The Next Reel Film Podcast

"All the time travel in the world can’t make someone love you." If anyone has a handle on clever stories and quirky characters in romantic comedy dramas, it’s writer-director Richard Curtis. Whether it’s Four Weddings and a Funeral or Love, Actually or Notting Hill, he’s proven himself adept at writing (and sometimes directing) believable characters in charming situations falling in love with each other. Which is perhaps why his 2013 time travel film About Time is slightly frustrating. Yes, the rules absolutely work for a Curtis film, but when it comes to the time travel rules he sets up, he’s a lot more loose. But does it intrinsically ruin the film? Join us – Pete Wright and Andy Nelson – as we work to figure this out in our continuing time travel series with Curtis’ About Time. We talk about the nature of the rules Curtis establishes and complain at length about them, but make sure to also look at the film from the point of view of those who are likely more Curtis’ audience – perhaps they wouldn’t care as much. We go on and on about Domnhall Gleeson, Rachel McAdams and Bill Nighy, three people all born to inhabit roles like these brilliantly. We debate the nature of the film and look at if Curtis’ story shift from meet-cute rom-com to a much headier family drama works for the film or against it. We ponder Curtis and his insistence to use cliche movie montage tropes. And we talk about the unique restaurant concept of dining in the dark and wonder how effective it was for the film. It’s a cute film that’s got all the feels, even if it’s much sloppier than it needed to be. We have a great time talking about it and you’ll have a great time listening to it. The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel Watch this film: iTunes • Amazon • YouTube Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd 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

"Right now, there are three of me. You’re going to help me get rid of the other two." After receiving an Oscar nomination for his short film 7:35 de la mañana, Spanish director Nacho Vigalondo went to work using his moment of glory to get his first feature written and financed. As is so often the case, he finally got it released years later, but Timecrimes was critically acclaimed and became quite the sci-fi festival darling. Unfortunately, it wouldn’t get the push it needed for its theatrical release and it died a quiet death at the box office. Luckily, its quality has kept people talking about it and watching it. Join us – Pete Wright and Andy Nelson – as we kick off our Time Travel series with Vigalondo’s 2007 film Timecrimes. We talk about the twisty, turny nature of this story and work to piece it all together so that we can really figure out which version of Héctor is which and what he’s up to – and we think we figured it out! We revel in the glory of the time travel paradoxes created by the film as it relates to fate versus free will. We ponder the allegorical reading of the film as a take on adultery. And we look at the performers and how their acting works in context of the story being presented. It’s a glorious time travel movie that’s a thrill to watch and puzzle through, and a great way to kick off our series, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel Watch this film: iTunes • Amazon • YouTube Original poster artwork Flickchart Letterboxd 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

"Who gets a hold of this much land unless they took it off someone else?" Looking at the characters James Dean played in his three leading roles, it’s clear that he was excited to play complex characters that weren’t easy to define as simply ‘protagonist’ or ‘antagonist.’ In his final film, Giant, Dean plays a cowhand that could have easily become a love interest in the first half of the film before he takes a darker turn later on. After looking at his previous films, it seems absolutely like a role Dean would take. Join us – Pete Wright and Andy Nelson – as we wrap up our series on Dean’s three films with George Stevens’ 1956 epic Giant. We talk about the length of the film and the need for this to be an epic that also suffered from epic length – does it help or hinder? We chat about Dean’s brilliant performance paired with the other performers in the project, notably Elizabeth Taylor and Rock Hudson. We also ponder the name ‘Bick’ quite a bit, pondering its evolution. We dig into the scene where Dean serves Taylor some tea and pull out some interesting tidbits. We debate whether Around the World in 80 Days should have beaten this out of a Best Picture Oscar. And we revel in some of the elements in this film – racism, women’s rights – that feel fresh to see in a film from the 50s (and a sad reminder that we still have a ways to go). It’s not one of our favorites (certainly not Pete’s) but there is a lot of interesting stuff going on here and it makes for a great conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel Watch this film: iTunes • Amazon • YouTube Script Transcript Original theatrical trailer Original poster artwork Giant by Edna Ferber Flickchart Letterboxd 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 tearing me apart!" Possibly James Dean’s most iconic role, Rebel Without a Cause hit theaters in the fall of 1955 – less than a month after Dean’s tragic car crash that took his life – and immediately found its audience. The movie was a success, thanks in a large part to all of the teens that connected with the characters and the story, seeing more of themselves on-screen than they had before. Dean’s death made the film something to talk about, but the fact that the film had something to say too has made it a classic. Join us – Pete Wright and Andy Nelson – as we continue our James Dean series with Nicholas Ray’s 1955 film Rebel Without a Cause. We talk about how the film struck us and why, looking at how Ray sets his characters up in the opening sequence and allows them to develop their problems over the course of the film. We chat about the tragic trio of young actors helming this film – Dean, Natalie Wood and Sal Mineo – reflecting not just on the tragedy their characters work through in this film but also the horrible deaths they all suffered at young ages. We look at Ray as a director and how his passion for CinemaScope led to some brilliant images here, not to mention a huge following with European cinéastes who tagged him as one of the great auteurs. We continue our discussion about the CinemaScope images as we look at what cinematographer Ernest Haller brings to the table. And we look at how iconic this film has become and how it’s influenced the arts since its creation. It’s a fascinating film that we thoroughly enjoy and have a great time talking about. Yes, some of the story and performances may be a bit laughable by today’s standards, but when taken in context of the time and what Ray was trying to say, it’s all in context and works to make Ray’s point. So give it a try, then tune in! The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel Watch this film: iTunes • Amazon • YouTube Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd Rebel Without a Cause: Main Title/A Cappella by Petra Haden Petra Goes to the Movies — Spotify 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

"Someday, he’s gonna know who his real son is!" James Dean was the lead in only three films released in 1955 and 1956. He died tragically in a car crash on September 30th, 1955, only ever getting to see one of his three films finished. What he never got to see is how the performances he gave in those three films left an indelible impression on cinema, creating a voice for teenagers of the day and a cult icon for decades since. Join us – Pete Wright and Andy Nelson – as we look back at James Dean’s career, kicking it off with Elia Kazan’s 1955 film East of Eden. We talk about the adaptation from John Steinbeck’s novel, our thoughts on Steinbeck and this rather loose adaptation, and Kazan’s interpretation of it. We look at what Dean does here in the role of the bad son Cal opposite both Richard Davalos as his good brother Aron and his moralistic father Adam, played by Raymond Massey. We look at what the other performers bring to the table, notably Burl Ives, Julie Harris, Jo Van Fleet and Lois Smith, who is not only the last cast member still alive but also still working regularly. We marvel at the fantastic use of Cinemascope presented here as shot by Ted D. McCord. And we touch on why Kazan and Dean, both men who had problems with their own fathers, found such a connection to this story. It’s a film that has its problems but largely is one that we enjoy – and certainly enjoy talking about. So read Steinbeck’s novel, check this out and tune in! The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel  Watch this film: iTunes • Amazon • YouTube Script Transcript Original theatrical trailer Original poster artwork East of Eden by John Steinbeck Flickchart Letterboxd 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 think we just lost the family audience."The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer and inventor Nic Sadler joins us to talk about one of his favorite films, Bob Fosse’s 1979 film All That Jazz.We talk about the incredible honesty with which Fosse made this semi-autobiographical film and why it resonates so well with us. We discuss how challenging the film is and why that might be a good thing. We talk about the incredible editing by Alan Heim which the Motion Picture Editors Guild lists as the 4th best edited film, and why it sets a high bar. We of course chat about one of our favorites – Roy Scheider – and how he truly ruled the 70s. We dig into why cinematographer Giuseppe Rotunno shot scenes the way he did, notably the readthrough where Joe has his heart attack. And we talk to Sadler about his own cinematography, notably the recent film Coherence, and how the filmmakers accomplished so much with so little.It’s a brilliant (but challenging) film that celebrates filmmaking as much as it shows the negative side of success. We have a blast talking about it with Sadler so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.Film SundriesThank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreelWatch this film: AmazonScreenplayOriginal theatrical trailerFlickchartLetterboxd 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’s no such thing as a perfect person." After the box office failure of Sympathy for Mr. Vengeance and the box office success of Oldboy, Park Chan-Wook wanted to continue with the themes he’d been exploring of revenge but he wasn’t sure what angle to use. That’s when he struck on the idea of having a female protagonist. That, paired with the concept of justified vengeance, gave Park the idea he needed and Lady Vengeance was born. Join us – Pete Wright and Andy Nelson – as we wrap up our series on Park Chan-Wook’s unofficial vengeance trilogy with his 2005 film Lady Vengeance. We talk about our feelings for the film and dig into why one of us really enjoyed the film and the other didn’t. (Hint: it largely centers around videos shown near the climax of the film.) We talk about Park and his cinematic style, looking at the successful elements that give so much life to his films, and the ones that are less successful, like his somewhat chaotic storytelling. We chat about the brilliant performance by Lee Yeong-Ae in the lead role and how she brings so much power to her performance. We touch on the cinematography by Chung Chung-hoon and why there is something really special with how Park works with his camera team. And we debate the concept of the ‘fade to black and white’ version that exists and ponder if we’ll ever get a chance to see it. It’s a very divisive film that won’t be for everyone, but it made for a stimulating conversation. Check it out… if you think you’re up for it, then tune in! The Next Reel. When the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel Watch this film: Amazon Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd 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 a sort of scholar, and my field of study is you." After the box office failure of his previous film, Park Chan-Wook worked hard with his next script to make something that would really draw people in. He cast two of South Korea’s biggest stars to play the leads and based it on a successful manga comic, weaving a dark mystery together that was very operatic. And it worked! His 2003 film Oldboy was a huge box office success and garnered incredible praise for everyone involved. It also helped establish Park as a filmmaker of note. Join us — Pete Wright and Andy Nelson — as we continue our series on Park Chan-Wook’s Vengeance Trilogy with his film Oldboy. We look at the nature of revenge taken in this film and how the truths of the characters contrast each other. We talk about the brilliant camerawork all through, notably the single-take hallway fight. We look at what Choi Min-Sik and Yu Ji-tae bring to the table as our protagonist and antagonist, and how there are definite comparisons to Oedipus and the Greek gods. We discuss the end of the film and how Park left it deliberately ambiguous. And we touch on the eating of live octopuses and why it can be deadly. As crazy as this world is, it’s a film that is fully invested in making it real. We had a great time watching it and have an even better time talking about it. Check it out then tune in! The Next Reel — when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel Watch this film: Amazon • Netflix • Vudu Script Transcript Original theatrical trailer Original poster artwork Art of the Title Flickchart Letterboxd Old Boy manga 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 not just any ordinary person." Park Chan-Wook never set out to make a trilogy. His ‘vengeance trilogy,’ in fact, only was later dubbed that by international critics who felt the three films were connected through themes of revenge, violence, and salvation. Luckily, he was able to make the second and third films in this ‘trilogy’ because this first one didn’t connect with audiences and it lost money. Join us — Pete Wright and Andy Nelson — as we kick off a new series looking at Park Chan-Wook’s Vengeance Trilogy with his 2002 film Sympathy for Mr. Vengeance.  We talk about the unique tone of the film, balancing absurdist humor with the dark themes of sacrifice, loss and revenge, and why that is possibly why audiences couldn’t connect with the film. We also look at the way that Park constructs films, and how his challenging storytelling style may also have kept audiences away. We chat about the editing, cinematography and script, looking at how they all come together to push the story forward in unexpected ways while allowing Park incredibly creative ways to show off his understanding of the language of cinema. We look at the interesting — and challenging — way the sound was designed and why it works in context of the film. And we look at some of the performances and why they work so well here.  It’s a challenging film for sure, but one that we liked quite a bit. We have a great time talking about it here so check it out then tune in! The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel Watch this film: Amazon • Vudu Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd 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

"Everybody isn’t thieves and murderers." It seems that after finding such success making films about real world situations in _The Hurt Locker_and Zero Dark Thirty, director Kathryn Bigelow and screenwriter Mark Boal wanted to keep going in that direction with their next project. They learned about the riots in Detroit in 1967 and, after doing many interviews, settled on a particular incident that took place at the Algiers Hotel. This ended up becoming the film Detroit, which was released almost to the day of the 50th anniversary of the incident. Join us – Pete Wright and Andy Nelson – as we close up this round of our Kathryn Bigelow series with her film from last year, Detroit. We talk about how the film worked for us – Pete loved it, Andy really struggled with it – and debated about why that is. We look at the fantastic actors who carry this film – Algee Smith, Jacob Latimore, Jason Mitchell, John Boyega, Will Poulter, Hannah Murray and more – and discuss what they all bring to the table. We contemplate how the story was structured and debate if there might have been a different way to approach the story that could have made it more effective. And we touch on the cinematography by Barry Ackroyd and how the documentary handheld approach works really well with this story they’re telling. There is plenty of debate as to whether this is a great film or a well-intentioned mess, but either way, it allows for a fantastic conversation. Check out the movie – it’s an important moment in American history even if you don’t end up liking the film – then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel Watch this film: iTunes • Amazon • Hulu • YouTube Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd 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