The Next Reel Film Podcast

After director Ron Howard dropped out from "Inside Man" to instead re-team with Russell Crowe on "Cinderella Man," producer Brian Grazer ended up turning to an unlikely director to make this fun heist film — Spike Lee. Give his largest budget and a script that's more of a genre film than anything else Lee's done before, he managed to create a wild heist film with a great twist ending. Join us — Pete Wright and Andy Nelson — as we continue our Heist series this week with Lee's 2006 film "Inside Man." We talk about what works in this film and what doesn't work and how this film fits within Lee's body of work. We chat about the pacing of the film and how some elements that are problems for Andy aren't for Pete, but how Pete's problem areas aren't problems for Andy. We chat about several key members of the crew and what they're bringing to the table. And we chat about the perpetual problem Lee seems to have with female characters in his films. We still enjoy the film even with its issues, and we have a great time talking about it this week. Tune in! 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

Ben Affleck made a smart move when he decided to start directing films. He had made some bad career moves as an actor and was fizzling out. With his 2007 directorial debut "Gone Baby Gone," he proved he had chops — and that they weren't in acting. He's a great director. With "The Town," his 2010 heist film, he again shows he knows how to write and direct a great film, and can still act as long as he's in the right material. Join us — Pete Wright and Andy Nelson — as we continue our Heist Series with Affleck's great bank robber film. We talk about the amazing talent all through the film — Affleck, Jeremy Renner, Rebecca Hall, Blake Lively, Jon Hamm, Chris Cooper, Pete Postlethwaite, and more — and how they bring this world of robbers to gritty life. We chat about the changes the film went through from the original theatrical cut to the extended cut to the extended cut with alternate ending and how the alterations affected the story. We chat about the nature of the script, adapted from Chuck Hogan's novel "Prince of Thieves," and why it works so effectively even if it is formulaic. And we run through the wide array of reviews — from hating it to loving it — and deliberate on why we think the opinions vary so much with this film. It's a great and fun entry into our Heist Series and one well worth talking about. Listen in! 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 something interesting about heist films because, generally, you're rooting for criminals to pull off a heist and criminals usually aren't who you'd expect to be your protagonist. But watching Roger Donaldson's 2008 heist film The Bank Job, based on the real Baker Street Robbery in London 1971, you can't help but root for Terry Leather and his imperfect gang as they not only rob the bank and pull off one of the biggest scores in London's history, but actually get away with it too. Maybe that's because the people after them are all much worse, and maybe that's because you can't help but side with Terry played wonderfully by Jason Statham. Join us — Pete Wright and Andy Nelson — as we start our Heist series with this great movie. We discuss the story and how it fits within the true story — and what truth means in a film based on a true story anyway. We chat about the great cast and the complex script and how it all ties together perfectly. We touch on Donaldson and his career, looking at him as an effective filmmaker. And we discuss the look of the film — the cinematography, the costume design, and the production design — and how it plays an important role in bringing the swinging world of 1971 London to life. It's a fun if raunchy film to start off our series. Tune in! 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

Woody Allen has made some great films and he's made some stinkers, but he is a man who consistently cranks films out year after year. In 2006, his film "Scoop" happened to have a stage magician in it and, because of that, we felt it was important to include in our series about films made about stage magic in 2006. But paired with the other two films in this series — "The Prestige" and "The Illusionist," this film falls flat. But that doesn't mean we don't have a great time talking about it. Join us — Pete Wright and Andy Nelson — as we wrap up our magic series with one of Allen's worst films, "Scoop." We talk about the magic, the murder mystery and the comedy in this film and how none of them particularly stand out. We discuss the actors — Scarlett Johansson, Hugh Jackman, Ian McShane and Woody Allen in particular — and what, if anything, they bring to their roles. And we chat about what works in Allen's films and why this film feels so slight and forgettable. It's not one of our favorites, but we still have a great conversation about it. Tune in! 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

2006 was quite the year for movies about stage magicians, and as our series continues, we've decided to focus solely on the 3 films dealing with prestidigitation that came out that year. Neil Burger's The Illusionist came out a few months before Christopher Nolan's The Prestige, but it dealt with an entirely different story. True, they both take place in the world of magicians, but while Nolan's film dealt with a strong professional rivalry, Burger's dealt with an unrequited love and the fight the two lovers struggle through to be together. Join us — Pete Wright and Andy Nelson — as we talk about The Illusionist and the magical year of 2006. We chat about the performances in the film — Edward Norton, Paul Giamatti, Rufus Sewell, and Jessica Biel primarily — and how they work for us. We chat about the nature of the ending of the film and how the nature of the end works — or doesn't. We discuss the actual magic tricks performed in the film, all based on actual tricks of the period, and how the CG embellishments actually may detract from the power of the story. And we talk about the cinematography and score and the strengths and weaknesses in them. We have a great time revisiting this film. Tune in! 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 after the amazing success of Batman Begins and right before the brilliance of The Dark Knight, Christopher Nolan switched gears completely and made a fascinating period piece about two rival magicians duking it out to be the best. The Prestige wasn't the most popular film of his but certainly garnered its share of positive acclaim and audience draw. Join us — Pete Wright and Andy Nelson — as we begin the next series on The Next Reel: this time, a series about films that deal with magicians. We start with what we feel is an absolutely amazing film — The Prestige. We talk about the nature of magic tricks as defined within the film — having the pledge, the turn and the prestige — and how the film itself is structured as if it's a magic trick. We discuss the fascinating characters portrayed by Hugh Jackman and Christian Bale and the nature of what their characters need to do in order to become the best. We chat about the nature of a film structured in a nonlinear style like this one is, how that ties into the original source novel by Christopher Priest, the nature of the unreliable narrator, and why it all works so well in a film about magicians. And we contemplate the nature of rivalry and how the film not only emphasizes that aspect of competition in everything done by the two principal characters but also by the real-life scientific duelists Thomas Edison and Nicola Tesla. The Prestige is a fascinating film that is meticulously structured in a deliberate way so as to create its own magic trick and get the audience every time. We find it extremely effective and have a great time watching it as well as talking about it this week. Check it out! 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

After writing his teleplay for "Marty," it wasn't long before Hollywood asked Paddy Chayefsky to adapt his script for a feature film. And it's a good thing he did too — he won his first Oscar for his screenplay. Join us — Pete Wright and Andy Nelson — as we finish our Paddy Chayefsky series with Delbert Mann's 1955 film "Marty." We talk about our feelings for the film and how, while the story of a man with image issues who finally finds love is touching, it still feels very slight. We discuss the actor who plays Marty — the wonderful Ernest "the beef" Borgnine — how he's made his mark indelibly in our heads, and whether this role felt like the right one for him or not. We chat about the other actors nominated for supporting roles — Betsy Blair and Joe Mantell — and how their roles fit within the context of this story about Marty (and whether they deserved Oscar nominations for their performances). And we discuss Chayefsky's interesting writing, not just here but in all 3 films, and look at what themes he's repeating and why. It's a good film that won Best Picture in 1955 and, while perhaps not as relevant today, is still an interesting film to catch up with. We have a great time talking about it, so tune in! 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

For his original script "The Hospital," Paddy Chayefsky won his second Oscar and created an enemy for himself — the US's medical institution which he was satirizing. But his script, while genius in many ways, veers off course into several strange directions that take the sting out of the satire. And that's, perhaps, why the film isn't talked about much these days. But it's still worth watching and talking about! Join us — Pete Wright and Andy Nelson — as we happily talk about this wild Chayefsky ride and continue our series on this great American writer. We talk about the brilliance of Chayefsky's satire in the script and how it works so well, and contrast that with several elements that don't seem to fit the film completely and make for a less satisfying experience. We discuss the great performances of George C. Scott, Diana Rigg, Barnard Hughes, Richard Dysart and others, and how those wonderful Chayefsky monologues really give these great actors something to chew on. And we talk about the reason Chayefsky wrote this film and how the reaction to this film may have been a partial cause of his death. It's a fascinating film to watch that has moments of brilliance paired with moments of absurdity, resulting in a film that's great to look back at and study, if not one to watch on a regular basis. We certainly have a great time discussing this film. Tune in! 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 easy for us on this show to talk at great length about Sidney Lumet's 1976 film "Network" as it's one of our all-time favorites. Both a scathing indictment of the TV industry and a reality check for people's feelings about the times in which they were living, this film made an indelible mark on the world of film and created one of the most iconic movie lines ever. Join us — Pete Wright and Andy Nelson — as we not only finish our series of films from 1976 but also begin a short but deliciously sweet series of films written by the amazing Paddy Chayefsky. We talk about the prescience with which Chayefsky seemed to have about the modern state of television and our media-infused culture when he wrote this film in the mid-70s, and what he's really saying with the film. We discuss the brilliant directing by Lumet and how he and his director of photography, Owen Roizman, chose to corrupt the look of the film as it progresses, taking us from a relatively normal world to one that is much more menacing. We go through the amazing cast — Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Ned Beatty, Beatrice Straight, and more — and talk about how pretty much every one of them is given their time to shine in this amazing script. And we look back on 1976's Oscars and pick our own winners if we were the only two people voting. We have a great time talking about this amazing film. If you haven't seen it, go watch it IMMEDIATELY, then come back and tune in! 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

For Clint Eastwood's fifth directorial effort, he returned to one of the genres he's most well-known for — the western — and created an absolute classic, The Outlaw Josey Wales. A western affected both by the revisionist movement within the genre that had been growing for nearly a decade as well as by the overall darker, more realistic tones exhibited in 70s cinema, this film took a lot of old elements from classic westerns and turned them on their heads: the Union soldiers are the bad guys, the outlaw is the hero, the Native Americans are not just real characters but actually integral to the story, and the final shootout takes an unexpected — and ultimately very gratifying — turn. Join us — Pete Wright and Andy Nelson — as we talk about one of our favorite westerns and continue our series of films from 1976. We discuss classic western elements and look at how they shift within this sub-genre, the revisionist western, as well as discuss what this sub-genre is really all about. We talk about the wonderful collection of actors, both leads as well as unforgettable supporting roles filled by amazing character actors, and how they all lend a sense of reality to the film (even if their scruffiness can make them hard to distinguish from one another). We chat about the troubles with the making of this film and why Philip Kaufman was fired as director after a week of production. And we discuss Forrest Carter, the author of the original novel "Gone to Texas" on which the film was based, his history as a KKK leader and segregationist supporter, and how that affects our views on the film. It's a glorious western that is an interesting precursor to Eastwood's 1992 masterpiece Unforgiven, and we have a great time discussing it. Listen in! 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