The Next Picture Show – Détails, épisodes et analyse

Kyle Balda’s new family film The Sheep Detectives pulls off a move George Miller was dissuaded from including in his 1998 sequel Babe: Pig in the City — killing off its human farmer figure — but that premise-setting death aside, it’s generally a warmer and gentler take on talking animals venturing beyond their green pastures and into the big, scary human world. The Sheep Detectives may take the shape of a murder mystery, but as our discussion highlights, it taps into big ideas about memory, grief, and empathy, all while maintaining a sly sense of humor. It’s a tonal balancing act of a different sort than Pig in the City, which we bring back in for Connections to discuss these two films’ respective approaches to animal endangerment, interspecies communication, and making non-verbal creatures talk. Then in Your Next Picture Show we offer a sampler of recommendations for ostensible children’s entertainment that is darker than it initially appears. 

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

Please share your thoughts about Babe: Pig in the City, The Sheep Detectives, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Next Pairing: Jon Favreau’s The Mandalorian and Grogu and Kenji Misumi and Robert Houston’s Shogun Assassin

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The Sheep Detectives is about as short on pigs as Babe: Pig In the City is short on sheep, but Kyle Balda’s new family film still reminded us of the 1998 box-office-bomb-turned-cult-classic in its tale of talking animals venturing beyond their idyllic pastures and into a dangerous corner of the human world. George Miller’s  poorly received sequel to Babe may technically have a lower body count than the murder mystery of Sheep Detectives — not for Miller’s lack of trying — but its combination of fable-like whimsy with tragedy and trauma strikes a deeply odd and at times unsettling chord that turned off audiences charmed by its predecessor. It also gives us much to discuss in this week’s revisitation of Pig in the City, as we attempt to locate the emotional core lurking beneath the slapstick antics and kinetic chase scenes, and consider what Miller was trying to say about humanity via a bunch of down-on-their-luck animals. Then in Feedback we return to a point of contention from our recent Fargo episode, and port over a question from the Patreon regarding the critical response to the new biopic Michael. 

Please share your thoughts about Babe: Pig in the City, The Sheep Detectives, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

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With the 98th Academy Awards around the corner, we are breaking format this week to register the Next Picture Show's recommendations to the Academy of who should take home Oscar gold. Join us as three critics with competing tastes attempt to find consensus for this podcast's official endorsement for a single winner in all the major categories.

Please share your thoughts about this year's Oscar nominees, winners, ceremony, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Next Pairing: Maggie Gyllenhaal's THE BRIDE! and Arthur Penn's BONNIE AND CLYDE

This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

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Jane Schoenburn’s I SAW THE TV GLOW is a film whose cultural reference points tend to take the form of vibes more than direct nods. But the writer-director's stated inspiration point in DONNIE DARKO can be seen on both the surface — the  recent-past suburban setting, the teenage outcasts struggling to relate to the world around them — and on a deeper level in the protagonists’ slippery grips on reality and their own identity. In the case of I SAW THE TV GLOW, that takes the shape of a trans narrative, the apparentness and relatability of which we discuss with the help of our special guest Emily St. James, before putting these two films side by side to consider their respective takes on teenage alienation, TV as a drug, and secondary realities that no one else can see. And in Your Next Picture Show we recommend a book trilogy that offers a different but complementary spin on media obsession.

Please share your comments, thoughts, and questions about DONNIE DARKO, I SAW THE TV GLOW,  or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Next Pairing: George Miller’s FURIOSA and MAD MAX

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The horror-inflected suburban setting of the new I SAW THE TV GLOW — not to mention writer-director Jane Schoenbrun’s own comments on their inspiration — put us in mind of Richard Kelly’s 2001 cult classic DONNIE DARKO, which also follows a teen protagonist struggling to maintain their grip on reality. We’re joined once again by writer, critic, and friend of the show Emily St. James to discuss how our relationships to both that teen protagonist and the movie named for him have shifted over the years, the film’s prescient religious and political undertones and the intentionality thereof, and why so many of its mysteries remain more compelling without clear answers. And in Feedback, we travel back a few episodes to revisit both a scene from Alex Garland’s CIVIL WAR and the discourse it provoked. 

Please share your comments, thoughts, and questions about DONNIE DARKO, I SAW THE TV GLOW,  or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

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Like the first film in this pairing, Richard Rush’s 1980 oddity THE STUNT MAN, David Leitch’s new THE FALL GUY utilizes the chaos of a film set as the cover for a crime, not to mention the inspiration for both romance and comedy. THE FALL GUY is a bit more straightforward in its crowd-pleasing intentions, though, to both its benefit and detriment, which we talk through in sharing our reactions to the new film. Then we bring THE STUNT MAN back in to compare its overlapping but distinct ideas about stunt performers who inspire their directors, get romantically involved with their co-workers, and confront their own deaths as a matter of course. And in Your Next Picture Show we offer another pairing of films that have nothing to do with this week’s movies, but which we are nonetheless excited to recommend. 

Please share your comments, thoughts, and questions about THE STUNT MAN, THE FALL GUY,  or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Next Pairing: Jane Schoenbrunn’s I SAW THE TV GLOW and Richard Kelly’s DONNIE DARKO

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While there are countless movies featuring the work of stunt performers, movies that center the experiences of those performers are much more rare, which is part of what motivated former stunt performer David Leitch to make the new THE FALL GUY. One of the standouts on that short list is Richard Rush’s 1980 genre oddity THE STUNT MAN, which uses the experience of its accidental-stuntie protagonist to blur the lines between post-Vietnam reality and moviemaking fantasy in fascinating, sometimes confounding ways. We talk through our interpretations of what it means and whether it works, and come to the conclusion that even when it doesn’t, Peter O’Toole’s performance as a diabolical director manages to hold it all together. Then in Feedback, our recent CHALLENGERS episode inspires a couple of listeners to share their alternate pairing ideas.

Please share your comments, thoughts, and questions about THE STUNT MAN, THE FALL GUY,  or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

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Justin Kuritzkes, who wrote the screenplay for Luca Guadagnino’s new CHALLENGERS, cites Alfonso Cuarón's coming-of-age classic Y TU MAMÁ TAMBIÉN as a longtime favorite, so it’s unsurprising to see that film’s DNA in this one. CHALLENGERS is far from a remake, though, operating in a very different milieu with very different narrative priorities, both which we discuss along with our generally-positive-to-rapturous reactions to it. Then in Connections we press these two movies’ faces together and make them kiss for our own gratification, and come away from the experience surprised by just how much they share without being much alike at all. And in Your Next Picture Show we consider another, more recent Cuarón film in the context of Y TU MAMÁ TAMBIÉN.

Please share your comments, thoughts, and questions about Y TU MAMÁ TAMBIÉN, CHALLENGERS,  or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Next Pairing: David Leitch’s THE FALL GUY and Richard Rush’s THE STUNT MAN

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The new CHALLENGERS is a sports drama the same way Alfonso Cuarón’s Y TU MAMÁ TAMBIÉN is a road movie: secondarily, as both films tend to be associated first with their respective sexy love triangles, each with a woman at its center. That shared character dynamic results in a lot of connections between the two films, which we’ll cover in the next episode, but this week we’re focusing on all the other elements that distinguish Y TU MAMÁ TAMBIÉN, from the way its narration forces us to consider the bigger picture that’s ignored by our young protagonists, to an ending revelation that recontextualizes (or, for one of our panelists, undermines) everything that comes before. And in Feedback, we take up a spoiler-filled question about the ending and viewer reception of CIVIL WAR.

Please share your comments, thoughts, and questions about Y TU MAMÁ TAMBIÉN, CHALLENGERS,  or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

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The strain of cynicism that characterizes so much of Alex Garland’s filmography is at its most pronounced in his latest, CIVIL WAR. But paired with Garland’s 2002 debut as a screenwriter, Danny Boyle’s 28 DAYS LATER, an interesting counterpoint emerges in their shared acknowledgement, even hope, that humanity could perhaps find a path forward through catastrophe. So after spending some time wallowing in the muck of CIVIL WAR’s muddy politics and unsettling violence, we examine that mutual glimmer of hope in Connections, as well as the similar back-and-forth rhythms and character parallels of these two road movies. And in Your Next Picture Show we recommend the sequel that provides a different filmmaker’s answer to that question of where humanity goes next, Juan Carlos Fresnadillo’s 28 WEEKS LATER.

Please share your comments, thoughts, and questions about 28 DAYS LATER, CIVIL WAR,  or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Next Pairing: Luca Guadagnino’s CHALLENGERS and Alfonso Cuarón’s Y TU MAMA TAMBIÉN

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