The Next Reel Film Podcast

"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

"I’m watching the sky, sir, and it’s doing some amazing things!"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, one of the many Andy Nelsons in the film world — specifically Andy Nelson the re-recording mixer — joins us to talk about one of his favorite films, Bill Forsyth’s 1983 film Local Hero.We talk about why the film resonates to this day and why the film is such a wonderful celebration of the little things, the details that make life so memorable. We chat about the cast and what they bring to the table, notably Peter Riegert and Burt Lancaster. We ponder the webbed feet of Jenny Seagrove and are presented with a new thought – what if it’s only how the character of Oldsen sees them? We look at the final moments of the film and why it breaks our hearts so much. We talk about Mark Knopfler’s wonderful score and why it hits so well for us. We debate the title and ponder who specifically is the eponymous character. And, of course, we chat with Nelson about his career and what specifically a re-recording mixer does.It’s a magical little film that warms our hearts and provides for a wonderful conversation. 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/thenextreelAndy Nelson on IMDBWatch this film: iTunes • 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

"It’s a state of mind." Kathryn Bigelow already showed everyone that she could handle action in her films with projects like Near Dark and Blue Steel when she and her husband-at-the-time James Cameron took on the task of doing rewrites to her new project Johnny Utah. With Patrick Swayze and Keanu Reeves coming on board to play the two leads, she was ready to prove herself yet again. And while she didn’t walk away with a film as successful as Cameron’s T2, she did end up with one of her highest grossing films and a cult classic that defined action films and surfing for years to come. Join us – Pete Wright and Andy Nelson – as we continue our Kathryn Bigelow series with her 1991 film Point Break. We talk about how well this film holds up despite the years of mocking we gave it. We chat about Bigelow and how well she handles bank robbery action while balancing it brilliantly with the zen attitudes of the surfers. We look at what Reeves and Swayze bring to the table, as well as Lori Petty and national treasure Gary Busey. We compare the film with the 2015 remake, which largely doesn’t work as well as Bigelow’s film (even if it still is fun to watch). We discuss the foot chase sequence that involves a dog being thrown as well as the iconic moment of Reeves shooting his gun into the air and screaming “Arrrrhhh!”, and why the scene holds so much weight in this film and in action films to come. We touch on Swayze and his real skydiving moment that gives an authenticity to the film. And we revel in the delight of knowing about the cult play in which the Utah role is cast from the audience and asked to read their role from cue cards. Point Break is a really fun film that is of its time without feeling dated. We have a great time talking about it and revel in the joy that it’s much better than we remembered. 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 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

"Normal folks, they don’t spit out bullets when you shoot ‘em, no sir!" When trying to figure out a way to stand out for her first solo directorial project, Kathryn Bigelow and her co-writer Eric Red decided to add elements of the vampire genre to the western they were developing. And thus, Near Dark was born. Unfortunately, her film came out a few months after the big vampire film of the year, The Lost Boys, and hers was lost in the shuffle. Despite that, her film still left enough of a mark that enabled her to get her career off the ground. Join us – Pete Wright and Andy Nelson – as we kick off the second part of our Kathryn Bigelow series with her 1987 film Near Dark. We talk about our expectations of a film marketed as a vampire western, and how well the movie actually meets them. We look at the trio of actors ported over from James Cameron’s Aliens — Bill Paxton, Lance Henriksen, and Jenette Goldstein — and discuss how well they do here paired with the other actors. We debate the strengths of the film and the weaknesses, finding plenty of both, and argue about which outweigh the other. We chat about the vampire tropes introduced here and ponder if this film does anything new with the genre that we hadn’t seen before. We discuss how Bigelow handles the camera, the lighting, the action and more throughout the film, seeing a clear line to some of her later films. And we ponder the penchant Hollywood writers seem to have with the way romance works so quickly in movies (it’s shorthand, we get it, but seriously? Sometimes, it’s too much.) It’s a film that has problems that certainly weigh Pete’s opinion of it down while Andy still finds it enjoyable despite its issues. Coming at the film from these two positions allows for a fantastic conversation, so check the movie 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 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

"Hello, gorgeous." Watching Funny Girl now, you would never guess that it was Barbra Streisand’s film debut. Sure, she originated the role on Broadway four years earlier, but performing on stage can be quite different than on film. Luckily, with William Wyler helming the project, she was in the right hands and delivered an iconic performance in a film that was a box office smash at the time. Join us – Pete Wright and Andy Nelson – as we conclude our Musicals From the 60s series with Wyler’s 1968 film Funny Girl. We talk about Streisand and why she works so well in this film paired with Omar Sharif. We discuss the story and why it’s not nearly as memorable as the songs throughout, and we debate if a story more in line with the real relationship between Fanny Brice and Nick Arnstein would have worked better. We look at Wyler and what he’s bringing to the table, particularly with his cinematographer Harry Stradling Sr. We look at the production design and how it feels a bit uneven, fluctuating between very stagey sets and obvious location work. And we marvel at an amazing helicopter shot that stands out in a film with several cinematographic moments that are true highlights. It’s a film that may be better remembered today for its music and for Streisand’s performance than for the story itself, but it’s still a very enjoyable watch. Check it out 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 • YouTube Script Transcript Original theatrical trailer Original poster artwork Original Material 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

"Men say it’s criminal what women’ll do. What they’re forgetting is this is 1922." By 1967, Julie Andrews was at the top of her game. Since Mary Poppins came out, she’d been in hit after hit, from The Sound of Music to Torn Curtain, so it was surely a thrill for her to jump into another musical – Thoroughly Modern Millie – with George Roy Hill, who had just directed her in Hawaii. Join us – Pete Wright and Andy Nelson – as we continue our Musicals From the 60s series with Hill’s 1967 film Thoroughly Modern Millie. We talk about why the film works well for us, even though there are elements within that we struggle with. We compare it to the last film we discussed – The Young Girls of Rochefort – which had some similar elements, but which didn’t work nearly as well for us. We look at how well the cast works here, from Andrews to James Fox, from Mary Tyler Moore to Carol Channing, from John Gavin to Pat Morita. We look at what Hill brings to the table with the direction, and how well he works with cinematographer Russell Metty and editor Stuart Gilmore. We chat about the music – both songs from the past and original songs – as well as the original and adapted scores (and try to figure out who actually did what). And we ponder if the racial stereotypes here are better or worse than those in Gone With the Wind. It’s a riotously fun film that certainly has issues but is worth checking out. We have a great time talking about it on the show this week. Give it a watch 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 Original theatrical trailer Original poster artwork Thoroughly Modern Millie — Original Broadway Cast Recording Flickchart Letterboxd Chrysanthemum the play 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

"Paris is small for a great passion like yours." Jacques Demy already had great success with his 1964 musical The Umbrellas of Cherbourg when he stepped up to direct The Young Girls of Rochefort. Continuing his same colorful style, Rochefort explodes with pastels and a supersaturated palette, not exactly lining up with the styles preferred by Demy’s French New Wave pals. That being said, he still found ways to subvert the genre so well established by Hollywood. Join us – Pete Wright and Andy Nelson – as we continue our Musicals From the 60s series with Demy’s 1967 film The Young Girls of Rochefort. We talk about the story and why it doesn’t work that well for us, even though the elements of subversion give us a bit more appreciation for what Demy was trying to do here. We chat about the great cast helmed by Catherine Deneuve and Françoise Dorléac and how well they do. We specifically discuss the three Americans who somehow found their way into this film – Gene Kelly, George Chakiris and Grover Dale. We look at Demy’s use of color and revel in the way he paints on screen with it. We ponder over the mysterious murder and debate as to why it’s in the film. And we revel in the glorious use of long takes all throughout the film and how the camerawork seems to be as choreographed as the dancing itself. It’s a film with plenty of charm and dancing and singing and dancing and more and more and more. We struggled a bit with the film but it provided us with an interesting 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 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 feel what’s to happen all happened before." Anyone who watched 2013’s Saving Mr. Banks knows what a difficult time Walt Disney had getting the rights to P.L. Travers’ “Mary Poppins” novels so he could make the cinematic adaptation. It’s quite a story, but what you don’t get from watching that film is the incredible experience of watching Mary Poppins itself. Sure, at a cursory glance, it’s a very episodic film with seemingly disconnected sequences of the titular character as she nannies the Banks children, Jane and Michael. But digging deeper, there’s quite a bit more there. What it seemed ol’ Uncle Walt did was make a film that had something to say to just about everybody. Join us – Pete Wright and Andy Nelson – as we kick off our Musicals From the 60s series with Robert Stevenson’s 1964 hit Mary Poppins. We talk about the magic of this film and how our interpretations have evolved as we’ve grown up with it. We look at the casting which is practically perfect in every way, starting right at the top with Julie Andrews and Dick Van Dyke and going all the way down to Elsa Lanchester as Katie Nana (and beyond). We touch on the fabulous effects scattered all through the film, how Disney was always pushing the envelope with cinematic tricks and how his goal was to fool people constantly where just when they think they figure out how they did it, he does something else to mislead. We chat about the many incredible songs and why they work so well, as well as touching on some of our favorites. Specifically, we look at “Supercalifragilisticexpialodocious” in our Deep Scene Dive and why this silly song about a nonsense word has lasting impact through to the climax. And we ponder the possibilities of an Aliens/_Mary Poppins_ mashup as we struggle to add the movie to our Flickchart. We have an absolutely delightful time with this film. It’s one for all ages (except for some grumpy Amazon reviewers). Definitely check it out, then tune in! The Next Reel – when the movie ends, our conversation begins! Film Sundries We hope you'll consider supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel — Thank you! Watch this film: iTunes • Amazon • Google Play • YouTube Script Transcript Original theatrical trailer Original poster artwork Original Material Flickchart Letterboxd Take a tour of the Mary Poppins Disneyland Ride that Never Was 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

"Do you know what I hate about the Americans? Everything. Especially cowboys." With the surprise success of the fourth entry into the “Die Hard” franchise, it was inevitable that the studio would push for yet another film. It took six years, but eventually, they got it made. The script that was developed for the fifth film was the first one developed from an original idea in the franchise and was written by the scribe behind the theatrical adaptation of The A-Team. The director was brought on after making the adaptation of the video game Max Payne. It seems an odd pairing, but clearly, the producers felt they saw something on this team that they felt would bring something new to this franchise. Join us – Pete Wright and Andy Nelson – as we conclude our Die Hard series with John Moore’s 2013 film A Good Day to Die Hard. We talk about Moore’s history, as well as that of writer Skip Woods, and try to figure out why they were the team brought on to make this film. We look at all of the elements that don’t work for us in this film but largely struggle most with the fact that they make McClane really unlikeable. We chat about Jai Courtney and why we really like him as McClane’s son, even if he wasn’t given a good script to really make his mark with. We also talk about Sebastian Koch, Mary Elizabeth Winstead, Yuliya Snigir, Rasha Bukvic and more as we look at what they bring to the table. We rank our favorite Yippee Ki-Yays and our franchise villains. And we dig into what works and what doesn’t in big action sequences like the car chase. It’s a mess of a film that ruins so much of what’s great in the franchise, even while the filmmakers clearly still throw in references and callbacks as often as they can. We may not have liked it, but we have a great time talking about it. Check it out if you must, but tune in regardless! 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 • Netflix Script Transcript Original teaser trailer 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

"You’re a Timex watch in a digital age." Making a sequel is always a challenge, but making the fourth film in a franchise after a twelve-year hiatus seems like a recipe for disaster. Luckily, the team behind Live Free or Die Hard found a director who was a huge fan of the franchise and worked hard with his team to not just make a great film but to really make a sequel to the original film that was better than the others. Some people disagree but the box office shows that Len Wiseman’s take on the franchise was quite the success. Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with Wiseman’s 2007 film Live Free or Die Hard. We talk about why we enjoy this film so much and why we think some people had real issues with Wiseman’s direction (even if we didn’t). We chat about how well Bruce Willis works as John McClane in this installment and why his turn as the older, non-tech savvy cop struggling with how his life has shaped up works so well for the film. We touch on the other actors in the film – Justin Long, Timothy Olyphant, Cliff Curtis, Mary Elizabeth Olmstead and more – and talk about what they bring to the table. We revel in the amount of practical effects and stuntwork this team puts forth, really wowing us with the lengths they would go to so they could make the film that much cooler. We look at the semi-vs-F35 sequence and ponder the absurdities of the action in context of the franchise. We look at the brilliant parkour stunts done by Cyril Raffaelli and dig a bit into the history of it. And we look at the variety of “Yippie-ki-yays” in the series and rank ‘em. It’s a fun film with a lot going for it, and certainly stands out as the best film since the first one. 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.   Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel Watch this film: iTunes • Amazon • Netflix • YouTube Script Transcript Original theatrical trailer Original poster artwork “A Farewell to Arms” by John Carlin (WIRED Magazine, May 1, 1997 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