The Next Reel Film Podcast

“Congratulations, Morgan. There’s another town you’ve destroyed.”After the success of Die Hard 2 and Cliffhanger, director Renny Harlin wanted to establish his wife Geena Davis as an action star. He sought out a swashbuckling pirate adventure script for her to lead. Screenwriters Michael Frost Beckner and James Gorman had written an initial draft, but extensive rewrites resulted in multiple additional credited writers. With Geena Davis attached to the lead role of pirate captain Morgan Adams, finding the right co-lead proved challenging. Michael Douglas was originally set to play opposite Davis but dropped out due to issues over equal screen time. Numerous major stars were offered the role including Tom Cruise, Keanu Reeves, Russell Crowe, Liam Neeson and Daniel Day-Lewis before Harlin settled on Matthew Modine. With the stars finally set, cameras rolled on location in Malta and Thailand. But behind the scenes, the production was plagued with problems that led to massive cost overruns. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Harlin’s 1995 film CutThroat Island.Here's a hint at what we talk about:We discuss the issues with the constantly evolving script and poor dialogue, along with miscasting of the leads and lack of chemistry between Davis and Modine. We also get into the impressive practical effects and action set pieces, despite flaws elsewhere. And we talk about the legendary reputation of this box office bomb that sunk Carolco Pictures.Here are a few other points in our discussion:Renny Harlin's strengths and weaknesses as a directorThe great production design and cinematographyHow the film hasn't aged particularly wellOur armchair casting for who could have been better in the lead rolesIn the end, we found CutThroat Island to be a mixed bag with plenty of problems holding it back yet still quite entertaining and delivering a romping pirate adventure. It makes for an interesting case study in a big budget production gone awry. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“Are you serving that ape a martini?”In the early 1990s, following the massive success of Jurassic Park, studios were eager to adapt more of Michael Crichton’s popular novels to film. Congo had been published back in 1980 but no one had figured out how to bring the complicated story to the big screen. After the rights bounced around for years, Paramount finally secured them in 1994 and began fast-tracking production. Director Frank Marshall was fresh off hits like Alive and Arachnophobia when he signed on, along with an all-star cast including Laura Linney, Dylan Walsh, Ernie Hudson, and Tim Curry. But the difficult shoot on location in Africa plagued the production. Despite high hopes, the film flopped critically when it was released in 1995, earning Marshall a Razzie nomination for Worst Director. Join us – Pete Wright and Andy Nelson – as we kick off the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Marshall’s 1995 film Congo.Here's a hint at what we talk about.In this lively discussion, we dig into the pre-production and challenges behind adapting Michael Crichton’s 1980 novel to the big screen in 1995. We discuss the all-star cast and debate whether the directing, acting, or weak script led to poor character development and lack of chemistry. We also analyze the cultural portrayal and exploitation of Africa in cinema at the time.Here are a few other points in our discussion:Weak CGI and special effects that don’t hold up todayThe silly conceit of the genetically engineered “bad gorillas”Confusion over who the true protagonist isEnjoyable moments from Ernie Hudson and Tim CurryThough we have some fun unpacking this Razzie-nominated film, we ultimately agree Congo fails to come together as an entertaining adventure. The story loses Crichton’s scientific edge and thought-provoking commentary on technology in the adaptation. We still have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerOriginal MaterialLetterboxdNASA Streams Cat Video from Deep Space Using Laser Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“Life isn't like in the movies. Life... is much harder.”Talking About Cinema Paradiso with our guest, Special Effects Supervisor Chris ReynoldsIn this magical episode, we chat with veteran special effects artist and supervisor Chris Reynolds about his storied career bringing movies to life through innovative engineering and technology. Our focus is the classic Cinema Paradiso, a nostalgic ode to the glory days of cinema that inspired Chris from an early age.Chris has built an impressive 40-year career in special effects, rising from technician to supervisor. He regales us with tales of his early days at the BBC, where he cut his teeth on classics like Blackadder. From blowing up haggis to sculpting giant lips, Chris learned to create imaginative practical effects on the fly across every genre. His passion for storytelling shines through as he discusses favorite projects, including some he worked on like Philip K. Dick’s Electric Dreams, and others he didn't, like Battle of Britain.Turning to Cinema Paradiso, we unpack the magic of this film that celebrates the power of cinema to transport us. We all agree the performances are fantastic, especially Salvatore Cascio as the young Toto. And Ennio Morricone’s iconic score ties it all together. The ending montage of kisses cut by the priest is pure movie magic. Chris gives the inside scoop on the fire sequence, rating its mixed effectiveness from a special effects supervisor's perspective. He also shares which version he prefers between the Director’s Cut and the international release.Overall, Cinema Paradiso captures a sense of childlike wonder and nostalgia for the romanticism of old Hollywood. Chris gives us an insider’s view into the art and craft of moviemaking. For any cinema lover, this is a must-listen episode.Film SundriesVisit Chris’ WebsiteWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“Dead or alive, you are coming with me.”In 1987, screenwriters Edward Neumeier and Michael Miner developed an original story idea while working on the set of Blade Runner. They envisioned a dystopian future where privatized police forces maintained law and order. After pitching the concept to studios, Orion Pictures greenlit the production of RoboCop, directed by Dutch filmmaker Paul Verhoeven. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about RoboCop.Here's a hint at what we talk about:We dive into the amazing practical effects created by Rob Bottin and Phil Tippett, including RoboCop himself, ED-209, the toxic waste scenes, and more. We discuss Paul Verhoeven's unique directorial vision and how he used over-the-top violence to achieve a satirical tone. The film's sharp and funny social satire provides critical commentary on privatized policing and corporate greed that still resonates today.Here are a few other points in our discussion:Great performance from Peter Weller as Murphy/RoboCop, plus the rest of the castThe love/hate relationship with the corporate charactersHow the 2014 remake compared to the originalRoboCop is a classic sci-fi action film that struck a delicate balance between intense action and dark comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

"This is true love. You think this happens every day?"After William Goldman's novel The Princess Bride was published in 1973, film studios immediately saw its potential and vied for the movie rights. 20th Century Fox won out, paying Goldman to adapt his novel into a screenplay. But after languishing in development hell for over a decade, Rob Reiner and Norman Lear finally brought Goldman's fantastical fairy tale to the big screen in 1987. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about one of our non-nominees The Princess Bride.Here's a hint at what we talk about:We discuss the film's classic quotable lines, unforgettable characters like Inigo Montoya and Fezzik, the comedic yet sinister Prince Humperdinck, and the palpable on-screen chemistry between Robin Wright and Cary Elwes. We also analyze Goldman's brilliant meta approach to the novel and script, the film's purposefully unrealistic visual effects, and how Rob Reiner adeptly brought this iconic fairy tale parody to life.Here are a few other points in our discussion:The film's unexpected Christmas movie connectionsMandy Patinkin's fantastic performance as Inigo MontoyaHow the story skewers notions of love, royalty, and leadershipThe amazing swordfight paired with Mark Knopfler's scoreWhy fans adamantly resist remakes or sequelsThe Princess Bride is beloved for good reason – it's clever, funny, beautifully shot, and full of indelible moments. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerOriginal MaterialLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“There’s something out there waiting for us, and it ain’t no man. We’re all going to die.”After the huge success of Rocky IV in 1985, screenwriters Jim and John Thomas saw an opportunity for another Rocky film where he'd have to fight an alien, calling it "Rocky vs Predator." They developed the idea into a script titled "Hunter" about a group of alien hunters looking for the most dangerous prey. Unable to get interest, they slipped it under producer Michael Levy's door who loved it. Levy brought it to producer Joel Silver who also loved it. Silver brought in action star Arnold Schwarzenegger, who suggested changing it from one man against the creature to a team for more dynamics. Director John McTiernan was hired for his first studio film. With a budget under $20 million and filming in the jungles of Puerto Vallarta, Mexico, Predator began production.Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Predator.Here's a hint at what we talk about:We discuss the excellent creature design and visual effects that still hold up today in making the cloaked Predator feel dangerous and threatening. The story structure shifts cleverly from a military rescue mission to sci-fi horror when the alien arrives. We admire the directing style of McTiernan in generating tension and fear. Character dynamics are touched on, along with some problematic elements.Here are a few other points in our discussion:Memorable one-liners and quips from SchwarzeneggerContrast of the special forces team against the advanced alienDiscussion of problematic Indigenous American and female character tropesAlways hoping for more from Jesse “The Body” Ventura's characterPredator succeeds at being an enthralling, action-packed cinema ride. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerLetterboxd5vd7KcUHE9aFPUjXwStS Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“Kill your brother, you’ll feel better.”The 80s were a transformative time for vampire films, leading studios to rethink the genre and develop sexier, edgier stories for modern audiences. Under Joel Schumacher’s direction, The Lost Boys brought together attractive young stars, iconic music, and cutting-edge special effects to create an instant cult classic. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about The Lost Boys. Here's a hint at what we talk about:We dive into the homoerotic subtext Schumacher wove throughout the film, from the casting to the costumes to set decor details. Though subtle, these elements enriched the story in ways we didn’t fully appreciate until now. We also discuss how the film’s Santa Cruz setting, portrayed fictionally as the murder capital Santa Carla, nicely matched its dark tale of teenage vampires. And we can’t neglect the movie’s stellar 80's soundtrack, which indelibly linked this movie with its musical era. (Plus, Sweaty Sax Guy!)Here are a few other points in our discussion:The brilliant directing choices, like shooting in POV to suggest flying (and a cheap way to do it!)The fantastic practical effects, especially the garlic bathtub sceneThe film's influence on future vampire stories, from Buffy to TwilightOur favorite and least favorite characters (Who are we kidding? We love them all!)Questionable plot points that now bother us... barelyThe Lost Boys endures as a thoroughly entertaining vampire movie with depth beyond its horror trappings. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerLetterboxdThis is a member bonus episode, but as an end-of-year gift to all of our wonderful listeners, we’re giving it to everybody. It’s a taste of what membership brings you. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

“You just digested the bad guy.”Innerspace came about after Jeffrey Boam took Chip Proser’s original script and injected comedy into the straightforward sci-fi concept. With Joe Dante directing and Steven Spielberg executive producing, the film had the freedom to push boundaries. Join us – Pete Wright and Andy Nelson – as we kick off our 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Dante’s 1987 film Innerspace.Here's a hint at what we talk about:We discuss the impressive visual effects that still hold up decades later, from the microscopic inner body sets to the giant props used for the miniaturized villains. Though we find some plot holes and dated elements, we agree that Martin Short’s performance, the chemistry between him and the other two leads (Dennis Quaid and Meg Ryan), and the film’s playful tone make Innerspace an enduringly fun watch.Here are a few other points in our discussion:How Meg Ryan’s reporter character becomes merely a plot device, even though set up as someone with agencyThe lack of resolution around Dennis Quaid’s character’s alcoholismAppreciation for Robert Picardo as The Cowboy and many other supporting roles filled with familiar Dante regularsJerry Goldsmith’s delightful score capturing the movie’s energyInnerspace is a flawed but highly entertaining sci-fi comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“Game? This wasn’t meant to be a game. Never!”James Caan stars as Jonathan E., a legendary athlete in the brutal sport of Rollerball in Norman Jewison’s 1975 dystopian sci-fi thriller. With a screenplay by William Harrison based on his short story, Jewison intended the film as a critique of exploitative sports and their dehumanizing effects. However, audiences were enthralled by the violent future sport depicted. Rollerball entered a crowded field of 1970s dystopian sci-fi, alongside classics like A Clockwork Orange. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Rollerball.Here's a hint at what we talk about:We discuss Rollerball as an early example of dystopian sports cinema, designed to make a point about authoritative control. Though we find flaws, like some pacing issues, we agree that Rollerball was prescient in its corporate allegory. We also touch on the fascinating real-world attempts to turn the fictional sport of Rollerball into a reality.Here are a few other points in our discussion:The minimalist performance of a subdued James Caan – does it work?John Houseman as the chilling corporate overlordAppreciation for the practical stunt work (and that they recognized it in the credits!)How audiences often miss the point of satirical filmsThe abysmal 2002 remakeIn the end, we find Rollerball an imperfect but thought-provoking 1970s sci-fi film. Despite its uneven pacing, we have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerOriginal Short Story Roller Ball Murder by William HarrisonLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“You may think you know what you’re dealing with, but you don’t. Believe me.”Talking About Chinatown with our guest, Cinematographer Erik MesserschmidtRoman Polanski's 1974 neo-noir Chinatown is regarded as one of the greatest films of all time. In this episode, we're joined by Academy Award-winning cinematographer Erik Messerschmidt to discuss this masterpiece of cinema.We start by talking to Erik about his passion for filmmaking and what led him to a career in cinematography. He shares how he was drawn to the camaraderie and creative collaboration of working on set. Over time he realized the cinematographer role allowed him to blend his interests in art, science, and technology.When it comes to Chinatown, Erik praises the elegant camerawork and seamless visual storytelling. Polanski uses the camera deliberately, guiding the audience through clues and reveals without excessive dialogue. The mystery unfolds through precise editing and minimalist framing. We also discuss the phenomenal performances and how Polanski pulls back at key moments to ground the major plot turns.Chatting with Erik gave us a new appreciation for the nuance and artistry of Chinatown. It's a masterclass in subtle visual storytelling that inspired generations of filmmakers. Roman Polanski's direction and Robert Towne's script form a potent combination. We highly recommend revisiting this neo-noir gem.Film SundriesErik on InstagramWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.