor and try to figure out just how much is too much, and why the film often feels more like a chance for him to showboat than a solid story. We talk about the nature of telling a comedic story during horrible circumstances like the Holocaust and what it takes to make it really work right. We also talk about the nature of fables and debate the nature of this being a fable when pushed through Benigni’s prism. We look at the cast and some of the scenes they’re in that work really well. We touch on the music and how beautiful it is. And we chat about the awards circuit for this film with lots of opinions about its nominations and wins. (Central Station absolutely should’ve been receiving the accolades.)It’s a divisive film that doesn’t hold up as well when revisiting 20+ years later, but it still makes for a delicious conversation. Check it out, make up your own mind, then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: Amazon • Netflix • Hulu • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster 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

Massimo Troisi had a driving passion to make The Postman, so much so that he put medical care off to get it made. This lead to his death immediately after principal photography, but his passion project was able to be seen by the world. But would it have the success story it has if it wasn’t for the Miramax marketing machine? Hard to say, but we don’t think so, despite it being an absolutely adorable film. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Michael Radford’s 1994 film The Postman (Il Postino). We talk about the nature of foreign language films being left out of the Best Picture race from the early 70s to the mid 90s and why that may have been. We also talk about the nature of the Best Picture award and what a film should have intrinsically to get that nomination, but how marketing efforts really led to shifts there. We discuss Troisi’s passion for this film and how it pushed him to get it made, regardless of his health. We look at the nature of a biographical story and why including Pablo Neruda in this film doesn’t make it biographical. We chat about the power of Neruda’s poetry and why it works so well in this film. We touch on Radford as a director and Luis Bacalov’s incredible score. And we look at other films that were left out of the Best Picture race.It’s a beautiful and heartwarming film. Maybe not Best Picture material, but certainly something that warmed both our hearts. We had a great time talking about it so check it out then tune in to this week’s show! 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: AmazonScript TranscriptOriginal theatrical trailerOriginal poster 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 can’t take it! Can’t anyone help me? I can’t take it! Help me!”Starting with an image dreamed of four women in white in a red room, Ingmar Bergman was able to build the story that became his film Cries and Whispers. The film would go on to become one of his most successful films, certainly the highest-grossing film of his released in the US. But Bergman said it’s very hard to say anything about this film, so clearly the film was enigmatic to him, and perhaps made intentionally that way as well, so does it make sense that so many people (including us now) have taken to analyzing his film? Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Bergman’s 1973 film Cries and Whispers. We talk about the struggle we both have with Bergman’s films, even acknowledging that his films are full of art and intention, and how that shapes our thoughts on the film. We look at the use of the color red throughout the film, how it can be interpreted, and why it may be analytically problematic to use is so pervasively. We also chat about Sven Nykvist’s challenges to capture so much red on film stock at the time. We discuss the performances of the actors here and look at how great they all are. And we look at some of the theories about the film and debate if we can pull much from them.It’s a tough film to watch but an impeccably constructed film. We have a great conversation about it on this week’s show, 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • [YouTube][youtube]Original theatrical trailerOriginal poster artworkFlickchartLetterboxdCries and Whispers Swedish stamp 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