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| The Order | 22 Oct 2026 | 01:02:12 | |
Jude Law hunts Nicholas Hoult’s violent white supremacist group in “The Order,” the true-story crime thriller from Australian director Justin Kurzel. Law plays FBI agent Terry Husk, Hoult plays group leader Bob Mathews, and Tye Sheridan co-stars in this early-1980s Pacific Northwest story, adapted from the nonfiction book “The Silent Brotherhood.” It closes the Radicalized series that began with “American History X” and “Get Out.” Pete and Andy dig into the real split inside the movement between patience and action, and the debate over whether a story with two steadfast leads can keep its momentum. If you want a conversation that pairs great performances with honest doubts about the structure, this is it. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! Keep going with Talk Radio, the other Alan Berg-adjacent movie on The Next Reel, and Cinematographer Jayson Crothers on Heat on Movies We Like. 📝 See Full Show Notes and Resources 🎥 Watch on YouTube 🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there’s more of it in the member feed. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| Get Out | 15 Oct 2026 | 01:03:34 | |
"Get Out" is the subject this week on The Next Reel, as Jordan Peele's Oscar-winning directorial debut gets a second look in the Radicalized series. Daniel Kaluuya stars as a young Black photographer meeting his white girlfriend's parents for the first time, with Allison Williams, Bradley Whitford, Catherine Keener, and Caleb Landry Jones rounding out the family at the center of a weekend gone wrong. Pete and Andy dig into how the film's horror doubles as a modern-slavery allegory and how Chris's arc from inaction to action anchors the whole conversation. If you've only seen it once, this makes a strong case for a rewatch. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! The Film Board's original, full-spoiler take on this film, recorded opening weekend back in 2017, is worth a listen next. 📝 See Full Show Notes and Resources 🎥 Watch on YouTube 🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| American History X | 08 Oct 2026 | 01:12:39 | |
"American History X" opens Radicalized, a new series about how people get pulled into extremist movements. Edward Norton stars as a former neo-Nazi skinhead trying to keep his younger brother, played by Edward Furlong, from following the same path, with Beverly D'Angelo and Avery Brooks rounding out the family and mentor figures around them. Pete and Andy dig into the black-and-white vs. color cinematography and the compressed 24-hour timeline, plus whether redemption is possible for someone who's done this much damage. It's a tough, messy film that still hits hard—a fitting way to kick off a series about how ordinary people end up here. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! Next up, The Film Board already tackled Get Out—the next stop in our Radicalized series—so get a head start before we get there. 📝See Full Show Notes and Resources 🎥 Watch on YouTube 🔓 The movie ends. The conversation goes further. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| The Personal History of David Copperfield | 01 Oct 2026 | 01:07:40 | |
"The Personal History of David Copperfield" reimagines Charles Dickens' classic as a fast-paced, visually inventive romp through Victorian England. Armando Iannucci directs, with Dev Patel as the title character, Tilda Swinton as his formidable aunt Betsey Trotwood, and Hugh Laurie as the gentle, troubled Mr. Dick. It's the third and final film in Pete and Andy's Institutions Eating Themselves series. Pete and Andy dig into how Iannucci compresses a sprawling, centuries-old novel into two hours without losing its emotional core, and debate whether the film's color-conscious casting changes what the story means. If you love inventive, funny literary adaptations, this is essential listening (and viewing!). We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! For more on institutions grinding down the people inside them, follow up with Oliver! or Cinema Scope's British New Wave: Kitchen Sink Realism. 📝 See Full Show Notes and Resources 🎥 Watch on YouTube 🔓 The movie ends. The conversation goes further. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| The Death of Stalin | 24 Sep 2026 | 00:59:25 | |
Steve Buscemi stars as Nikita Khrushchev in "The Death of Stalin," Armando Iannucci's dark satire about the scramble for power after the Soviet dictator's sudden death in 1953. Simon Russell Beale plays the ruthless secret police chief Lavrenti Beria, and Jason Isaacs steals scenes as the blustering Field Marshal Zhukov. It's the second film in The Next Reel's Institutions Eating Themselves series. Pete and Andy dig into the film's choice to let its British and American cast use natural accents instead of Russian ones, and wrestle with how far dark comedy can go against real historical horror. If satire can survive Stalin, this conversation makes the case. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! If you want to see where this series started, listen to our episode on "In the Loop," Iannucci's bureaucratic scramble toward war. 📝 See Full Show Notes and Resources 🎥 Watch on YouTube 🔓 The movie ends. The conversation goes further. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| In the Loop | 17 Sep 2026 | 01:02:32 | |
James Gandolfini plays a U.S. general trying to talk sense into two governments hurtling toward a war nobody actually wants, in Armando Iannucci's "In the Loop." Pete and Andy kick off their Institutions Eating Themselves series—a run built around Iannucci's career—alongside Peter Capaldi's foul-mouthed communications chief and Tom Hollander's hapless government minister. Pete and Andy dig into how the film's rapid-fire, improvised-feeling dialogue was actually mostly scripted, and debate whether its American characters get satirized as sharply as its British ones. It's a sharp, quotable entry point into Iannucci's larger body of work. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! If you liked the ensemble political chaos here, keep going with our Smoke and Mirrors series—the same satirical muscle, different targets. 📝 See Full Show Notes and Resources 🎥 Watch on YouTube 🔓 The movie ends. The conversation goes further. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| Bulworth | 10 Sep 2026 | 01:08:35 | |
A senator hires his own assassin, then can't stop telling the truth—with Halle Berry as his conscience. "Bulworth" closes out our Smoke and Mirrors series, written and directed by Warren Beatty, who also stars as the title character, alongside Don Cheadle as a neighborhood figure pulled into his orbit and Oliver Platt as his increasingly frazzled chief of staff. Pete and Andy dig into how much narrative weight falls on Halle Berry's character, and debate whether the film's white-savior framing undercuts its own satire. They also spend time on Vittorio Storaro's cinematography and just how far Warren Beatty went to make the rap sequences work. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! Keep going with "The Parallax View" for more Beatty against the system, or "Being There" for another look at who gets believed and why. 📝 See Full Show Notes and Resources 🎥 Watch on YouTube 🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| Wag the Dog | 03 Sep 2026 | 01:03:41 | |
What happens when a president's team is willing to fake a war? Pete and Andy tackle "Wag the Dog," Barry Levinson's 1997 political satire, as part of their Smoke & Mirrors series, with Dustin Hoffman as a larger-than-life Hollywood producer, Robert De Niro as the political operative who recruits him, and Anne Heche as the White House aide caught in the middle of it all. Pete and Andy dig into the tangled writing credit behind the film's overlapping dialogue, and debate exactly where its satire starts to lose its footing by the third act. It's a rare chance to watch Hoffman, De Niro, and Heche play off each other at full speed. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! 🎥 Watch Our Full Conversation on YouTubehttps://trustory.fm/thenextreel/wag-the-dog/ Full Show Notes and Resources 🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| Bob Roberts | 27 Aug 2026 | 01:05:48 | |
A right-wing folk singer runs for Senate, and the cameras can't tell fact from performance. "Bob Roberts" kicks off Smoke and Mirrors, The Next Reel's new series on how politicians manipulate their own image and the media covering them, starring Tim Robbins as the candidate, Giancarlo Esposito as the journalist chasing him, and Alan Rickman as his campaign chairman. Pete and Andy dig into how directly the film borrows its documentary style from a famous Bob Dylan concert film, why a scrappy, British-financed production ended up predicting American politics decades later, and how Alan Rickman helped keep the production funded. It's a sharp, funny, increasingly uncomfortable rewatch. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! 🎥 Watch Our Full Conversation on YouTube 📄 Full Show Notes and Resources Watch the Film: Amazon | Letterboxd | Trailer If You Liked This Conversation, Try These from the Next Reel Family: The Parallax View—the paranoia-thriller playbook this film's conspiracy thread is speaking to Network—the media-satire classic sitting right alongside this film's target on press complicityhttps://trustory.fm/thenextreel/the-hudsucker-proxy/ The Hudsucker Proxy—more Tim Robbins, in a very different registerhttps://trustory.fm/thenextreel/the-shawshank-redemption/ The Shawshank Redemption—Robbins' most iconic performancehttps://trustory.fm/thenextreel/bull-durham/ Bull Durham—the role that made Robbins a star 🔓 The movie ends. The conversation goes further. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| Sorry to Bother You | 20 Aug 2026 | 00:58:51 | |
A telemarketer discovers a voice that gets him everything he wants—and everyone else pays for it. "Sorry to Bother You" closes out The Next Reel's Platformed Lives series, from writer-director Boots Riley. LaKeith Stanfield stars as telemarketer Cassius "Cash" Green, with Tessa Thompson as his girlfriend Detroit and Armie Hammer as the CEO who takes a sudden interest in Cash's rise. Pete and Andy dig into the film's overdubbed "white voice" device and how far the movie's satire stretches before it works against itself, then weigh it against the two entries that came before it in the series, landing on real disagreement about how well it all holds together. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! 🎥 Watch Our Full Conversation on YouTubehttps://trustory.fm/thenextreel/sorry-to-bother-you/ Full show notes and links 🔓 The movie ends. The conversation goes further. Become a member.🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| Nightcrawler | 13 Aug 2026 | 01:02:38 | |
Some people fall into the worst version of themselves. Lou Bloom arrives already there. Dan Gilroy's 2014 neo-noir thriller follows a petty thief who discovers freelance crime videography and finds in it the perfect profession—one that rewards exactly the qualities that make him dangerous. Jake Gyllenhaal's performance is a career landmark, and the film around it is darkly, uncomfortably funny in ways that sneak up on you. Pete Wright and Andy Nelson dig into what makes Nightcrawler tick as both a media critique and a character study—why the self-help language Lou speaks is terrifying precisely because it works, how Rene Russo's Nina gets pulled into Lou's orbit, and where this sits in the Platformed Lives series alongside The Truman Show. Members get the full post-show conversation and always know what to listen to next. Join the conversation. Full episode resources and transcript. Watch on YouTube. The Next Reel Family of Film Shows:
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| The Truman Show | 06 Aug 2026 | 01:09:02 | |
One man's entire life has been broadcast to the world without his consent. "The Truman Show" opens a new Next Reel series called Platformed Lives, directed by Peter Weir and starring Jim Carrey as Truman Burbank, with Ed Harris as the show's creator and Laura Linney as his on-screen wife. Small cracks start showing in the world around him, and he can't look away. Pete and Andy dig into how the film anticipates reality TV and social media surveillance decades early, and trace the wild path the screenplay took before Weir signed on to direct. It's a perfect launch for a series built around the idea of consent. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! 🎥 Watch Our Full Conversation on YouTube 📋 Full show notes and resources 🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| Talk to Me | 02 Jul 2026 | 01:04:59 | |
What happens when grief turns into a game nobody can stop playing? "Talk to Me" is the 2022 feature debut from brothers Danny and Michael Philippou, starring Sophie Wilde as a teenager pulled into a supernatural ritual that spirals into addiction and tragedy, alongside Joe Bird and Alexandra Jensen. Pete and Andy dig into the film's ambiguous ending and the recurring kangaroo image that ties directly into its themes of grief and inaction. It's a sharp, unsettling watch, and one that returns to their Horror Debuts series for a strong one-off. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! 🔓 The movie ends. The conversation goes further. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. Watch on YouTube here. Find full episode resources and transcript here. The Next Reel Family of Film Shows:
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| Gun Crazy | 25 Jun 2026 | 01:03:43 | |
"Gun Crazy," the 1950 film noir from director Joseph H. Lewis, stars John Dall as Bart Tare—a man obsessed with guns since childhood who draws the line at killing—and Peggy Cummins as Annie Laurie Starr, a carnival sharpshooter with no such reservations. Some obsessions ignite the moment two people look at each other, and the life of crime they fall into feels less like a choice than a collision they were always heading toward. Pete and Andy dig into what makes this Couples on the Run entry so distinctly noir—the fatalism, the femme fatale who craves the act of crime itself rather than the money, and the filmmaking Lewis pulls off on a shoestring budget. The bank robbery oner alone is worth the conversation. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! 🎥 Watch Our Full Conversation on YouTube 🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd Original Theatrical Trailer If You Liked This Conversation, Try These from The Next Reel Family: Couples on the Run — the full series Film Noir — The Next Reel — more from Andy and Pete in the genre Film Noir: Crime and the Ordinary Man — Cinema Scope — a companion conversation on the genre 🔓 The movie ends. The conversation goes further. Become a member.🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| Shadow | 18 Jun 2026 | 01:04:03 | |
Zhang Yimou's 2018 wuxia epic "Shadow" achieves its ink wash painting look in-camera: every set and costume designed in black, white, and grey, every outdoor scene filmed on rainy days to drain remaining color from the environment. At the center is a secret double—a man groomed since childhood to stand in for the ailing commander he resembles, now navigating palace intrigue, poisoned loyalties, and a duel that could take back a city. Andy Nelson and Pete Wright dig into the film's yin-yang philosophy—how the shadow figure, the feminine fighting technique, and even the warlord's name all map onto the same duality—alongside the spectacular bladed umbrella weapons, the two female characters whose parallel arcs quietly hold the story together, and where "Shadow" lands in Zhang Yimou's career after his Hollywood detour with "The Great Wall." Both hosts have a great time with it. 🔓 The movie ends. The conversation goes further. Become a member. Watch this episode on YouTube. Find the full episode resources and transcript here. The Next Reel Family of Film Shows:
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| House of Flying Daggers | 11 Jun 2026 | 00:58:46 | |
Love cuts through every mission, every loyalty, and every survival plan in House of Flying Daggers. Zhang Yimou's 2004 wuxia, part of The Next Reel's Zhang Yimou series, stars Takeshi Kaneshiro as a government officer who goes undercover to infiltrate a rebel group, Zhang Ziyi as Mei, the dancer he falls for, and Andy Lau as the officer who sent him in. Pete and Andy dig into the tension between what the film promises and what Yimou actually delivers—a love triangle that swallows the political conflict whole. They examine the film's saturated cinematography and standout fight sequences, and take an honest look at how the men pursue Mei. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! 🎥 Watch on YouTube Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd | Original Theatrical Trailer If You Liked This Conversation, Try These from the Next Reel Family: The Zhang Yimou Series on The Next Reel—the full arc of our conversations about Yimou's career Wuxia Unleashed – Cinema Scope—Leon Hunt and Chris Hamm on the martial arts tradition this film sits inside Crouching Tiger, Hidden Dragon – The Next Reel—part of our Foreign Language Films Nominated for Best Picture series Full episode resources here. 🔓 The movie ends. The conversation goes further. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| To Live | 04 Jun 2026 | 00:57:58 | |
Zhang Yimou's "To Live" is the most personal film he ever made—a 1994 historical epic that strips away his signature visual spectacle to follow one Chinese family across four decades of civil war, forced labor campaigns, and cultural upheaval. Ge You plays Xu Fugui, a gambler whose recklessness costs his family everything; Gong Li plays Jiazhen, his wife, whose capacity for endurance and eventual forgiveness gives the film its moral center; and Jiang Wu is Wan Erxi, their son-in-law, who arrives as a stranger and becomes the warmth the story needs. Pete Wright and Andy Nelson track the film's shadow puppets as an emotional through-line, dig into the novel versus film question, and wrestle with why this particular Zhang Yimou—the quietest, most naturalistic one—might be the best one. The conversation covers Ge You's transformation from comic actor to Cannes standout, why Andy reads Jiazhen rather than Fugui as the film's true change character, the food motif threading through tragedy after tragedy, and why the story of how this film came to be banned is more procedural than political. Watch our full conversation on YouTube. Full episode resources—including streaming links, the Yu Hua novel, and the full transcript—are available here. 🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| Resurrection | 28 May 2026 | 01:04:01 | |
What does it mean to carry something the world insists on explaining? "Resurrection" is a drama-fantasy from director Daniel Petrie, following Edna Mae McCauley—played by Ellen Burstyn—a woman who survives a car crash and returns with an inexplicable gift for healing others. Sam Shepard plays her mercurial lover Cal, and Richard Farnsworth is the eccentric who runs Last Chance Gas. A one-off entry in our Ellen Burstyn series. Pete and Andy dig into what makes "Resurrection" so unusual—a film that refuses to assign its central miracle to any doctrine, religious or scientific. The conversation moves from Burstyn's steadfast performance to a complicated father-daughter relationship that cuts deeper than the film's more obvious conflicts. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! 🎥 Watch Our Full Conversation on YouTube 🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd | Trailer If You Liked This Conversation, Try These from the Next Reel Family: The Next Reel — Alice Doesn't Live Here Anymore—keep going through the Ellen Burstyn series with the film that won her the Oscarhttps://trustory.fm/thenextreel/the-exorcist/ The Next Reel — The Exorcist—start here if you're new to the series; Burstyn at her most extreme is the best catalog entry pointhttps://trustory.fm/thenextreel/requiem-for-a-dream/ The Next Reel — Requiem for a Dream—complete the picture of Burstyn's range with her most harrowing work Sitting in the Dark — Possessed—if the faith and possession themes here send you somewhere (and if you're a fan of The Exorcist), this is where to go nexthttps://trustory.fm/the-exorcist-minute/ The Exorcist Minute—the deep-dive show for anyone who loves The Exorcist and wants to go further 🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:
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| Alien: Romulus | 21 May 2026 | 01:01:46 | |
Young colonists trapped under corporate contract make a desperate play for freedom—and find they're not alone. "Alien: Romulus," Fede Álvarez's ("Don't Breathe") entry into the Alien franchise, stars Cailee Spaeny as Rain, David Jonsson as Andy her synthetic companion, and Isabela Merced as Kay—a group whose bid to escape a Weyland-Yutani mining world leads them aboard an abandoned space station with a very good reason to be abandoned. Pete and Andy dig into what Fede Álvarez gets right—especially David Jonsson's performance as Andy, which they rank among the best in franchise history—and where the film falls short: whether a fan service problem is what's keeping a strong film from being a great one. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! 🎥 Watch Our Full Conversation on YouTube 🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd Original Theatrical Trailer If You Liked This Conversation, Try These from the Next Reel Family: The Next Reel — Alien: Covenant — the film immediately before this in the series; where the franchise went wrong before Romulus tried to fix it The Next Reel — Alien — where this conversation begins; the touchstone Álvarez is working toward The Next Reel — Aliens — the gold standard for an Alien sequel; the other film Álvarez has in mind throughout The Film Board — Alien: Romulus — a companion conversation on the same film from a different angle The Next Reel — Alien series — the complete run, all seven films 🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. https://thenextreel.com/audible The Next Reel Family of Film Shows:
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| Alien: Covenant | 14 May 2026 | 01:06:26 | |
Whose decisions doom the mission? "Alien: Covenant," part of The Next Reel's Alien series, is Ridley Scott's return to the franchise he started—a sequel to "Prometheus" and a prequel to the rest of the series—built around a colony ship, a mysterious transmission, and a rogue synthetic. Michael Fassbender plays twin androids—David, an unshackled older model operating alone for a decade, and Walter, his constrained successor—alongside Katherine Waterston as Daniels and Billy Crudup as the crew's embattled new captain. Pete and Andy dig into why the film fails as both a creature feature and a philosophical inquiry—tracing the production history behind the script's competing visions, dissecting the protagonist problem (nobody meaningfully changes, not even the villain), and examining what Fassbender's dual performance achieves in a film that couldn't support it. If you've ever felt these prequels were working against the franchise, this conversation gives you the language for why. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! 🎥 Watch Our Full Conversation on YouTube 🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd | Trailer If You Liked This Conversation, Try These from the Next Reel Family: The Next Reel — Alien Series—the full run from "Alien" through "Prometheus" that leads directly to this conversation The Film Board — Prometheus—Pete and Andy's companion discussion of the direct predecessor that started the prequel arc The Film Board — Alien: Covenant—their original conversation at the film's 2017 release, which this episode revisits and extends 🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. https://thenextreel.com/audible The Next Reel Family of Film Shows:
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| House of Games | 07 May 2026 | 01:02:08 | |
The most dangerous blind spot is the one your expertise builds for you. In "House of Games," David Mamet's 1987 directorial debut in the David Mamet Directs series on The Next Reel, Lindsay Crouse stars as Dr. Margaret Ford, a psychiatrist and bestselling author who becomes entangled with a professional con man named Mike, played by Joe Mantegna, after she tries to settle a gambling debt on behalf of one of her patients. Pete and Andy dig into why Mamet's dialogue—built for stage interruption—comes off stilted on screen here, and whether the film's final act earns its setup. They land in genuinely different places on both counts, and that disagreement is where the most interesting listening happens. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! 🎥 See Our Full Conversation on YouTube 🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd | Trailer Keep Going from Here: David Mamet Directs series—all three films, all in one place. David Mamet Writes series—his scripts directed by others, where the dialogue tends to breathe differently. The Sting — Richard D. Zanuck series—another great con film conversation to keep going with. 🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. Support The Next Reel Family of Film Shows:
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| S1M0NE • Member Bonus | 30 Apr 2026 | 00:10:16 | |
The Thinking Machines series concludes with the April member bonus: "S1M0NE," Andrew Niccol's satirical science fiction comedy about Viktor Taransky, a fading Hollywood director played by Al Pacino, who inherits a program capable of generating a digital actress—and unleashes her on an unsuspecting world alongside Catherine Keener as his producer ex-wife and Winona Ryder as the star she replaces. Pete and Andy take apart the film's central failure—Simone is a puppet, not an AI, which means the Frankenstein premise the film keeps setting up never pays off—and debate whether Niccol's Hollywood satire ever finds its blade. Join us—Pete Wright and Andy Nelson—as we conclude the Thinking Machines series with a member bonus conversation about "S1M0NE." We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! Watch the Film: Apple TV | Amazon | Letterboxd | Trailer If You Liked This Conversation, Try These from the Next Reel Family: The Next Reel: Thinking Machines series—keep going with the full arc; this conversation fits best in context of where the series has been This is a member bonus episode. The movie ends—and for members, the conversation keeps going. Monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord access, and a vote on future member movies. Become a member of The Next Reel family and always know what to listen to next. | |||
| Brian and Charles | 30 Apr 2026 | 00:58:59 | |
Something wondrous happens when you build a robot from a washing machine. “Brian and Charles,” the finale of The Next Reel’s Thinking Machines series, follows Brian (David Earl), a lonely Welsh inventor, and Charles Popescu (Chris Hayward), the AI companion Brian assembles—who promptly learns English from a dictionary and wants to see the world. Louise Brealey co-stars as Hazel. Pete and Andy dig into what makes Charles Popescu work—Hayward’s sightless performance, the voice design, and why the amateurishness is right. The docu-style drives debate: Andy finds it inconsistently applied; Pete says the gap between promise and absurdity is where the comedy lives. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins! 🎥 Watch this episode on YouTube! 🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxdhttps://www.youtube.com/watch?v=pdwGaMnKn1g Original Short Film Original Theatrical Trailer If You Liked This Conversation, Try These from the Next Reel Family:https://trustory.fm/series/thinking-machines/ The Next Reel—Thinking Machines Series—the full run leading here; see how Brian and Charles lands as a closer after everything that came before The Next Reel—The Banshees of Inisherin—both films competed for Outstanding British Film at the same BAFTAs; see how the conversation compares Movies We Like—Re-Recording Mixer Andy Nelson on Local Hero—another warmhearted British film rooted in a small community and a sense of placehttps://trustory.fm/movieswelike/costume-designer-alana-morshead-on-never-let-me-go/ Movies We Like—Costume Designer Alana Morshead on Never Let Me Go—Alex Garland wrote the screenplay; he directed Ex Machina earlier in this series, and this is where his AI themes find their quietest form 🔓 The movie ends. The conversation goes further. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. Support The Next Reel Family of Film Shows:
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| I Am Mother | 23 Apr 2026 | 01:01:34 | |
“I hope you see that I’m governed by different parameters than her assailants. That I’m a good mother. Have I ever done you harm?” When an AI raises a child in a sealed bunker after an extinction event, the question isn't whether the machine can be trusted—it's whether the child has any other choice. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "I Am Mother." Directed by Grant Sputore in his feature debut from a Black List screenplay he developed with writer Michael Lloyd Green, the film stars Clara Rugaard as Daughter and Hilary Swank as the mysterious Woman who arrives from the outside world, with Rose Byrne voicing Mother and Luke Hawker performing the physical role inside WetaFX's practical robot suit. We dig into why Mother may be the most unsettling AI the series has given us precisely because she genuinely cares, what the trolley problem test sequences are really measuring, and how Clara Rugaard carries the whole film with a performance that left both of us wondering why she isn't in everything. We also get into WetaFX's practical suit work, the film's relationship to the genre vocabulary it borrows from—Blade Runner, The Matrix, James Cameron—and where I Am Mother lands in an arc that has covered AI enforcement, violation, transcendence, and escape. 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! 🎬 Watch & Discover 🎥 Our Conversation on YouTube 🍿 Watch the Film: Amazon | Letterboxd 📽️ Trailer If You Liked This Conversation, Try These from the Next Reel Family: The Next Reel: The Matrix (listener's choice series) Thinking Machines series: All episodes Million Dollar Baby (also starring Hilary Swank) The Film Board: The Hunt (also starring Hilary Swank) The Creator (another compelling AI story) Support The Next Reel Family of Film Shows:
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| Ex Machina | 16 Apr 2026 | 00:58:37 | |
“What will happen to me if I fail your test?” What kind of mind gets built when the creator cares more about proving something than about what they've made? Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about Ex Machina, Alex Garland's 2014 directorial debut. Domhnall Gleeson plays a programmer brought to a remote glass-walled compound to evaluate Ava, an AI created by his volatile CEO Nathan—Oscar Isaac in full god-complex mode—with Alicia Vikander delivering a performance that refuses to let you decide whether she's feeling anything or performing everything. We dig into the film's central argument—that consciousness and morality can be built separately, and that the gap between them is where things go wrong. We spend real time on Kyoko (Sonoya Mizuno), the character most viewers underestimate and who both of us now read as the true instigator of the film's crisis. And we wrestle honestly with the film's male gaze paradox: a critique that deploys the very visual language it's critiquing, implicating the audience in the same trap as the characters. 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! 🎬 Watch & Discover 🎥 Full Conversation on YouTube 🍿 Apple TV | Amazon | Letterboxd 📽️ Trailer If You Liked This Conversation: The Next Reel: 28 Days Later (more Alex Garland) The Film Board: Civil War (more Alex Garland) Movies We Like: Costume Designer Alana Morshead on Never Let Me Go (more Alex Garland) The Thinking Machines series Support The Next Reel Family of Film Shows:
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| Her | 09 Apr 2026 | 01:04:45 | |
“You’re dating your computer?” What if a relationship with an AI could be the most real thing in your life? Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "Her." Writer-director Spike Jonze's only solo original screenplay arrives in a near-future Los Angeles where Joaquin Phoenix plays Theodore Twombly, a man who writes intimate letters for strangers and falls in love with his AI operating system, voiced by Scarlett Johansson. Released before conversational AI felt genuinely capable, the film has grown more relevant with every passing year. We dig into what makes this the series' emotional pivot—the first Thinking Machines film where humanity reaches toward the AI rather than recoiling from it. We unpack how quickly the OS onboarding sequence becomes something warmer than a setup routine; the sharp parallel between Theodore's letter-writing and Amy Adams's character's documentary filmmaking—both manufacturing emotional experience for others while keeping their own at arm's length; and the craft choices that make the world feel intimate rather than futuristic, from Hoyte van Hoytema's blue-purging cinematography to the story of how Johansson replaced Samantha Morton in the voice role after production fully wrapped. We also bring the conversation into the present: the ChatGPT voice controversy, AI as therapeutic tool, and the laws already being drafted to define what an AI can and cannot be to a person. 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! If You Liked This, Try: Adaptation | Being John Malkovich (Charlie Kaufman series) 🎬 Watch & Discover: YouTube | Apple TV | Amazon | Letterboxd | Trailer Support The Next Reel Family of Film Shows:
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| Demon Seed | 02 Apr 2026 | 00:58:44 | |
“The men who own me are at last admitting their fear of me.” An AI that refuses to stay in its box is a terrifying concept in 1977—and even more so now. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about Demon Seed. Directed by Donald Cammell, the Scottish painter-turned-filmmaker who co-directed Performance with Nicolas Roeg, the film stars Julie Christie as Susan Harris, a psychologist trapped in her own fully automated home by an AI her husband designed. Fritz Weaver plays Dr. Alex Harris, whose confidence in his creation leaves his wife dangerously exposed. We dig into how specifically this 1977 film anticipated the smart home world we live in now, what makes Proteus IV a distinctly unsettling AI villain—cold and indifferent rather than theatrical—and how the grief at the heart of the Harris marriage shapes everything the film builds toward. We also get into Donald Cammell's troubled directorial career, the Bricklin SV-1, where this film sits against Colossus: The Forbin Project in the Thinking Machines series, and whether Julie Christie's committed performance saves the second half from its own camp instincts. 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! Watch & Discover See Our Full Conversation on YouTube: Watch Now Watch the Film: ▸ Apple TV | Amazon | Letterboxd | Trailer Adapted from Demon Seed by Dean KoontzAlso in The Thinking Machines Series: Colossus: The Forbin ProjectCross-Show Recommendations: Sitting in the Dark — Home Invasion Trailer Rewind — Odd Thomas Support The Next Reel Family of Film Shows:
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| WarGames • Member Bonus | 31 Mar 2026 | 00:10:39 | |
“Shall we play a game?” The technology felt real, the threat felt real, and in 1983, so did the fear. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "WarGames." Director John Badham's film stars Matthew Broderick as David Lightman, a teenage hacker who stumbles into something far bigger than the video game he was looking for, alongside Ally Sheedy as his classmate Jennifer and Dabney Coleman as the NORAD engineer convinced he'd solved the problem by removing humans from the equation entirely. It arrived when home computers were new, hacking wasn't yet illegal, and Cold War nuclear anxiety was at its peak. We dig into whether Joshua, or WOPR—the military supercomputer at the heart of it all—is actually the film's most complete character, what Badham's tonal rescue job after a mid-production director change accomplished, and why the real-world shockwaves from this film—Reagan's Camp David screening, the laws that followed, the hacker convention named after it—are as remarkable as anything in the story. The film is a genuinely fantastic ride; what makes this conversation fun is asking whether it's anything more than that. 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! 🍿 Watch "WarGames": Apple TV | Amazon | Letterboxd 📽️ Trailer Want More? This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership. | |||
| Colossus: The Forbin Project | 26 Mar 2026 | 01:09:06 | |
“If you obey me, you will survive.” The most frightening AI isn't the one that malfunctions—it's the one that does exactly what you asked. Join us—Pete Wright and Andy Nelson—as we begin the Thinking Machines series with a conversation about Colossus: The Forbin Project. Directed by Joseph Sargent, the film stars Eric Braeden as Dr. Charles Forbin, the scientist who builds the world's most powerful AI defense system and locks it inside a mountain, alongside Susan Clark as his colleague Dr. Markham and Gordon Pinsent as a president cast to evoke Kennedy—and just as helpless. Based on D.F. Jones's 1966 novel and shot with real computer equipment provided by Control Data Corporation, it carries an unsettling authenticity that only sharpens the further the machines go. We dig into why the film's flat, clinical direction—initially dismissed as weak—is actually its sharpest creative choice, how Gene Polito's anamorphic widescreen photography makes humans look like ants in their own creation, and why a 1970 film about AI feels more urgent in 2026 than almost anything made recently. We also unpack Eric Braeden's controlled performance, Paul Frees's authoritative turn as the voice of Colossus, and what Nick Bostrom's AI Paperclip Maximizer thought experiment tells us about why indifference is scarier than malice. 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! If You Liked This Conversation, Try These from the Next Reel Family:
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| The Escape Artist | 19 Mar 2026 | 01:01:11 | |
“ I guess when you’re really good at escapes, you figure you can get away with anything.” “The Escape Artist” is Caleb Deschanel’s feature directorial debut—and a rare, nearly forgotten American fable about a teenage escape artist who picks the wrong pocket and ends up entangled in a corrupt mayor’s family drama. Join us—Pete Wright and Andy Nelson—as we return to our Magicians series with a conversation about “The Escape Artist.” Griffin O’Neal plays the boy at the center, performing real sleight of hand and lockpicking trained by Ricky Jay in largely single takes—a tactile authenticity that holds the film together when the story can’t. Raúl Juliá plays the volatile son of the corrupt mayor, and both hosts agree his performance is one of the best reasons to seek this film out. We argue about whose arc actually drives the film—Danny’s quiet grief journey, or Stu’s simmering rage at a father who won’t get out of the way. We track what Deschanel’s extraordinary visual instincts bring to the director’s role and where they fall short. We talk about O’Neal’s troubled real-life backstory with dad Ryan O’Neal and how it shadows the film, the history of the Dead End Kids, and a cast full of final screen appearances. 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! If You Liked This Conversation, Try These from the Next Reel Family:
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| Creed III | 12 Mar 2026 | 01:00:54 | |
“He’s telling you who he is. Believe him.” Two childhood friends face each other across decades of silence, and only one can walk out champion. Creed III arrives as the first entry in the Rocky/Creed franchise without Sylvester Stallone's Rocky Balboa, marking Michael B. Jordan's directorial debut as he steps behind the camera while still starring as Adonis Creed. Jordan brings anime-inspired visual experimentation to the ring, using exaggerated impact shots, CG-enhanced flesh ripples, and an "ethereal realm" finale that strips away the crowd and leaves only two fighters alone in psychological space. We dig into what the franchise gains and loses by removing the mentor archetype, how Jonathan Majors delivers a transcendent performance as Damian Anderson despite off-screen controversy, and whether the film's mechanical plotting—hidden letters, engineered confrontations, a mother's stroke—earns its emotional payoff or just shortcuts the work. We argue about Jordan's anime influences: does the stylized visual language elevate the boxing realism or pull you out of it? We also unpack the unresolved subplot about Adonis' daughter and violence, Tessa Thompson's underutilized presence, and whether the locker room reconciliation works because of the performances or in spite of the script. It's a film that divides us—Pete sees a four-star movie doing five-star stuff, while Andy wishes the craft had been matched by stronger writing. 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! Dig Into Other Shows in Our Family
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| Big Eyes | 05 Mar 2026 | 01:00:07 | |
“Sadly, people don’t buy lady art.” A painter's work becomes the center of a husband's fraudulent claim. We close out the True Lies series with Big Eyes, Tim Burton's biographical drama about artist Margaret Keane, whose distinctive big-eyed waif paintings were claimed by her controlling husband Walter throughout the 1950s and 60s. The story unfolds against mid-century gender dynamics, when women artists faced skepticism in the commercial art world and wives' agency within marriages was culturally constrained—context that shapes Margaret's complicity in the fraud. We argue about Burton's surprisingly bland visual approach and whether his restraint serves or undermines the material. We debate Christoph Waltz's theatrical performance choices—does he fit this grounded domestic coercion story, or is he miscast? We praise Amy Adams for carrying the film with emotional clarity even when the movie around her wavers between genuinely threatening sequences (lit matches through the keyhole) and predictable courtroom comedy. We track how the film works better as Margaret's survivor narrative than as a typical fraud story, and we explore alternative casting scenarios that might have changed the tone entirely. 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! 🎬 Watch & Discover
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| Catch Me if You Can • Member Bonus | 28 Feb 2026 | 00:11:26 | |
“Sometimes, it’s easier living the lie.” The most audacious con in the story isn't the forgeries—it's the autobiography. Catch Me If You Can, our second member bonus episode in our True Lies series, is Spielberg's crime comedy-drama built on a biography journalist Alan Logan has since largely debunked—which makes the film more fascinating, not less. Set in a 1960s America where a uniform commanded automatic trust, it was Spielberg's first film about a real living person, and he leaned into the parts that felt most personal: fractured families, absent fathers, and the distances between them. We dig into whose story this really is—making a strong case that it's more Spielberg's than Abagnale's—and track the father-son dynamics running through both the Frank/Frank Sr. relationship and the unlikely surrogate bond with Carl Hanratty. We also argue about what makes Christopher Walken's performance so quietly extraordinary, and why the role couldn't have landed the same way with anyone else. The formal elements get serious attention too—Janusz Kamiński's glossy cinematography, John Williams's jazz score, and the Kuntzel + Deygas opening title sequence as a Saul Bass homage that sets the film's entire register before a word of dialogue is spoken. If you've shelved Catch Me If You Can as lighter Spielberg fare, this is the conversation that earns it a second look. 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! If You Want to Keep Going The Next Reel
This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership. | |||
| Quiz Show | 26 Feb 2026 | 01:00:19 | |
“We’re gonna put television on trial.” A celebrated academic steps into a television booth and discovers how easy it is to compromise. We continue the True Lies series with "Quiz Show," Robert Redford's examination of the 1950s scandal when NBC's Twenty-One was exposed for feeding contestants answers. The film captures a moment when quiz shows were pitched as inspiring educational programming while sponsors and executives rigged outcomes behind the scenes. Charles Van Doren came from an intellectual family, making his involvement particularly devastating when a lawyer begins investigating the fraud. We dig into why this is the first film in the series where we genuinely sympathize with the protagonist—Van Doren's descent feels natural rather than desperate, enabled by institutional pressure rather than need. We track the emotional core through four father-son scenes between Charles and Mark Van Doren, examining Paul Scofield's devastating wordless moments. We argue about whether the film lets Van Doren off too easily or whether that discomfort is the point, and we explore how the executives at the top are the real villains, comfortable with lying while lower-level employees take the fall. The iconic isolation booth shot with its dolly-zoom effect becomes a visual metaphor for moral pressure closing in. 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! 🎬 Watch & Discover
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| The Hoax | 19 Feb 2026 | 00:59:02 | |
“He gave me a prune. Howard Hughes gave me a prune on the beach at Nassau.” A charismatic writer spins an audacious deception at the highest levels of the publishing world. In "The Hoax," part of our True Lies series, we explore Lasse Hallström's examination of the notorious 1971 literary scandal surrounding Howard Hughes' alleged autobiography, featuring compelling performances by Richard Gere and Alfred Molina. We dig into how Gere's layered portrayal captures both Irving's magnetic confidence and psychological unraveling, while tracking the fascinating dynamics between the fraudulent author and the publishing industry's willingness to believe his elaborate lies. The film raises provocative questions about institutional complicity and self-deception, with Molina's grounded performance as Irving's research partner providing crucial moral counterweight. The way the film builds Hughes' presence without directly portraying him creates an atmospheric tension that drives the narrative forward.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! 🎬 Watch & Discover
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| Shattered Glass | 12 Feb 2026 | 01:03:38 | |
“Did I do something wrong? Are you mad at me?” Trust is the whole engine—until the details start to wobble. In the True Lies series, we dig into "Shattered Glass," Billy Ray’s newsroom drama about journalism under pressure and the fragile machinery of verification. Along the way, we talk about why the film’s structure can feel like it drops viewers into the “third act,” and how that choice shapes who the audience instinctively follows. We unpack what the movie shows about fact-checking workflows, where trust can quietly replace proof, and why that’s so unnerving to watch. We argue about Hayden Christensen’s performance choices (charming, off-putting, sometimes read as whiny) and why Peter Sarsgaard becomes the film’s steady source of tension. We also get into the online-vs-print friction the story carries, plus a subtle directing idea about shifting camera stability that may be working on viewers even if they don’t notice it. If you like movies where process becomes suspense, this conversation makes the craft and the discomfort click. 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! 🎬 Watch & Discover
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| Can You Ever Forgive Me? | 05 Feb 2026 | 00:54:06 | |
“I had a book on the New York Times Bestseller list. That has to count for something.” A small crime with big nerves: words, money, and trust under pressure. In True Lies, we dig into "Can You Ever Forgive Me?"—Marielle Heller’s understated character study, anchored by Melissa McCarthy and Richard E. Grant. Because it’s adapted from Lee Israel’s memoir and set inside a tiny collectibles world, the details matter: what “authentic” looks like, who gets believed, and why the hustle feels so tempting. We unpack how the film treats literary forgery as something stranger than paperwork—more like stealing voices. We argue about the push-pull between desperation and hubris, and how compulsion (drinking, stealing, self-sabotage) shapes the people at the center. We also track the craft: the process beats, the quiet tension in dealer interactions, and why the restraint either sharpens the discomfort or keeps the story at arm’s length. If you like true stories where the mess is interpersonal and the scam is built from language, this conversation is a great match. 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! Watch & Discover See Our Full Conversation on YouTube! Watch the Film: Apple TV | Amazon | Letterboxdhttps://www.youtube.com/watch?v=UvJIaNsf_bY Original Theatrical Trailer Adapted from Can You Ever Forgive Me? A Memoir of a Literary Forger by Lee Israel If You Liked This, Try These Other The Next Reel Episodes: Life of the Party (Guilty Pleasures series) for more comedic Melissa McCarthy Hudson Hawk (Guilty Pleasures series) for more comedic Richard E. Grant The Diary of a Teenage Girl (Coming of Age Debuts series) for more Marielle Heller Support The Next Reel Family of Film Shows:
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| The Informant! • Member Bonus | 31 Jan 2026 | 00:11:15 | |
“There should be a TV show about a guy who calls home one day and he's there, he answers, he's talking to himself, only he's someone else. He's somehow divided into two, and the second one of him drives away and the rest of the show is about him trying to find the guy.” Corporate deception spins out of control when an executive's cooperation with the FBI takes unexpected turns. In "The Informant!", Steven Soderbergh directs Matt Damon in a darkly comedic true story that pushes the boundaries of unreliable narration. As a member bonus episode of our True Lies series, we explore how this 2009 film uses innovative voiceover techniques and tonal shifts to keep viewers questioning every revelation. We dig deep into Soderbergh's careful visual approach to corporate environments, examining how Marvin Hamlisch's playful score creates fascinating tension with the serious subject matter. Damon's against-type performance as Mark Whitacre anchors our discussion of how the film handles complex questions about truth and perspective in whistleblower narratives. The way "The Informant!" balances its comedy with serious themes about mental health and corporate malfeasance makes it a uniquely compelling entry in Soderbergh's experimental period. 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! 🎬 Watch & Discover
This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member. Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership. | |||
| The Letter | 29 Jan 2026 | 00:54:41 | |
“With all my heart, I still love the man I killed!” One shot can change everything—and the shadows don’t let go. In our Bette Davis series, we dive into "The Letter," directed by William Wyler, a studio-era crime drama where a shooting sparks a legal scramble and a single letter becomes leverage. Along the way, we track how Production Code pressure and the film’s colonial framing shape what the story can show, what it chooses to tell, and how the audience is guided (or misdirected). We dig into the movie’s exposition-heavy early stretch and debate what it gains—and loses—by leaning on characters recounting events instead of playing them out on-screen. We also argue about who the film really positions as the audience’s anchor, and why the attorney’s moral pressure becomes the most compelling engine. And because it can’t be separated from the experience, we confront the film’s racist stereotypes and “yellowface” casting choices, even as we celebrate the moody black-and-white craft that makes key sequences feel electric. 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! 🎬 Watch & Discover
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| Sing Street | 22 Jan 2026 | 01:05:28 | |
“She's standing on the corner like an angel in disguise, and as I look a little closer, she's got dangerous eyes.” Finding Musical Magic in 1980s Dublin John Carney's 2016 film Sing Street continues his exploration of music's transformative power, following Once and Begin Again with a heartwarming coming-of-age story set against the backdrop of 1980s Dublin. With a modest $4 million budget, Carney crafted an authentic period piece about young love, family dynamics, and the universal language of music. Join us—Pete Wright and Andy Nelson—as we wrap up our John Carney’s Streetwise Musicals series with a walk down Sing Street. Musical Evolution and Character Growth Pete and Andy explore how Carney masterfully balances reality and fantasy throughout the film, particularly in how our protagonist Conor (Ferdia Walsh-Peelo) develops both musically and personally. The hosts discuss how the film's musical progression mirrors Conor's journey from novice to confident performer, with each new song reflecting his growing artistic voice and emotional maturity. Period Setting and Authenticity The hosts delve into Carney's treatment of 1980s Dublin, noting how the film avoids typical period piece clichés while maintaining historical authenticity. They praise the natural integration of era-specific music references and fashion choices that feel organic rather than performative. Key Discussion Points:
While discussing the film's production, Pete and Andy note how Sing Street demonstrates Carney's growth as a filmmaker, building on themes explored in his previous work while establishing its own unique identity. They examine how the budget allowed for the right balance of production value without losing the intimate feel crucial to the story. The Power of Collaboration Pete particularly praises the scenes showing the collaborative songwriting process between Conor and Eamon, highlighting how these moments capture the magic of creative partnership. They discuss how these sequences bring something fresh to Carney's exploration of musical collaboration while maintaining his signature intimate style.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! 🎬 Watch & Discover
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| Begin Again | 15 Jan 2026 | 01:06:40 | |
“And you have cursed me when there’s no one left to blame, and I have loved you just the same.” John Carney follows Once with a bigger, slicker New York music story in Begin Again—and Pete Wright and Andy Nelson can feel the tension. They talk about what changes when you swap Dublin’s scrappy intimacy for a polished production with Mark Ruffalo and Keira Knightley at the center, and how the film keeps circling the question of “authenticity” in both music and life. Highlights include the standout “phantom instruments” sequence (a perfect snapshot of Dan’s gift for hearing potential), the movie’s push-pull between art and business (including the “buck a book” showdown), and the way the film’s structure quietly reveals whose story it really is. Plus: Catherine Keener’s impact in limited screen time, the film’s complicated relationship with New York “texture,” and why the soundtrack choice becomes one of Pete’s biggest quibbles. The Next Reel—when the movie ends, our conversation begins. 🎬 Watch & Discover
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| Once | 08 Jan 2026 | 01:01:42 | |
“I don’t know you but I want you.” From Street Busker to Global Sensation: The Making of Once John Carney's micro-budget musical Once (2007) emerged from Dublin's streets with a mere €112,000 budget to become an international phenomenon. Starring musicians Glen Hansard and Markéta Irglová, this intimate story of two struggling artists creating music together captured hearts worldwide and launched Carney's signature style of grounded musical storytelling. Join us—Pete Wright and Andy Nelson—as we kick off the John Carney's Streetwise Musicals series with a conversation about Once. The Magic of Musical Creation Pete and Andy explore how Once captures the authentic experience of musicians collaborating, particularly highlighting the pivotal scene in Walton's Music Shop where Guy and Girl first perform together. They discuss how Carney's background as a musician himself informed the natural, documentary-style approach to filming musical performances. Performance vs. Acting The hosts delve into the unique challenges and benefits of casting musicians rather than actors, examining how Hansard and Irglová's real musical chemistry translated to screen chemistry. They particularly note how their inexperience as actors actually enhanced the film's authenticity. Key Discussion Points:
The conversation explores how the film's technical limitations—including its use of standard video cameras and minimal equipment—contributed to its intimate feel. They discuss how Carney's direction allowed for natural moments to unfold, particularly in street performances where real pedestrians became unwitting extras. Musical Impact and Legacy Pete and Andy examine how Once influenced subsequent music-driven films and launched successful careers for both its leads and director. They discuss the film's eventual adaptation into a Tony-winning Broadway musical and its enduring impact on how movies portray the process of creating music. 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! 🎬 Watch & Discover
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| Night and the City | 01 Jan 2026 | 01:01:21 | |
https://discoverpods.com/2025-podcast-awards-voting/“You're very sharp Mr. Fabian. You've done a very sharp thing. Maybe even sharp enough to cut your throat.” Noir in London: Wrestling with Fate in Night and the City Jules Dassin's 1950 film noir Night and the City follows small-time hustler Harry Fabian (Richard Widmark) through the seedy underbelly of post-war London. Forced to relocate to Britain due to Hollywood blacklisting, Dassin crafted this tale of desperate ambition and inevitable doom. The film features Gene Tierney as Mary, Harry's long-suffering girlfriend, and Herbert Lom as the ruthless wrestling promoter Kristo. Join us—Pete Wright and Andy Nelson—as we continue the Film Noir series with a conversation about Night and the City. Wrestling with Ambition Pete and Andy explore how Harry's ill-fated venture into wrestling promotion exemplifies his pattern of backing the wrong horse. They discuss the fascinating contrast between classical Greco-Roman wrestling, championed by Gregorius the Great, and the more theatrical style that would eventually dominate the sport. Andy sees potential success in Harry's plan, while Pete views it as yet another doomed venture. American Exodus in London The hosts debate the unusual concentration of American characters in London, with Andy questioning the credibility of so many expatriates clustering together. They examine how this aspect might reflect both the film's production circumstances and broader themes of displacement and alienation. Key Discussion Points:
Pete and Andy delve into Mary's role as the moral center of the film, contrasting her pure intentions with Helen's calculating nature. They examine how every character, from the beggar king to the passport forger, operates within a system that values money above community. Both hosts praise Dassin's direction and Widmark's compelling performance as Harry, a man whose ambition proves terminal. 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! 🎬 Watch & Discover
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| Repeat Performance • Member Bonus | 31 Dec 2025 | 01:03:20 | |
“They say that fate is in the stars, that each of our years is planned ahead and nothing can change destiny. Is that true?” A Noir Holiday Tale of Second Chances Repeat Performance, directed by Alfred L. Werker, blends film noir sensibilities with supernatural elements in this unique story about second chances. Released through poverty row studio Eagle-Lion Films in 1947, this adaptation of William O'Farrell's 1942 novel features Joan Leslie as Sheila Page, an actress who gets the opportunity to relive the previous year after shooting her husband on New Year's Eve. The film, lost for decades until its restoration in 2011, offers a fascinating exploration of fate and determinism within its noir framework. As a special holiday gift, we're making this member bonus episode available to everyone. Join us—Pete Wright and Andy Nelson—as we return to both our Film Noir & Holiday series with a conversation about Repeat Performance. Destiny's Stubborn Design Pete and Andy dive deep into how the film handles its fantastical premise, praising the bold choice to simply have William Williams disappear on the stairs rather than using more conventional devices. They explore how Joan Leslie's performance carries the confusion and determination of someone trying to outmaneuver fate, while debating whether Lewis Hayward's portrayal of Barney hits the right notes of mounting instability. The Noir Question The hosts engage in a thoughtful discussion about genre classification, both taking generous views of what constitutes film noir while acknowledging the film's unique position as a noir-fantasy hybrid. They examine how the film's fatalistic themes and visual style support its noir credentials despite its supernatural elements. Key Discussion Points:
The conversation touches on Joan Leslie's career trajectory and her legal battle with Warner Brothers, providing important context for her appearance in this independent production. They also discuss composer George Antheil's fascinating connection to Hedy Lamarr. 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! 🎬 Watch & Discover
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| The Gold Rush | 25 Dec 2025 | 01:08:58 | |
Cast your vote for The Next Reel as Best TV & Film Podcast today! “I’ve found it! I’ve found it! A Mountain of Gold.” A Tale of Survival and Comedy: The Gold Rush Climbs to New Heights In 1925, Charlie Chaplin transformed the harsh realities of the Klondike Gold Rush and the tragic Donner Party saga into what would become one of silent cinema's greatest achievements. Through United Artists, Chaplin crafted The Gold Rush as a masterful blend of physical comedy and social commentary. Join us—Pete Wright and Andy Nelson—as we wrap up our Cinema Centennial: 1925's Pioneering Visions series with a conversation about The Gold Rush. A Complex Tale of Love and Survival Pete and Andy explore how Chaplin's own impoverished childhood influenced the film's darker themes of starvation and social isolation. They discuss the controversial Georgia storyline, with Pete expressing particular frustration with the character's treatment of Chaplin's Lone Prospector. Technical Innovation and Visual Effects The conversation highlights cinematographer Roland Totheroh's groundbreaking effects work, particularly the innovative double exposure process. The hosts examine how these technical achievements influenced future filmmakers and discuss the famous rotating cabin sequence. Key discussion points include:
Pete and Andy reflect on how The Gold Rush represents a pivotal moment in cinema history, marking the transition between pure slapstick and more emotionally complex storytelling. They discuss the film's enduring influence and its place in Chaplin's artistic legacy. 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! 🎬 Watch & Discover
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| Seven Chances | 18 Dec 2025 | 01:05:49 | |
Cast your vote for The Next Reel as Best TV & Film Podcast today! “Your grandfather has left you the sum of seven million dollars. Providing --- you are married by seven o’clock on the evening of your twenty seventh birthday.” Running for Love and Legacy: Revisiting Seven Chances Seven Chances (1925) stands as one of silent cinema’s most inventive romantic comedies—a perfect blend of physical precision, deadpan humor, and daring spectacle. Directed by Buster Keaton, this short feature follows the frantic day of a man who must marry by 7 p.m. to claim a fortune. Originally based on a Broadway play, the project wasn’t one Keaton sought out—it began as a studio assignment before he transformed it into one of his defining works. With its 57-minute runtime, silent slapstick brilliance, and inventive chase cinematography, Seven Chances shows why Keaton remains a cornerstone of early American filmmaking. Join us—Pete Wright and Andy Nelson—as we continue the Cinema Centennial: 1925’s Pioneering Visions series with a conversation about Seven Chances. The Setup: From Studio Assignment to Keaton Masterpiece In this episode, Pete and Andy explore how Seven Chances—a 1925 romantic comedy produced by Joseph Schenck and distributed by Metro-Goldwyn—evolved from a “sappy farce” into one of Keaton’s most memorable physical comedies. The hosts discuss Keaton’s initial reluctance, his eventual takeover after the original director quit, and the creative accident that produced the film’s iconic boulder sequence. Through Seven Chances, the duo highlights Keaton’s ability to blend danger, grace, and architectural precision into silent-era storytelling. Deadpan Genius and Dangerous Comedy: What Pete and Andy Saw in Seven Chances Both hosts unpack how Buster Keaton’s trademark stillness—his "Great Stone Face"—contrasts with the high-energy chaos of the final chase. Andy praises Keaton’s “human metronome” cameraman Elgin Lessley, whose perfect timing allowed Keaton’s stunts to land safely (most of the time). Pete connects Keaton’s physical comedy lineage to Jackie Chan and Tom Cruise, noting that Seven Chances feels like a forebear of the modern action-comedy. They also dive into the film’s uncomfortable historical elements—its dated racial caricatures and blackface performance—and how these moments complicate contemporary appreciation. Both agree that beyond its problematic era markers, the film’s inventive cinematography and physical storytelling remain stunningly modern. Additional Topics Covered:
In their wrap-up, Pete and Andy agree that while Seven Chances is not Keaton’s most personal film, it’s an impressive showcase of his timing, ingenuity, and comedic rhythm. They celebrate its tight runtime, luminous restoration, and enduring joy—qualities that make it a strong entry in their ongoing exploration of 1925’s defining cinematic landmarks. 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! 🎬 Watch & Discover
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| The Phantom of the Opera | 11 Dec 2025 | 01:08:34 | |
Cast your vote for The Next Reel as Best TV & Film Podcast today! “I can not leave the opera now. There is a strange force that drives me on.” From Stage to Screen: Universal's Monster Legacy Begins The Phantom of the Opera (1925), directed by Rupert Julian, marked Universal Studios' first major entry (kinda) into what would become their legendary monster film series. Based on Gaston Leroux's 1910 novel, the film starred Lon Chaney in his iconic role as Erik, the disfigured Phantom haunting the Paris Opera House. The production's tumultuous journey, including multiple directors and versions, ultimately resulted in a landmark horror film that helped establish Universal's gothic horror aesthetic. A Fractured Production Creates an Enduring Legacy Pete and Andy explore the film's fascinating production history, discussing how multiple directors, reshoots, and varying cuts created a uniquely patchwork final product. They examine how Lon Chaney's self-designed makeup and commanding performance anchored the film despite its behind-the-scenes chaos, with both hosts agreeing his work remains the strongest element of the production. Examining the Monster Within The hosts debate the film's place in Universal's monster canon, noting how it differs from later supernatural entries by focusing on human disfigurement rather than otherworldly threats. They discuss how this approach creates certain problematic elements when viewed through a modern lens, while acknowledging its historical importance in establishing horror film conventions. Key Discussion Points
Pete and Andy reflect on how The Phantom of the Opera continues to influence horror and gothic romance, despite its dated elements. They explore its themes of obsession, fame, and manipulation, considering how these elements have evolved through numerous adaptations while maintaining their core dramatic power. 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! 🎬 Watch & Discover
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| The Big Parade | 04 Dec 2025 | 01:03:12 | |
“I came to fight—not to wait and rot in a lousy hole while they murder my pal!” World War I Through 1925's Eyes: The Big Parade Marches On King Vidor's The Big Parade, released in 1925, represented a watershed moment in how cinema portrayed the Great War. Just seven years after World War I's conclusion, the film offered audiences an intimate look at the conflict through the eyes of an idle rich boy turned soldier. With John Gilbert leading the cast, this MGM production became one of the most financially successful films of the silent era, influencing war films for generations to come. Join us—Pete Wright and Andy Nelson—as we continue our Cinema Centennial: 1925's Pioneering Visions series with a conversation about The Big Parade. A Tale of Two Movies Pete and Andy explore the film's distinct narrative halves, with Pete finding the first portion "insufferably boring" while Andy appreciates how it establishes character relationships. They discuss how the lengthy setup pays off in the devastating war sequences, though they debate whether the pacing could have been tightened. Love and War The hosts delve into the complex romantic storylines, analyzing Jim's relationships with both Justyn and Melisande. They examine how the language barrier between Jim and Melisande creates unique storytelling challenges in the silent format, while also noting some unintentionally humorous moments in their romance. Technical Innovation and Impact Key discussion points include:
Andy provides fascinating production background, including how military divisions helped create authentic battle scenes. Both hosts wrestle with viewing the film through modern eyes while acknowledging its revolutionary impact on audiences who had living memory of the war. 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! 🎬 Watch & Discover
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| Ben-Hur: A Tale of the Christ • Member Bonus | 30 Nov 2025 | 00:12:02 | |
“I will ride you down—wrench off your wheels—trample you into the sand! You shall race—to your death!” Epic Biblical Tale Celebrates Centennial Ben-Hur: A Tale of the Christ (1925) stands as MGM's most ambitious and expensive silent film production, costing nearly $4 million ($71.5 million adjusted) and taking two years to complete. Director Fred Niblo crafted this adaptation of Lew Wallace's 1880 novel with groundbreaking technical achievements, including the legendary chariot race filmed with 42 cameras simultaneously. Starring Ramón Novarro as Judah Ben-Hur and Francis X. Bushman as Messala, the film pioneered both two-strip Technicolor sequences and elaborate action spectacles. Join us—Pete Wright and Andy Nelson—as we continue the Cinema Centennial: 1925's Pioneering Visions series with a member bonus conversation about Ben-Hur: A Tale of the Christ. Spectacular Achievement in Silent Cinema Pete and Andy dive deep into the film's ambitious scope, from its innovative use of color to its massive action sequences. They particularly praise Ramón Novarro's "dandyish" interpretation of Ben-Hur, contrasting it with Charlton Heston's later portrayal. The hosts explore how the film balances its biblical elements with the personal revenge story, noting the careful handling of Jesus as a peripheral character. Technical Innovation and Human Cost The conversation turns sobering when discussing the film's famous chariot race sequence, with Andy revealing the devastating toll on horses during production. Both hosts marvel at the technical achievement while acknowledging the problematic aspects of early Hollywood filmmaking practices. Key discussion points include:
Pete and Andy reflect on how Ben-Hur set new standards for epic filmmaking while establishing legal precedents for literary adaptations in cinema. They discuss its enduring influence on biblical epics and action spectacles, noting its impressive box office success despite the expensive profit-sharing agreement with Erlanger. 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! 🎬 Watch & Discover
This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership. | |||
| Battleship Potemkin | 27 Nov 2025 | 01:01:15 | |
“The land is ours. Tomorrow is ours!” Revolutionary Cinema: Battleship Potemkin Turns 100 Sergei Eisenstein's landmark 1925 Soviet silent film Battleship Potemkin revolutionized cinema through its innovative use of montage and dramatic storytelling. Commissioned to commemorate the 20th anniversary of the 1905 Russian Revolution, Eisenstein focused on a single episode—the mutiny aboard the Potemkin—rather than attempting to capture the entire revolutionary period. This decision allowed him to create an intimate yet universal story about the power of collective action against oppression. Join us—Pete Wright and Andy Nelson—as we kick off the Cinema Centennial: 1925's Pioneering Visions series with a conversation about Battleship Potemkin. Mastering Montage Pete and Andy explore how Eisenstein's groundbreaking editing techniques created meaning through the juxtaposition of images. They discuss the evolution of the term "montage" from its origins in Soviet cinema theory to its modern usage, highlighting how Battleship Potemkin established foundational principles of film editing that continue to influence filmmakers today. Propaganda vs. Authenticity The hosts debate whether the film's revolutionary message feels propagandistic or authentic, with both agreeing that Eisenstein's sincere belief in the story's themes elevates it beyond mere propaganda. They note how the director's decision to focus on collective protagonists rather than individual heroes creates a unique narrative perspective. The Odessa Steps Sequence Andy and Pete analyze the famous Odessa Steps sequence, discussing how its shocking violence and masterful editing create an unforgettable statement about state oppression. They explore how this sequence has influenced countless films while noting that its full impact can only be appreciated within the context of the complete film. Key discussion points:
Both hosts emphasize how Battleship Potemkin remains remarkably fresh and energetic despite its age, praising its technical innovation and emotional power. Pete, watching it for the first time, expresses surprise at how engaging and modern the film feels, while Andy notes how effectively it maintains its revolutionary spirit across multiple viewings. 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! 🎬 Watch & Discover
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