The Next Reel Film Podcast

“Here we go. It’s a murder now. They’ll be calling it a plot if this drags on.”Being from Greece but raised in France, director Costa-Gavras still felt very much connected to his home country. When the democratic politician and leftist activist Grigoris Lambrakis was assassinated in 1963 by right-wing zealots, which pushed the country into mass riots and political unrest that led to a dictatorship, Costa-Gavras was inspired to tell the story cinematically. Based on a book that was a roman à clef, he chose to use the same deliberate way to craft his film, making it a very thinly veiled fiction about this real-world story. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Films Nominated for Best Picture series with Costa-Gavras’ 1969 film Z. We talk about the nature of this true story and how it’s fictional, but very deliberate in its telling of Lambrakis’ murder. We chat about the was that Costa-Gavras put the film together and how intense and alive it is right out of the gate – and how fitting it is for its time. We look at the shifts in the story and debate if it works going from the assassination to the investigation to the trial. We look at the cast and how well they do in their parts. We talk about the documentary-style approach to the film in camera work and editing. And we debate its run at the Oscars and if it deserved the awards it took home.We have a great time talking about this great film, 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 • Criterion ChannelScript TranscriptOriginal theatrical trailerOriginal poster artworkZ, 50th Anniversary Edition by Vassilis VassilikosFlickchartLetterboxd 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

Seeing a foreign language film get nominated for Best Picture may have seemed strange for those in the Academy back in the late 30s, but after seeing Jean Renoir’s film La Grande Illusion, it may have made more sense. The film was about World War I – the Great War (if there really can be such a thing) – but was made during the rise of fascism and the rumblings of World War II. Renoir preaches a humanistic take, which one might have said was too optimistic for its time, but it certainly was affecting and popular because of it. That popularity also led to its being banned in several countries because its viewpoint didn’t make sense at that moment in history – or seemed downright dangerous. Still, the film’s found its way into many people’s hearts and into the annals of cinema history as one of the greats. But a Best Picture nomination? How does that fit in with the Academy? Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at Foreign Language Films Nominated for Best Picture, starting with Renoir’s 1937 film Grand Illusion.We talk about the nature of a war film like this that doesn’t show battles or trenches but instead focuses on POW camps and social classes, and what that means for the film and expectations. We look at Renoir and his realist type of filmmaking. We chat about Jean Gabin, Erich von Stroheim, Pierre Fresnay, Dita Parlo, and more actors and look at what they bring to the table. We touch on the camerawork, production design, and music. And we break down the Best Picture race in 1938, debating whether this film makes sense in the lineup and if it should’ve won or not.It’s a classic film, but one that certainly takes some warming up to. We have a great time talking 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 • 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

"Give me a twister... make it two. Hold the flies.”Coming back just a few short years later, Ice Cube sets his third film in the Friday franchise at Christmastime. It’s a fun shift in the franchise, which also shifts locations yet again to a low-end strip mall where Craig and his cousin Day-Day work as security guards. But Cube is yet again tackling the script by himself and bringing on a first-time filmmaker to bring the film to life, this time through music video director Marcus Raboy. We had problems with those choices in his last film, Next Friday. Will we have the same ones this time? Join us – Pete Wright and Andy Nelson – as we wrap up our Friday franchise series with Raboy’s 2002 film Friday After Next. We talk about the improvements this film makes over its predecessor, even if they’re not huge, like the better fleshed out characters and the more interesting villain. To that end, we also talk about the abundance of villains in this film and how many of them just don’t work that well because they’re not developed, particularly the Santa Claus hoodlum. We look at what Mike Epps is bringing to the table as Day-Day here and why he works much better than he did in the last film. We chat about the position that films like this have in context of bigger discussions today – #metoo, jokes about rape and homosexuality, even “I can’t breathe” – and what that means for their longevity. It’s a film with problems, but better jokes than the previous film. It’s fair-to-middling, but still a fun end to the franchise for now. We have fun 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxd’Terry Crews explains why sexual assault survivors don't come forward’ — CNN 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’m about to show you who the real puff daddy is!”When Ice Cube started up his own production company, CubeVision, it made sense to jump back to the first film that he wrote, Friday, to make a sequel. After all, most sequels are guaranteed to earn back a part of what their predecessors made. But Chris Tucker had become a born-again Christian and didn’t want to be in this type of movie anymore and DJ Pooh, his co-writer, was off directing his own first movie. That didn’t stop Cube, who pushed forward anyway, taking his character Craig to the suburbs for new adventures and more marijuana. Join us – Pete Wright and Andy Nelson – as we continue our series looking at the Friday franchise with Steve Carr’s 2000 film Next Friday. We talk about what we loved so much about the first film and why this film feels like a disappointment following that one. We look at specific characters and story beats with the film that exemplify why this film is problematic and what Cube, Carr and Co. could have done differently to make this one shine. We talk about various beats and characters that work really well for us, again further laying out what Cube did well here versus what he didn’t. We chat about Carr’s background and how he came to land this film, as well as Tucker’s reasons for not joining on. And we look at actors in this film who did great stuff, even if the material is weak.It’s a disappointing sequel that has some of the laughs from the first but doesn’t have any of the heart, and for that, we’re forever disappointed. Still, it makes for a great conversation, 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 • 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

Ice Cube’s rap career was on fire because of the work he was doing with N.W.A., but after playing Doughboy in John Singleton’s 1991 film Boyz n the Hood, he got the acting bug and wanted to do more films. He talked to N.W.A.’s publicist Patricia Charbonnet, and the two of them came up with the idea of telling a story of life in the hood that wasn’t so dark like Singleton’s film or others like it. With that, Cube and his friend DJ Pooh set to work on the script and Charbonnet cut a deal with New Line Cinema. Cube wanted F. Gary Gray to direct it, who he knew from directing several videos for his group. This team put together what they thought was a small comedy, but it’s turned into an iconic film that’s endured the test of time. Join us – Pete Wright and Andy Nelson – as we kick off our new series looking at the Friday franchise with Gray’s 1995 film Friday. We talk about why the comedy in this film works so well and the impression it continues to make. We look at the nature of stoner films and how this fits in – and differs. We discuss the brilliant cast and what everyone’s bringing to the table, especially Chris Tucker and Cube himself. We chat about the tone that Gray, Cube, Pooh and team were looking to create with the film and discuss why these characters are so unforgettable. And we remember John Witherspoon, who brilliantly plays Craig’s father in the film, and has been burned in our brains.It’s a riot of a film and one we love to watch, so light up, 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 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

Toward the end of Grant’s acting career, he had stopped playing the romantic interest, concerned how his age reflected in the on-screen relationships, particularly with younger women. After this point, he only played a romantic interest one last time, and it was opposite Audrey Hepburn in Charade. Even then, he felt so uncomfortable with it that director Stanley Donen had the script changed to allow for it to be a conversation point between their characters and to have Hepburn’s character be the pursuer. And clearly it worked for them as well as for audiences then and now. Join us – Pete Wright and Andy Nelson – as we wrap up our Cary Grant series with Donen’s 1963 film Charade. We talk about why this film has such charm and works so well as ‘the best Hitchcock film Hitchcock never made.’ We look at the genres it mixes and answer the question – does it have too many twists and turns? We talk about Grant and Hepburn and what they bring to the table, as well as Walter Matthau, James Coburn, George Kennedy and Ned Glass. We chat about Henry Mancini’s fantastic score and magical song he wrote with Johnny Mercer. And we explore the world of philately, particularly as it centers on the three stamps featured in this film.It’s a glorious ride of a film that’s a thrill to watch over and over. We have a great time talking about it on the show 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • [Netflix][netflix] • [Hulu][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

"I’m an advertising man, not a red herring.”When it came time to cast the lead for his new film North by Northwest, Alfred Hitchcock found himself in a pickle. He had already discussed the film with James Stewart, the star of the film he just wrapped up – Vertigo – and Stewart wanted the role. Hitchcock had another actor he’d worked with in mind – Cary Grant. Too embarrassed to tell Stewart that, Hitchcock had to put off the filming of the movie until Stewart was locked in with his next film before he told him. That way, Stewart would be forced to turn it down due to his prior commitments and Hitchcock could go along and cast Grant, the actor he’d wanted from the start. Join us – Pete Wright and Andy Nelson – as we continue our Cary Grant series with Hitchcock’s 1959 film North by Northwest. We talk about why this film works so well and how it’s such a strong representative of the ‘wrongfully accused man on the run’ trope. We chat about the actors Hitchcock cast in the film with Grant – Eva Marie Saint, James Mason, Martin Landau, and more – and what they bring to the table. We look at how well constructed the film is, from the largely quiet crop duster scene to the climax hanging from the edges of Mt. Rushmore. And we chat about Robert Burks’ cinematography, Robert Boyle’s production design, and of course Bernard Herrmann’s score and how they contributed to the picture.It’s a top notch thrill ride and we have a great time talking about it on this week’s show. 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 • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxdHooked on Houses — North by Northwest 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

"That man’s an imposter, and if he came here to be buried in our cellar, he’s mistaken!”Cary Grant was cast and ready to play the lead in the film adaptation of The Man Who Came to Dinner, but people were so upset that Monty Wooley wouldn’t be continuing the part he had created that the studio ousted Grant for Wooley. That left a hole in Grant’s schedule. He knew Frank Capra was busy casting for his new film, an adaptation of the Broadway hit Arsenic and Old Lace, and he knew that Ronald Reagan and Jack Benny had both turned the lead role down, so he told Capra he was interested and available. Capra was thrilled, and they set to work. Join us – Pete Wright and Andy Nelson – as we kick off our Cary Grant series with his Capra 1944 comedy, Arsenic and Old Lace. We talk about Grant and why at times, his big, over-the-top performance may be a bit too much (it was even too much for the actor who hated his own performance here). We look at the rest of the cast, both those who came over from the stage show and those cast in Hollywood, and chat about what they bring to the film. We look at why Capra jumped into this film and why it took so long to make it to the big screen. And we chat about Sol Polito’s cinematography and Max Steiner’s music, and why they both work well in context of the film.It’s a fun and funny film that is a broad type of comedy that definitely works more for some than others. We have a great time talking about it on the show 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artwork’Arsenic and Old Lace’ — play by Joseph KesselringFlickchartLetterboxd 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

"Maybe you're a penguin, Tim, but Julie's not a penguin. She's a lioness. Don't try to mate a lioness with a penguin. Ever.”Aside from a few dips onto other genres, Jay Roach generally sticks with comedies, and seems to fare well when he's doing big, broad ones. Take the Austin Power films, or perhaps Meet the Fockers. With such a strong curriculum vitae in comedy films, having him direct a remake of Francis Veber's Le Dîner de Cons looks great on paper. But when it comes time to write, make, and release the movie, does it hold up as well? Join us – Pete Wright and Andy Nelson – as we wrap up our Francis Veber and His Remakes series with the remake of his 1998 film Le Dîner de Cons with Roach's 2010 film Dinner for Schmucks. We talk about the general vibe that this remake feels so American, and what that means to the farce in the translation. We look at the construction of the characters and why we preferred them in the original. We chat about comedy beats that worked really well for us and gave us a sense of the Roach we were wanting. We discuss the nature of Veber's films and why they seem so translatable. We talk about the actors, notably Paul Rudd and Steve Carell, but also Bruce Greenwood, Octavia Spencer, Stéphanie Szostak, Zach Galifianakis, Jemaine Clement, Lucy Punch, and more. We touch on Theodore Shapiro's always great comedy score. And we touch on the title and how it compares to the original.It's an interesting concept for a film that doesn't hold up to the original, but it still allows for a great conversation. 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

"I don't have an idiot yet! I'm panicked!”Francis Veber had written plays, TV shows, and films. He had also directed plenty of well by the time he decided to adapt his hit play "Le Dîner de Cons" for the big screen. Luckily, his brand of farcical humor worked brilliantly with the film version, and it became a huge hit in his home country of France. Join us – Pete Wright and Andy Nelson – as we continue our Francis Veber & His Remakes series with his 1998 film Le Dîner de Cons. We talk about why the farcical humor in this film works so well for us. We look at the brilliant performance of Jacques Villeret as Pignon and why he works so well in the role. We chat about the trick of translating this title to English and how some of the comedy itself doesn't really translate. We look at the other performances in the film and why they work so well We touch on the look and music and how well they serve the story. And we chat about the film's success and why it likely was a hard one to translate to English. We had a blast with this film and have a great time talking about it. Check it out then tune in to this week's episode! 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 (Fr) • AmazonOriginal 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