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Explore every episode of the podcast The Next Reel Film Podcast
Dive into the complete episode list for The Next Reel Film Podcast. Each episode is cataloged with detailed descriptions, making it easy to find and explore specific topics. Keep track of all episodes from your favorite podcast and never miss a moment of insightful content.
| Title | Pub. Date | Duration | |
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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 Aura | 30 Oct 2025 | 01:05:17 | |
“I know when they're going to come because a few seconds earlier, I feel something. The doctors call it ‘aura’.” Into the Mind of a Taxidermist: Exploring The Aura Fabián Bielinsky's final film The Aura (2005) marked his second and tragically last collaboration with Argentine star Ricardo Darín before the director's untimely death at age 47. Following their success with Nine Queens, this psychological thriller follows an epileptic taxidermist who becomes entangled in a casino heist after accidentally killing a man during a hunting trip. The film showcases Bielinsky's masterful direction and Darín's nuanced performance in what would become one of Argentine cinema's most compelling neo-noir entries. Join us—Pete Wright and Andy Nelson—as we return to our Ricardo Darín series with a conversation about The Aura. A Study in Point of View Pete and Andy explore how Bielinsky crafted the film's unique perspective, particularly through the protagonist's epileptic seizures. The hosts discuss the innovative camera techniques used to convey these moments, including the circular dolly track combined with zoom effects that create a deeply unsettling viewer experience. They note how this technical prowess serves the larger narrative about perception and reality. Criminal Aspirations vs. Reality The conversation delves into Darín's character Esteban, a taxidermist who fantasizes about perfect heists but struggles with human relationships. Andy highlights how the film subverts heist movie tropes, while Pete observes how Esteban's professional isolation mirrors his social limitations. Both hosts praise the film's exploration of the gap between criminal fantasy and brutal reality. Key Discussion Points:
The hosts examine how Bielinsky and cinematographer Checco Varese created the film's distinctive look, praising their ability to make the forest environment both beautiful and menacing. Pete particularly notes how the desaturated green palette reinforces the protagonist's alienation from his environment. Legacy and Impact Andy and Pete reflect on the film's place in Argentine cinema and its tragic position as Bielinsky's final work. They discuss how The Aura builds on themes from Nine Queens while creating something entirely unique in the crime genre. 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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| Dialect Coach William Conacher on Ferris Bueller’s Day Off • Movies We Like | 22 Apr 2024 | 01:13:37 | |
“Life moves pretty fast. If you don't stop and look around once in a while, you could miss it." Talking About Ferris Bueller’s Day Off with our guest, dialect coach William ConacherIn this episode of Movies We Like, Andy Nelson and Pete Wright are joined by renowned dialect coach William Conacher to discuss his fascinating career and the beloved classic Ferris Bueller's Day Off. Conacher shares his journey from actor to dialect coach, working on projects like The Crown, Spencer, and No Time to Die, and the intricate process of teaching actors to master various accents and dialects.Conacher delves into the art of breaking down accents into teachable components, the importance of finding authentic speech samples, and the challenges well-known actors face when taking on accents, noting that they often receive more scrutiny and criticism compared to lesser-known actors, even when their accents are executed perfectly. He also shares insights on his role as a dialogue supervisor and the nuances of coaching actors in different languages and time periods.The discussion touches on Conacher's experience working with actors like Kristen Stewart, Rami Malek, and members of the cast of The Crown, as well as his approach to coaching made-up dialects in films like The Chronicles of Narnia: Prince Caspian. Conacher also explores the diversity of London accents and the influence of ethnicity and culture on speech patterns.Ferris Bueller's Day Off remains a timeless classic that continues to captivate audiences with its wit, charm, and unforgettable performances. William Conacher's expertise and insights into the world of dialect coaching add a fascinating layer to the appreciation of this beloved film. Join Andy, Pete, and William as they celebrate the enduring appeal of Ferris Bueller's Day Off and explore the art of bringing authentic voices to the screen.Film Sundries
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| Mulholland Dr. • The Next Reel | 18 Apr 2024 | 01:10:15 | |
“It'll be just like in the movies. We'll pretend to be someone else.” A Winding Road to ProductionDavid Lynch's Mulholland Dr. started life as a television pilot for ABC, but when the network passed on the project, Lynch reworked it into a feature film. The resulting movie is a surreal, non-linear exploration of the dark side of Hollywood, blending elements of mystery, romance, and psychological horror. Join us – Pete Wright and Andy Nelson – as we continue the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about Mulholland Dr.Dreams, Illusions, and the Seedy Underbelly of TinseltownIn our discussion, we delve into the film's complex narrative structure and the various interpretations of its plot. At least how we see it. We examine how Lynch uses the concept of dreams and illusions to explore the characters' psyches and the darker aspects of the entertainment industry. The film's cinematography, nominated for a Spirit Award, is also a focal point of our conversation, as we analyze how Lynch and his team create a haunting, dreamlike atmosphere that enhances the story's themes.Unraveling the Mysteries of Mulholland Dr.
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| Memento • Rebroadcast • The Next Reel | 15 Apr 2024 | 01:02:33 | |
"You can’t trust a man’s life to your little notes and pictures.” REBROADCASTChristopher Nolan’s second film, Memento from 2001, caught a lot of attention on its release. The clever screenplay structure where the story unfolds both forward and backward in time creates an experience much like that of our protagonist Leonard Shelby (wonderfully played by Guy Pearce), a man suffering from anterior grade memory loss. Some people said Memento was too clever for its own good or that it was all style with little substance. Others found it to be incredibly creative with a unique story exploring the psychology of our character. No matter how you approach it, Memento is a film worth looking at in greater depth. Join us – Pete Wright and Andy Nelson – as we kick off our twist endings series called ‘Spoiled. Rotten?’, in which we debate if a film is ruined if you already know the twist. Pete’s selection is Nolan’s 2001 film Memento.Here’s a hint at what we talk about.What do we think of twist endings? In the world of twist endings, what are some that work for us and some that don’t? Do we find Memento to be an effective example, even if the twist ending actually happens at the midway point of the chronological story? Guy Pearce is always wonderful, but it’s so great seeing Carrie-Anne Moss and Joe Pantoliano together again right on the heels of their success with The Matrix. How much do we actually understand the story and what are our opinions about what really happened with Leonard, Sammy, and the mysterious John G? Nolan started working with Wally Pfister here as his cinematographer and David Julyan composed music. Do we like the look and music? And how much do we love this film as compared to so many who clearly hate it?It’s a strong entry into our catalogue and one we’re glad to have discussed. The twists hold up and we have a great time talking about them. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.
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| Hedwig and the Angry Inch • The Next Reel | 11 Apr 2024 | 00:48:15 | |
“It’s what I have to work with.” Adapted from the critically acclaimed Off-Broadway musical, Hedwig and the Angry Inch tells the story of an East German rock star on a journey of self-discovery. Directed by and starring John Cameron Mitchell, the film premiered at the 2001 Sundance Film Festival. Join us – Pete Wright and Andy Nelson – as we continue the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about Hedwig and the Angry Inch.With standout performances from Mitchell as well as Michael Pitt and Miriam Shore, Hedwig wrestles with difficult questions around gender that still resonate today. While our opinions differ on certain story elements, both agree the trailblazing musical remains an artful and subversive work.We discuss some musical numbers, the complex journeys of Hedwig, Yitzhak, and ‘antagonist’ Tommy Gnosis, as well as supporting roles from Andrea Martin and Stephen Trask. Debates emerge around how the film brings its story to a close through dreamlike imagery. Both come to appreciate Hedwig even more through discussing its timeless message of self-acceptance.With weighty themes balanced with humor and rock, the film leaves much to contemplate. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries
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| The Deep End • The Next Reel | 04 Apr 2024 | 00:57:04 | |
“Make a sound and I’m going to drown you in the lake.” A Sundance Standout That Earned Cinematography HonorsScott McGehee and David Siegel, the directing duo behind The Deep End, began developing the project in the late 1990s. Inspired by the 1940s novel The Blank Wall by Elisabeth Sanxay Holding and the 1949 film adaptation The Reckless Moment directed by Max Ophüls, they set out to create a modern noir thriller centered around a mother's fierce love and protection for her son. With the help of cinematographer Giles Nuttgens, they crafted a visually stunning and emotionally charged film that caught the attention of the Sundance Film Festival and beyond. Join us – Pete Wright and Andy Nelson – as we continue the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about The Deep End.A Mother's Love, a Son's Secret, and a Blackmailer's AgendaIn our discussion of The Deep End, we explore the central premise of the film – a mother who discovers a dead body and believes her son is responsible. Tilda Swinton portrays Margaret Hall, a woman who makes a quick decision to cover up the crime. As the plot progresses, a blackmailer enters the picture, complicating matters further. While we both appreciate aspects of the film, we find ourselves divided on the effectiveness of the story and Swinton's performance. The cinematography, however, remains a standout element, earning its Independent Spirit Award nomination.Other Discussion Points
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| The American Astronaut • The Next Reel | 28 Mar 2024 | 00:54:12 | |
“I’ve never understood this joke, but then I’ve never been to Earth.” Shooting for the Stars on a Shoestring BudgetIn 1996, writer/director Cory McAbee set out to make a wholly unique film that blended elements of science fiction, Western, comedy and musical genres. With a background in music and short films, McAbee threw everything he had into crafting the world of The American Astronaut. Shot on stark black and white 35mm film, this low-budget labor of love caught the attention of the Film Independent Spirit Awards, earning a Best Cinematography nomination. Join us – Pete Wright and Andy Nelson – as we kick off the 2002 Film Independent Spirit Awards Best Cinematography Nominees series with a conversation about McAbee’s 2001 film The American Astronaut.Traversing the Quirky Universe of The American AstronautOur discussion launches into the film's fascinating blend of genre tropes and cinematic influences. The lo-fi special effects, particularly in depicting space travel, somehow work perfectly in the established universe. We marvel at the creative framing and cinematography that elevate the low-budget production design. The memorable musical numbers get us singing along. At the heart of the story, we explore how this space Western playfully taps into themes of masculinity and loneliness across the cosmos.Further Points of Discussion
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| Wuxia Unleashed: Leon Hunt & Chris Hamm on Martial Arts and Myth • Cinema Scope • Bonus Episode | 27 Mar 2024 | 01:18:21 | |
In this inaugural episode of Cinema Scope, host Andy Nelson is joined by professors Leon Hunt and Chris Hamm to explore the captivating world of wuxia, a Chinese film genre that blends philosophy, action, and legend. They discuss the key elements that define wuxia, such as the chivalrous heroes, period settings, and fantastical elements, as well as the concept of jianghu, a unique world within wuxia stories.Leon and Chris trace the evolution of wuxia from its roots in early Chinese literature to its influence on other genres, including Hollywood blockbusters. They also highlight notable works like A Touch of Zen, The Bride with White Hair, and Crouching Tiger, Hidden Dragon, analyzing their contributions to the development and popularity of wuxia cinema.This engaging and informative episode will deepen your appreciation for the richness and complexity of the wuxia genre, inspiring you to explore more of these captivating films.Film Sundries
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| Actor Patrick Fabian on The Man Who Would Be King • Movies We Like | 25 Mar 2024 | 00:58:22 | |
“You call it luck. I call it destiny.” Talking About John Huston’s The Man Who Would Be King with our guest, actor Patrick FabianIn this engaging episode of Movies We Like, hosts Andy Nelson and Pete Wright are joined by special guest Patrick Fabian to discuss John Huston's epic adventure film, The Man Who Would Be King. Fabian, known for his roles in numerous TV shows and films, including his standout performance as Howard Hamlin in Better Call Saul, shares his passion for this classic movie and how it inspired him to pursue a career in acting.Throughout the episode, Fabian delves into his early days as an aspiring actor, from his time as a band president in high school to his decision to pursue a master's degree in theater at Cal State Long Beach. He also shares anecdotes about his experiences working on various television shows and the valuable lessons he learned along the way, such as the importance of persistence and adaptability in the face of rejection.As the conversation turns to The Man Who Would Be King, Fabian expresses his admiration for the film's sense of adventure, the strong bond between the lead characters, and the captivating performances by Sean Connery and Michael Caine. The hosts and guest explore the movie's themes, its representation of colonialism, and the enduring appeal of its grand storytelling.The Man Who Would Be King is a timeless adventure that continues to enthrall audiences with its sweeping narrative, unforgettable performances, and exotic locales. Andy Nelson, Pete Wright, and Patrick Fabian's engaging discussion about the film and Fabian's fascinating career journey make this episode of Movies We Like a must-listen for fans of classic cinema and those interested in the world of acting. Join them as they celebrate the enduring power of storytelling and the indelible impact that a single film can have on one's life and career.Film Sundries
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| Soul Food • The Next Reel | 21 Mar 2024 | 01:09:46 | |
“My grandma always said, ‘Family pulling together in times of need will make it strong.’” The Family That Eats Together: A Discussion of Soul FoodBefore Soul Food hit theaters in 1997, writer and director George Tillman Jr. struggled to get his first feature film made. After selling the script, the production company went under before filming began. Undeterred, Tillman persevered and found new backing from Kenneth “Babyface” Edmonds and his wife Tracey. Their shared vision brought Tillman’s semi-autobiographical story to life. Soul Food went on to become a breakout hit, launching Tillman’s career and sparking an ongoing debate about family, culture, and tradition.Join us – Pete Wright and Andy Nelson – as we continue the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Tillman Jr.’s 1997 film Soul Food.Digging into Family, Food, and ForgivenessIn our lively discussion, we dig into the joys and tensions of the Joseph family’s Sunday dinners. We’re divided on the effectiveness of young Ahmad’s voiceover narration as a narrative device. The family relationships feel authentic, with standout performances from the actresses playing the three sisters – Vanessa Williams, Vivica A. Fox, and Nia Long. However, we take issue with some of the easy storytelling choices, especially regarding Lem’s return to prison. The “fairy tale” ending strains believability more for Andy than Pete, but it does raise thought-provoking questions about the role of food and togetherness in absolving past wrongs.More Food for Thought
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| Love Jones • The Next Reel | 14 Mar 2024 | 00:49:46 | |
“Romance is about the possibility of the thing.” Love Jones hit theaters in 1997 as writer/director Theodore Witcher’s acclaimed debut. With an eclectic jazz soundtrack and romantic story filled with poetry slams, complex relationships, and career passions, the film earned praise and award nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Witcher’s 1997 film Love Jones.We Are at Odds With These Characters and Their Messy RelationshipsIn our lively chat, we dive into the characters and their relationships. We discuss how Andy connect’s with Nina and Darius’ messy, on-again-off-again romance and the realistic motivations behind their poor decisions – whereas Pete does not. Though we don’t always agree, we explore their complex connection and the miscommunications and betrayals that plague their path to love. Their story represents one filled with the universal relationship struggles we all face on the road to maturity. But does the script work? A Few Additional Areas of Conversation Regarding Love Jones
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| The Invincible Six | 23 Oct 2025 | 00:59:40 | |
“I tell you something, man, I’d really love to get my hands on that sleepy-eyed bastard.” From Iran With Mayhem: The Curious Case of The Invincible Six Jean Negulesco's 1970 action-adventure The Invincible Six represents a fascinating moment in Iranian cinema history. Shot during Iran's pre-revolution period of international co-productions, this Seven Samurai-inspired tale brought together an eclectic international cast including Stuart Whitman, Elke Sommer, and Curt Jurgens. The film, adapted from Michael Barrett's novel "The Heroes of Yuca," transplants its source material from South America to the Iranian desert, showcasing the country's dramatic landscapes through Negulesco's celebrated widescreen compositions. Join us—Pete Wright and Andy Nelson—as we wrap up our return to our Seven Samurai Family series with a conversation about The Invincible Six. A Peculiar Addition to the Seven Samurai Legacy Pete and Andy explore how this unique entry fits into their ongoing examination of Seven Samurai-inspired films. While acknowledging the film's numerous flaws, they find themselves surprisingly engaged by its peculiar charms, particularly the chemistry among its international ensemble cast and the film's ambitious use of Iranian locations. Technical Achievement vs Narrative Struggles Despite working with significant technical limitations (the only available version being a poor-quality 4:3 VHS transfer), the hosts recognize Negulesco's skilled visual composition and effective use of the Iranian landscape. They discuss how the director's expertise with CinemaScope potentially created a more visually striking film than what's currently available to viewers. Key discussion points include:
Pete and Andy spend considerable time discussing the cast's contributions, particularly highlighting Stuart Whitman's charismatic presence and Curt Jurgens' welcome appearance. They also explore the historical context of Iranian international co-productions and how The Invincible Six marked the end of Negulesco's ambitious plans for further Iranian-American collaborations. 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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| Jackie Brown • The Next Reel | 07 Mar 2024 | 00:59:20 | |
“Let’s be realistic. Now, sooner or later, they’re going to get around to offering me a plea deal, and you know that. That’s why you are here to kill me.” Jackie Brown Rides High in Tarantino’s Homage to BlaxploitationQuentin Tarantino burst onto the film scene in the 1990s with unique stylistic choices and sharp dialogue. After achieving critical acclaim for Reservoir Dogs and Pulp Fiction, Tarantino turned to Elmore Leonard’s novel Rum Punch for his third directorial effort, Jackie Brown. Set in the seedy underworld of gun runners and bail bondsmen, Jackie Brown pays homage to 1970s blaxploitation films while putting Tarantino’s signature spin on the crime thriller genre.Join us – Pete Wright and Andy Nelson – as we continue our 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Tarantino’s 1997 film Jackie Brown.Fun With Time, Great Performances, and ControversyWe dive deep into Tarantino’s playful use of time jumps, split screens, and flashbacks to reveal the intricacies of the heist plot. The stellar cast shines, especially Pam Grier in the title role and Robert Forster as the bail bondsman helping her out, not to mention turns by Robert De Niro, Samuel L. Jackson, Bridget Fonda, and Michael Keaton. We also touch on the controversy around Tarantino’s use of the N-word. Overall, we find lots to love in this homage-filled film.More Topics From Our Chat
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| Eve’s Bayou • The Next Reel | 29 Feb 2024 | 00:54:57 | |
“Memory is a selection of images, some elusive, others imprinted indelibly in the brain. The summer I killed my father, I was ten years old.” Exploring the Layers of Eve's BayouWith her moody directorial debut Eve's Bayou, independent filmmaker Kasi Lemmons immerses us in a vividly realized Louisiana bayou community in the 1960s. Through the eyes of daughter Eve Batiste, we witness the complexity of her affluent African-American family as simmering secrets threaten to tear them apart. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees with a fascinating discussion about Lemmons’ 1997 film Eve's Bayou.Capturing the Complexities of FamilyAt its core, Eve's Bayou is a film about the intricacies of family - both its warmth and its darkness. We analyze the exceptional performances, particularly from Lynn Whitfield as the dignified matriarch and Debbi Morgan as the insightful aunt. The perspective from daughter Eve gives an intimate viewpoint on the shifting family dynamics.More to Explore in Eve’s Bayou
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| Costume Designer Antoinette Messam on Amélie • Movies We Like | 26 Feb 2024 | 01:13:25 | |
Talking About Jean-Pierre Jeunet’s Amélie with our guest, Costume Designer Antoinette MessamOn this episode of Movies We Like, we speak with costume designer Antoinette Messam about her incredible career in film and one of her favorite movies, Jean-Pierre Jeunet's magical 2001 film Amélie.We have a fascinating conversation with Antoinette about her journey into costume design, including rebelling against family expectations, finding her way from fashion to film, and learning on the job. She shares amazing stories about her experience collaborating with directors like Ryan Coogler (Creed), F. Gary Gray (Lift), and Jeymes Samuel (The Harder They Fall, The Book of Clarence), and dressing icons like Sylvester Stallone and Michael B. Jordan.When it comes to Amélie, we dive deep into the stunning use of color and how it brings the whimsical world to life. Antoinette explains how the color palette was meticulously constructed through collaboration between the director, production design, costume, and more - truly effortless worldbuilding. We also discuss the joyful spirit of the film, Audrey Tautou’s masterful performance, and how the music perfectly complements the visuals.Our chat with Antoinette gives rare insight into the art of costume design and the magic of movies. Amélie is a vibrant, feel-good film with incredible attention to detail that we highly recommend. We have an amazing time learning from Antoinette's experiences and perspectives on this delightful movie.Film Sundries
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| Waterworld • The Next Reel | 22 Feb 2024 | 01:09:01 | |
“He’s a wily one, that ichthy-demon.” Waterworld: Sinking Budgets and Soaring SpectacleIn the early 1990s, Kevin Costner was riding high after hits like Dances with Wolves and Robin Hood: Prince of Thieves. He teamed up again with his Robin Hood director Kevin Reynolds for an ambitious post-apocalyptic aquatic adventure called Waterworld. With its massive scale and elaborate water-based sets, the production quickly sank into major budget overruns and production nightmares.Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Reynolds’ 1995 film Waterworld.Diving Into Our Waterworld ChatWe dive deep into the troubled production and how it still managed to deliver an entertaining aquatic spectacle despite going way over budget. The world building stands out, creating an immersive post-apocalyptic seafaring society even if some plot points strain believability.More Topics From Our Wide-Ranging Water Chat
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| Showgirls • The Next Reel | 14 Feb 2024 | 01:09:42 | |
"Thrust it! Thrust it!” Before the sequins and controversy hit the screen, Showgirls was a script that sparked excitement for its bold take on the glitz and grunge of Las Vegas life. Helmed by Paul Verhoeven and penned by Joe Eszterhas, the duo behind the provocative hit Basic Instinct, expectations were high for this journey into the world of Vegas showgirls. Yet, the resulting film would divide audiences and critics, becoming a cult classic for some and a cautionary tale of excess for others. The backdrop was set for a film that would be discussed and dissected for years to come. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Showgirls.Here's a hint at what we talk about.In this deep dive, Pete and Andy explore the contentious legacy of Showgirls, a film that's danced its way into infamy. They discuss the film's place in the 1995 Golden Raspberry Awards as a Worst Director Nominee, debating whether the film's over-the-top style was a misguided misstep or a misunderstood stroke of satirical genius. The hosts don't always see eye-to-eye, revealing a schism in their takes on the film's execution and its thematic intentions. They ponder whether Elizabeth Berkley's performance as Nomi was intentionally exaggerated to serve the film's satirical edge or if it was a misdirection that led to its critical panning. As part of their series on the Razzies, they delve into the broader conversation about what the nomination means for Showgirls and its place in cinematic history.Here are a few other points in our discussion.
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| The Scarlet Letter • The Next Reel | 08 Feb 2024 | 01:02:22 | |
“Why do you wait? Put it on for it is not a badge of my shame, but your own.” Roland Joffé took on the challenge of adapting Nathaniel Hawthorne’s classic 1850 novel The Scarlet Letter for the big screen in 1995. With a passion for the source material and a vision to expand the story in ways he felt Hawthorne was restricted from doing, Joffé assembled an impressive cast including Demi Moore, Gary Oldman and Robert Duvall. However, despite his noble intentions, many critics felt Joffé’s reach exceeded his grasp. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about The Scarlet Letter.Here's a hint at what we talk about:We discuss how Joffé's ambitions to elevate the material and expand the story ended up making the film feel overstuffed and unfocused. The heavy-handed symbolism, like the constantly reappearing "red bird of passion," also didn't work for us. And we both found the new "happy ending" Joffé devised to be a disappointment compared to the novel's more downbeat conclusion. However, we do appreciate his attempts to incorporate more of the indigenous American perspective.Here are a few other points in our discussion:
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| CutThroat Island • The Next Reel | 01 Feb 2024 | 00:57:20 | |
“Congratulations, Morgan. There’s another town you’ve destroyed.” After the success of Die Hard 2 and Cliffhanger, director Renny Harlin wanted to establish his wife Geena Davis as an action star. He sought out a swashbuckling pirate adventure script for her to lead. Screenwriters Michael Frost Beckner and James Gorman had written an initial draft, but extensive rewrites resulted in multiple additional credited writers. With Geena Davis attached to the lead role of pirate captain Morgan Adams, finding the right co-lead proved challenging. Michael Douglas was originally set to play opposite Davis but dropped out due to issues over equal screen time. Numerous major stars were offered the role including Tom Cruise, Keanu Reeves, Russell Crowe, Liam Neeson and Daniel Day-Lewis before Harlin settled on Matthew Modine. With the stars finally set, cameras rolled on location in Malta and Thailand. But behind the scenes, the production was plagued with problems that led to massive cost overruns. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Harlin’s 1995 film CutThroat Island.Here's a hint at what we talk about:We discuss the issues with the constantly evolving script and poor dialogue, along with miscasting of the leads and lack of chemistry between Davis and Modine. We also get into the impressive practical effects and action set pieces, despite flaws elsewhere. And we talk about the legendary reputation of this box office bomb that sunk Carolco Pictures.Here are a few other points in our discussion:
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| Congo • The Next Reel | 25 Jan 2024 | 00:57:04 | |
“Are you serving that ape a martini?” In the early 1990s, following the massive success of Jurassic Park, studios were eager to adapt more of Michael Crichton’s popular novels to film. Congo had been published back in 1980 but no one had figured out how to bring the complicated story to the big screen. After the rights bounced around for years, Paramount finally secured them in 1994 and began fast-tracking production. Director Frank Marshall was fresh off hits like Alive and Arachnophobia when he signed on, along with an all-star cast including Laura Linney, Dylan Walsh, Ernie Hudson, and Tim Curry. But the difficult shoot on location in Africa plagued the production. Despite high hopes, the film flopped critically when it was released in 1995, earning Marshall a Razzie nomination for Worst Director. Join us – Pete Wright and Andy Nelson – as we kick off the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Marshall’s 1995 film Congo.Here's a hint at what we talk about.In this lively discussion, we dig into the pre-production and challenges behind adapting Michael Crichton’s 1980 novel to the big screen in 1995. We discuss the all-star cast and debate whether the directing, acting, or weak script led to poor character development and lack of chemistry. We also analyze the cultural portrayal and exploitation of Africa in cinema at the time.Here are a few other points in our discussion:
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| Special Effects Supervisor Chris Reynolds on Cinema Paradiso • Movies We Like | 22 Jan 2024 | 01:05:50 | |
“Life isn't like in the movies. Life... is much harder.” Talking About Cinema Paradiso with our guest, Special Effects Supervisor Chris ReynoldsIn this magical episode, we chat with veteran special effects artist and supervisor Chris Reynolds about his storied career bringing movies to life through innovative engineering and technology. Our focus is the classic Cinema Paradiso, a nostalgic ode to the glory days of cinema that inspired Chris from an early age.Chris has built an impressive 40-year career in special effects, rising from technician to supervisor. He regales us with tales of his early days at the BBC, where he cut his teeth on classics like Blackadder. From blowing up haggis to sculpting giant lips, Chris learned to create imaginative practical effects on the fly across every genre. His passion for storytelling shines through as he discusses favorite projects, including some he worked on like Philip K. Dick’s Electric Dreams, and others he didn't, like Battle of Britain.Turning to Cinema Paradiso, we unpack the magic of this film that celebrates the power of cinema to transport us. We all agree the performances are fantastic, especially Salvatore Cascio as the young Toto. And Ennio Morricone’s iconic score ties it all together. The ending montage of kisses cut by the priest is pure movie magic. Chris gives the inside scoop on the fire sequence, rating its mixed effectiveness from a special effects supervisor's perspective. He also shares which version he prefers between the Director’s Cut and the international release.Overall, Cinema Paradiso captures a sense of childlike wonder and nostalgia for the romanticism of old Hollywood. Chris gives us an insider’s view into the art and craft of moviemaking. For any cinema lover, this is a must-listen episode.Film Sundries
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| RoboCop • The Next Reel | 18 Jan 2024 | 01:19:55 | |
“Dead or alive, you are coming with me.” In 1987, screenwriters Edward Neumeier and Michael Miner developed an original story idea while working on the set of Blade Runner. They envisioned a dystopian future where privatized police forces maintained law and order. After pitching the concept to studios, Orion Pictures greenlit the production of RoboCop, directed by Dutch filmmaker Paul Verhoeven. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about RoboCop.Here's a hint at what we talk about:We dive into the amazing practical effects created by Rob Bottin and Phil Tippett, including RoboCop himself, ED-209, the toxic waste scenes, and more. We discuss Paul Verhoeven's unique directorial vision and how he used over-the-top violence to achieve a satirical tone. The film's sharp and funny social satire provides critical commentary on privatized policing and corporate greed that still resonates today.Here are a few other points in our discussion:
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| Battle Beyond the Stars | 16 Oct 2025 | 00:56:52 | |
“Live fast, fight well, and have a beautiful ending.” Space Cowboys and Samurai Meet in Roger Corman's Star Wars Roger Corman's 1980 space opera Battle Beyond the Stars reimagines Akira Kurosawa's Seven Samurai with a distinctly B-movie flair. Directed by Jimmy T. Murakami from a John Sayles screenplay, this low-budget response to Star Wars features Richard Thomas as a young hero gathering warriors to defend his peaceful farming planet from an intergalactic warlord. With early work from James Cameron as art director and James Horner composing, the film showcases talent that would later define 1980s science fiction. Join us—Pete Wright and Andy Nelson—as we continue the Seven Samurai Family series with a conversation about Battle Beyond the Stars. A Star-Studded B-Movie Cast Pete and Andy explore the film's impressive ensemble, including George Peppard as Space Cowboy, Robert Vaughn essentially reprising his Magnificent Seven role, and Sybil Danning as a fierce Valkyrie warrior. They particularly praise John Saxon's scenery-chewing turn as the villainous Sador and discuss how Richard Thomas serves effectively as an audience surrogate despite a somewhat bland protagonist role. Seven Samurai in Space The hosts examine how Battle Beyond the Stars adapts the core elements of Seven Samurai while adding distinctly space opera touches. They note how the film manages to establish its diverse warrior characters and their motivations efficiently despite its shorter runtime, while maintaining the original's themes of sacrifice and community defense. Key discussion points include:
Pete and Andy discuss how Battle Beyond the Stars exemplifies Roger Corman's talent for maximizing limited resources while nurturing future talent. They explore how the film's assets were recycled in numerous subsequent productions, and its place in both the Corman filmography and space opera genre. 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 Princess Bride • The Next Reel | 11 Jan 2024 | 01:09:26 | |
"This is true love. You think this happens every day?" After William Goldman's novel The Princess Bride was published in 1973, film studios immediately saw its potential and vied for the movie rights. 20th Century Fox won out, paying Goldman to adapt his novel into a screenplay. But after languishing in development hell for over a decade, Rob Reiner and Norman Lear finally brought Goldman's fantastical fairy tale to the big screen in 1987. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about one of our non-nominees The Princess Bride.Here's a hint at what we talk about:We discuss the film's classic quotable lines, unforgettable characters like Inigo Montoya and Fezzik, the comedic yet sinister Prince Humperdinck, and the palpable on-screen chemistry between Robin Wright and Cary Elwes. We also analyze Goldman's brilliant meta approach to the novel and script, the film's purposefully unrealistic visual effects, and how Rob Reiner adeptly brought this iconic fairy tale parody to life.Here are a few other points in our discussion:
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| Predator • The Next Reel | 04 Jan 2024 | 01:13:29 | |
“There’s something out there waiting for us, and it ain’t no man. We’re all going to die.” After the huge success of Rocky IV in 1985, screenwriters Jim and John Thomas saw an opportunity for another Rocky film where he'd have to fight an alien, calling it "Rocky vs Predator." They developed the idea into a script titled "Hunter" about a group of alien hunters looking for the most dangerous prey. Unable to get interest, they slipped it under producer Michael Levy's door who loved it. Levy brought it to producer Joel Silver who also loved it. Silver brought in action star Arnold Schwarzenegger, who suggested changing it from one man against the creature to a team for more dynamics. Director John McTiernan was hired for his first studio film. With a budget under $20 million and filming in the jungles of Puerto Vallarta, Mexico, Predator began production.Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Predator.Here's a hint at what we talk about:We discuss the excellent creature design and visual effects that still hold up today in making the cloaked Predator feel dangerous and threatening. The story structure shifts cleverly from a military rescue mission to sci-fi horror when the alien arrives. We admire the directing style of McTiernan in generating tension and fear. Character dynamics are touched on, along with some problematic elements.Here are a few other points in our discussion:
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| The Lost Boys • The Next Reel • Member Bonus | 31 Dec 2023 | 01:20:33 | |
“Kill your brother, you’ll feel better.” The 80s were a transformative time for vampire films, leading studios to rethink the genre and develop sexier, edgier stories for modern audiences. Under Joel Schumacher’s direction, The Lost Boys brought together attractive young stars, iconic music, and cutting-edge special effects to create an instant cult classic. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about The Lost Boys. Here's a hint at what we talk about:We dive into the homoerotic subtext Schumacher wove throughout the film, from the casting to the costumes to set decor details. Though subtle, these elements enriched the story in ways we didn’t fully appreciate until now. We also discuss how the film’s Santa Cruz setting, portrayed fictionally as the murder capital Santa Carla, nicely matched its dark tale of teenage vampires. And we can’t neglect the movie’s stellar 80's soundtrack, which indelibly linked this movie with its musical era. (Plus, Sweaty Sax Guy!)Here are a few other points in our discussion:
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| Innerspace • The Next Reel | 28 Dec 2023 | 00:52:07 | |
“You just digested the bad guy.”Innerspace came about after Jeffrey Boam took Chip Proser’s original script and injected comedy into the straightforward sci-fi concept. With Joe Dante directing and Steven Spielberg executive producing, the film had the freedom to push boundaries. Join us – Pete Wright and Andy Nelson – as we kick off our 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Dante’s 1987 film Innerspace. Here's a hint at what we talk about:We discuss the impressive visual effects that still hold up decades later, from the microscopic inner body sets to the giant props used for the miniaturized villains. Though we find some plot holes and dated elements, we agree that Martin Short’s performance, the chemistry between him and the other two leads (Dennis Quaid and Meg Ryan), and the film’s playful tone make Innerspace an enduringly fun watch. Here are a few other points in our discussion:
Film Sundries
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| Rollerball • The Next Reel | 21 Dec 2023 | 00:57:17 | |
“Game? This wasn’t meant to be a game. Never!”James Caan stars as Jonathan E., a legendary athlete in the brutal sport of Rollerball in Norman Jewison’s 1975 dystopian sci-fi thriller. With a screenplay by William Harrison based on his short story, Jewison intended the film as a critique of exploitative sports and their dehumanizing effects. However, audiences were enthralled by the violent future sport depicted. Rollerball entered a crowded field of 1970s dystopian sci-fi, alongside classics like A Clockwork Orange. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Rollerball.Here's a hint at what we talk about:We discuss Rollerball as an early example of dystopian sports cinema, designed to make a point about authoritative control. Though we find flaws, like some pacing issues, we agree that Rollerball was prescient in its corporate allegory. We also touch on the fascinating real-world attempts to turn the fictional sport of Rollerball into a reality.Here are a few other points in our discussion:
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| Cinematographer Erik Messerschmidt on Chinatown • Movies We Like | 18 Dec 2023 | 01:02:47 | |
“You may think you know what you’re dealing with, but you don’t. Believe me.”Talking About Chinatown with our guest, Cinematographer Erik MesserschmidtRoman Polanski's 1974 neo-noir Chinatown is regarded as one of the greatest films of all time. In this episode, we're joined by Academy Award-winning cinematographer Erik Messerschmidt to discuss this masterpiece of cinema. We start by talking to Erik about his passion for filmmaking and what led him to a career in cinematography. He shares how he was drawn to the camaraderie and creative collaboration of working on set. Over time he realized the cinematographer role allowed him to blend his interests in art, science, and technology. When it comes to Chinatown, Erik praises the elegant camerawork and seamless visual storytelling. Polanski uses the camera deliberately, guiding the audience through clues and reveals without excessive dialogue. The mystery unfolds through precise editing and minimalist framing. We also discuss the phenomenal performances and how Polanski pulls back at key moments to ground the major plot turns. Chatting with Erik gave us a new appreciation for the nuance and artistry of Chinatown. It's a masterclass in subtle visual storytelling that inspired generations of filmmakers. Roman Polanski's direction and Robert Towne's script form a potent combination. We highly recommend revisiting this neo-noir gem. Film Sundries
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| Monty Python and the Holy Grail • The Next Reel | 14 Dec 2023 | 01:09:17 | |
“Oh, what sad times are these when passing ruffians can say ‘Ni!’ at will to old ladies. There is a pestilence upon this land, nothing is sacred. Even those who arrange and design shrubberies are under considerable economic stress in this period in history.”After the immense success of Monty Python’s Flying Circus on television, the Python troupe set out to take their unique brand of absurd (møose) comedy to the big screen. Securing funding from rock stars and record companies, they scraped together a modest budget and set out to create a silly sendup of the legend of King Arthur. Shooting on location at a couple of castles, they used low-budget tricks like smoke machines and clever framing to build an entirely new medieval world. Armed with coconuts and a killer rabbit, Monty Python unleashed their wit upon the Round Table and llamas everywhere, spawning an instant cult classic. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Monty Python and the Holy Grail. Here's a hint at what we talk about:We gush over the brilliant comedic writing, discussing how each joke builds upon the last to create a fully formed world of nonsense. The clever framing allows the limited locations to represent far more of Arthur's moose than actually existed. We praise the meta elements like the voice of god and the police abruptly ending the quest. The French taunting scene stands out as a highlight. While Pete finds some scenes drag, the overall effect remains potent even after countless viewings. Here are a few other points in our discussion:
Film Sundries
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| Dark Star • The Next Reel | 07 Dec 2023 | 00:54:14 | |
“Don’t give me any of that ‘intelligent life’ stuff. Find me something I can blow up!”John Carpenter and Dan O'Bannon met as film students at USC in the early 1970s. Together they created a 45-minute student film called Dark Star that ended up gaining traction on the film festival circuit. With additional funding, they expanded it into a feature film that was released in 1974. This sci-fi comedy film became a cult classic, despite its tiny budget and limited release. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Dark Star.Here's a hint at what we talk about:In our discussion of Dark Star, we dive into the film's origins as a student project and how it evolved into a feature film. We analyze the absurdist tone and philosophy of the story, as well as the mix of comedy and horror elements. Though we find some flaws, we appreciate the ambition and creativity behind this early work by Carpenter and O'Bannon. Here are a few other points in our discussion:
Film Sundries
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| A Boy and His Dog • The Next Reel | 30 Nov 2023 | 00:56:18 | |
“You’re so funny when you’re sexually frustrated.”In 1975, producer Alvy Moore teamed up with director L.Q. Jones to bring Harlan Ellison’s 1969 novella A Boy and His Dog to the big screen. With a budget of just $400,000, Jones cast newcomer Don Johnson alongside canine actor Tiger in this post-apocalyptic sci-fi that would go on to earn acclaim and cult status. Join us – Pete Wright and Andy Nelson – as we kick off the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about A Boy and His Dog.Here's a hint at what we talk about:We dive into the fascinating dystopian world depicted in the film, analyzing how the survivalist society shapes the animalistic characters. We discuss the interesting gender politics and debate whether the controversial elements hold up today. And we talk about the great casting, including Don Johnson's standout performance and the fitting voice work for Blood. Here are a few other points in our discussion:
Film Sundries
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| The Train • The Next Reel | 23 Nov 2023 | 00:58:20 | |
“A painting means as much to you as a string of pearls to an ape.” In the early 1960s, French author Rose Valland pitched the idea for The Train to producer Jules Bricken. Valland had worked at the Jeu de Paume Museum in Paris during World War II, overseeing the Nazi looting of French art treasures. Intrigued by her true story of resisting Nazi art theft, Bricken brought in director Arthur Penn to develop the film. Penn saw it as a vehicle for his friend Burt Lancaster and got him on board to star and co-produce. But creative differences led Penn to depart the project, with action director John Frankenheimer taking over. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Train. Here's a hint at what we talk about:We dive into the real history behind this fictionalized account of protecting French art from the Nazis in WWII. We discuss Frankenheimer’s groundbreaking filming techniques using real trains and locations. And we debate the deeper themes around valuing art over human life. Here are a few other points in our discussion:
Film Sundries
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| Sholay | 09 Oct 2025 | 01:10:37 | |
“They are criminals, no doubt. But they’re brave. They’re dangerous because they know how to fight. They’re bad, but there’s a good side to them as well.” From Curry Western to Cultural Phenomenon: Sholay at 50 Released in 1975, Ramesh Sippy's Sholay revolutionized Indian cinema by blending Western genre conventions with Bollywood sensibilities. This epic action-adventure, starring Amitabh Bachchan and Dharmendra, took the "dacoit Western" subgenre to new heights while drawing inspiration from Seven Samurai. Initially struggling at the box office, Sholay went on to become one of Indian cinema's most influential films, running continuously in theaters for over 19 years. Join us—Pete Wright and Andy Nelson—as we wrap up our Golden Jubilee: 1975's Pioneering Visions in Global Cinema series and kick off our Seven Samurai Family series with a conversation about Sholay. A Genre-Defying Masterpiece Pete and Andy explore how Sholay successfully meshes multiple genres—western, action, musical, and comedy—while maintaining its distinct Indian identity. They discuss the film's stunning visual compositions, from the rocky terrain sequences to the vibrant Holi festival celebrations, noting how these contrasts enhance rather than detract from the narrative. Character Dynamics and Performance The hosts dive deep into the chemistry between Jai (Bachchan) and Veeru (Dharmendra), comparing their relationship to Butch Cassidy and the Sundance Kid. They examine how the film balances their playful friendship with serious dramatic moments, particularly highlighting the emotional impact of their final scene together. Notable Discussion Points:
Andy shares fascinating details about Sholay's enduring cultural impact, from its quotable dialogue becoming part of everyday Indian speech to its songs being used in diplomatic relations. Pete, new to Indian cinema, describes his complete enjoyment of the film despite cultural differences, highlighting its universal appeal. 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 Pumpkin Eater • The Next Reel | 16 Nov 2023 | 01:01:47 | |
“My life is an empty place.”Harold Pinter adapted Penelope Mortimer’s 1962 semi-autobiographical novel The Pumpkin Eater into a screenplay for this 1964 British drama film directed by Jack Clayton. With acclaimed performers Anne Bancroft and Peter Finch on board, Clayton and cinematographer Oswald Morris shot the black and white film partly on location in London and Shepperton Studios. Despite its downbeat subject matter, The Pumpkin Eater was considered a prestige picture with a relatively large budget upon its production. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Pumpkin Eater.Here's a hint at what we talk about:In this episode, we dive deep into the complex psychology of the characters and relationships in The Pumpkin Eater. We discuss how the film provides an intimate portrait of a woman struggling with depression and a crumbling marriage in 1960s England. The stellar performance by Anne Bancroft anchors the film, while the script by Harold Pinter brings emotional honesty through raw, confrontational dialogue. We also analyze how the movie explores challenging themes like women's rights, mental health, fidelity, and family.Here are a few other points in our discussion:
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| Cinematographer Lyn Moncrief on Magnolia • Movies We Like | 13 Nov 2023 | 01:09:54 | |
“This is something that happens.”Talking About Paul Thomas Anderson’s 1999 film Magnolia with our guest, cinematographer Lyn MoncriefOn this episode of Movies We Like, hosts Andy Nelson and Pete Wright invite cinematographer Lyn Moncrief to discuss his career and one of his favorite films, Paul Thomas Anderson’s sprawling 1999 drama Magnolia.We talk with Lyn about how he first got interested in cinematography and making the move to Los Angeles to pursue his passion. He discusses some of his early work in independent films and horror movies, explaining that the genre can allow for creative freedom visually. Lyn also touches on his collaborations with director Emma Tammi, including the recent Five Nights at Freddy's adaptation. When we dive into Magnolia, we analyze the film's unique visual style, editing, and how the different storylines weave together. We highlight standout emotional performances, especially from Tom Cruise and Julianne Moore. We also praise the film's musical interludes featuring songs written for the movie by Aimee Mann. Lyn explains how Magnolia inspired him as a young cinematographer and made him want to be part of ambitious filmmaking. With its sprawling stories, raw performances, and stunning cinematography, Magnolia is truly a modern classic. This was a fascinating discussion about both Lyn's career and one of his favorite films. We clearly had an excellent time geeking out over this towering achievement. Be sure to check out Magnolia if you haven't seen it and listen to Lyn's insights from working in the industry. Film Sundries
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| Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb • Rebroadcast • The Next Reel | 12 Nov 2023 | 01:13:29 | |
"Gentlemen, you can’t fight in here! This is the war room!"REBROADCASTStanley Kubrick didn’t do comedy often which is a shame because “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” is arguably one of the funniest films ever made. What’s interesting is that Kubrick intended on making a serious film about one of his greatest fears at the time: the threat of nuclear war. But after several attempts at finding the right way to tell the story seriously (including one involving aliens watching us from above, discussing our penchant for destruction), he hit on the idea of making it funny. And his dark comedy classic was born. Join us – Andy Nelson and Pete Wright – as we wrap up our brief vacation challenge with Andy’s choice of his favorite end-of-the-world comedy, Kubrick’s 1964 film “Dr. Strangelove.” We talk about how we were introduced to this film and why it may not be a film that one connects to immediately but a film that one has to find the humor over time. We discuss the actors – Peter Sellers, George C. Scott, Slim Pickens, Sterling Hayden, Keenan Wynn, even James Earl Jones in his first screen role – and the level of comedy brilliance they all achieve individually and how it ties to the overall film. We single out Sellers, of course, as we discuss the three roles he played in the film and what makes them all so unique. We touch on the look of the film, shot by Gilbert Taylor with impeccable production design by Ken Adam, pointing out just what it took to make the war room one of the most iconic sets ever made. We mention the sequel that Kubrick wanted to make with the help of Terry Gilliam. And we argue about its placement on our Flickchart, as we inevitably do every week. It’s one of the best films out there and well worth a discussion. Haven’t seen it? Give it a try. Just be aware that you may not connect on the first viewing. This is one of those movies that may need a few shots. But it’ll be well worth it. We promise you. Film Sundries
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| Becket • The Next Reel | 09 Nov 2023 | 01:00:06 | |
“But where is Becket’s honour?”Before cameras could roll on Becket, the film's producers had to secure the screen rights to Jean Anouilh's original French play. Anouilh was initially hesitant to sell the rights, but the persistence of producer Hal B. Wallis convinced him to sign on. With the acclaimed playwright on board, the next task was finding a director who could bring the theatrical story to life on the big screen. The producers eventually landed on Peter Glenville, an experienced theater director who had recently made the jump to film. With Glenville set to direct, Wallis turned his attention to casting the two crucial lead roles. Several big names were considered, but it ultimately came down to Richard Burton and Peter O’Toole. The two actors had never worked together before, but their chemistry and talent made them the perfect choices to embody this complex medieval tale of friendship and betrayal. Join us – Pete Wright and Andy Nelson – as we kick off the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about Glenville’s 1964 film Becket.Here's a hint at what we talk about:We dive deep into the fascinating central relationship between King Henry II and Thomas Becket. Their intimate friendship takes surprising twists and turns, and we examine how Burton and O'Toole bring nuance, humor, and gravitas to their performances. We also discuss how Becket grapples with weighty themes like loyalty, honor, and the separation of church and state. Though we take issue with some historical inaccuracies, we find the film an engrossing character study bolstered by its two talented leads.Here are a few other points in our discussion:
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| A Streetcar Named Desire • The Next Reel | 02 Nov 2023 | 01:02:36 | |
“Stella! Hey, Stella!”Tennessee Williams' Pulitzer Prize-winning play A Streetcar Named Desire took Broadway by storm in 1947. Four years later, director Elia Kazan decided to adapt the play for the big screen, bringing together many members of the original Broadway cast like Marlon Brando, Kim Hunter, and Karl Malden. After a tumultuous pre-production filled with casting conflicts and clashes over censorship, Kazan was finally able to begin filming on location in New Orleans in 1950. The end result was a critical and commercial smash, earning 12 Oscar nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Kazan’s A Streetcar Named Desire.Here's a hint at what we talk about:In this episode, we dive deep into Marlon Brando's electrifying performance as Stanley Kowalski and how it paved the way for method acting in film. We also discuss how Elia Kazan's stage experience enabled him to open up the world of the play through evocative cinematography and set design. Additionally, we analyze Vivien Leigh's complex portrayal of Blanche DuBois and debate whether the film adaptation fully captures the darkness of Tennessee Williams' original story. Here are a few other points in our discussion:
Film Sundries
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| Strangers on a Train • The Next Reel | 26 Oct 2023 | 00:58:11 | |
“Criss cross.”In 1951, Alfred Hitchcock was at a low point in his career after the disappointing critical reception of his previous two films, Under Capricorn and Stage Fright. Desperate for a hit, he wanted to adapt the 1950 Patricia Highsmith novel Strangers on a Train about a chance encounter that leads to a murder pact between two very different men. He bought the rights and enlisted screenwriter Raymond Chandler to adapt the book for the screen. Though Chandler delivered a script, Hitchcock ultimately rejected it in favor of a rewrite by Czenzi Ormonde and an uncredited Barbara Keon. With his leads locked in – Farley Granger as tennis pro Guy Haines and Robert Walker as the villainous Bruno Antony – Hitchcock began production on what would become another tension-filled thriller. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Strangers on a Train. Here's a hint at what we talk about:In this episode, we dive deep into the fantastic performances by Robert Walker as the creepy and charismatic Bruno and Farley Granger as the morally conflicted Guy. We also discuss the homoerotic undertones in the film and how Hitchcock used them to toy with ideas about sexuality and identity. Though we find a few plot holes, overall we both agree this is one of our favorite Hitchcock films thanks to its psychological tension, unique visual style, and fun fairground climax. One of the standout elements of Strangers on a Train is the striking black-and-white cinematography by Robert Burks. In his first collaboration with Hitchcock, Burks brought an experimental flair that heightens the psychological tension. The use of shadows, unique camera angles, stylized lighting, and innovative techniques like the curved lens shot of Miriam's murder create an atmosphere of dread and danger. Burks' innovative work garnered him an Oscar nomination and built the foundation for a longtime partnership with Hitchcock. Strangers on a Train is a taut, psychologically complex thriller brought to life by Hitchcock’s masterful direction. 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! Support The Next Reel Family of Film Podcasts:
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| Persona • A Conversation with Writer/Director Sophie Barthes • Movies We Like | 23 Oct 2023 | 01:18:36 | |
“I think I could turn into you if I really tried.”Talking About Persona with our guest, writer/director Sophie BarthesOn this episode of Movies We Like, we speak with writer/director Sophie Barthes about one of her favorite films, Ingmar Bergman’s 1966 psychological drama Persona. We also discussed Barthes' own directing career and thoughts on filmmaking.We have an in-depth discussion about Bergman's avant-garde masterpiece Persona, analyzing its dreamlike atmosphere, innovative editing and cinematography, complex characters and themes of identity and psychology. We talk about how the film's shocking opening montage and sparse narrative puts the viewer in an unsettled state of mind. Overall, we find Persona to be an endlessly discussable classic that still feels fresh and boundary-pushing today. We also speak with Barthes about her three feature films - Cold Souls, Madame Bovary, and The Pod Generation. Barthes explains how she often explores themes of consumerism, psychology and identity through different genres and time periods. She shared insights into her creative process, from conceptualizing stories based on her dreams to her highly-stylized production design. Barthes also discussed the challenges of portraying human truths and darkness as a director today versus Bergman's time. Barthes gives thoughtful perspective as both a director and film lover. Her pick certainly leads to a rich discussion about cinematic art today as Persona proves to be a multilayered classic ripe for analysis. Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film SundriesLearn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.
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| A Place in the Sun • The Next Reel | 19 Oct 2023 | 01:04:47 | |
“If you’re an Eastman, you’re not in the same boat with anyone.”Based on the 1925 novel An American Tragedy by Theodore Dreiser, A Place in the Sun tells the story of working-class George Eastman (Montgomery Clift), who moves in with his wealthy uncle's family and begins a romantic relationship with an affluent young woman named Angela Vickers (Elizabeth Taylor). However, he becomes entangled in a love triangle when his co-worker Alice Tripp (Shelley Winters) reveals she is pregnant with his child. This film adaptation was a critical and commercial success, earning six Academy Awards including Best Director for George Stevens. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about A Place in the Sun.Here's a hint at what we talk about:We dive deep into the performances, especially praising Montgomery Clift for his nuanced and multilayered portrayal of the morally conflicted George Eastman. We also discuss how this story explores themes related to social class, the American dream, and ambition. Though we find the film compelling and expertly crafted overall, we do question some of the legal specifics of the ending.Here are a few other points in our discussion:
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| The Frogmen • The Next Reel | 12 Oct 2023 | 00:54:20 | |
“Of all the strange breeds that mighta come along, it was their bad luck to get me.”In the years during and after World War II, the exploits of US Navy frogmen captured the American imagination. Seeking to showcase them on the silver screen, Hollywood producers worked closely with the Navy starting in 1950 to develop the film The Frogmen. The Navy provided extensive support, training actors using real frogmen drills and equipping them with state-of-the-art gear. Filming underwater presented huge challenges with the bulky cameras of the time. Join us – Pete Wright and Andy Nelson – as we continue our 1952 Academy Award Best Cinematography Black-and-White Nominees series with a conversation about Lloyd Bacon’s 1951 film The Frogmen.Released in 1951, The Frogmen gave audiences an unprecedented look into the adventures of these elite naval commandos – the Underwater Demolitions Team, or UDT. A major part of our conversation was about the underwater filming used extensively throughout the movie. We were impressed by how they shot underwater action, since this was brand new and innovative in 1951. While the pacing seems slow now, those scenes must have been thrilling for audiences when it first came out. We speculated that the underwater cinematography is probably why it got the Oscar nomination.We also talked a lot about the dynamic between Richard Widmark as the new commander and Dana Andrews as the chief who questions his leadership. Their contentious relationship drives much of the conflict and drama as they gradually gain mutual respect.Some key scenes stand out that represent the film’s strengths to us. Disarming the live torpedo ratchets up the tension and shows Widmark’s courage. The rope transfer between ships demonstrates the Navy’s technical input. Planting the prank sign highlights real rivalries between units. And even though the final underwater fight pushes the action beyond historical truth, it’s clear that it’s designed for drama and emphasizes what the UDT was actually doing when the film was released.Overall, we found The Frogmen to be enjoyable but not that memorable. The underwater footage remains the main appeal today, though perhaps military fans would be more inclined to revisit it. The film could use a restoration. But Widmark’s performance and the naval insight still make it worth watching. 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!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.
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| Death of a Salesman • The Next Reel | 05 Oct 2023 | 00:57:04 | |
“Why are you so hateful to one another?”Kicking Off Our Next Series With a Conversation About László Benedek’s 1951 Film Death of a SalesmanIt had only been a few years since Arthur Miller’s play made its successful debut, and the story was exactly the sort producer Stanley Kramer sought out. He brought László Benedek on to direct and Stanley Roberts on to adapt it for the screen. Unfortunately, the film was a box office flop, whether due to the studio’s concerns about its anti-American themes or audiences seeking lighter entertainment after World War II. Still, Benedek and Kramer assembled a strong adaptation of Miller’s story, even if Miller himself wasn’t a fan. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at the 1952 Academy Award nominees for Best Cinematography • Black-and-White. We’ll be discussing Benedek’s 1951 film Death of a Salesman. Here’s a hint at what we talk about.We closely analyze the strained father-son relationships that drive the narrative. Salesman Willy Loman (Frederic March) and his older son Biff (Kevin McCarthy) have a fractured bond ever since Biff discovered Willy's affair years before. This broken trust continues to shape their tense interactions, as Biff struggles to meet Willy's high expectations. We also examine the symbolic role of Willy's wealthy brother Ben, who appears in visions. Ben represents Willy's glorified notions of the American Dream and success. While Willy finds inspiration in Ben's purported business ventures abroad, he never pursues such risks himself. This critique of capitalism's empty promises factors heavily in the story. Much of our discussion also focuses on Franz Planer's evocative cinematography. We analyze Planer's striking lighting, camerawork and framing as part of our ongoing series on the 1952 Best Cinematography nominees. Despite a poor quality print, we note innovative techniques like scenes reflected in shadows. The transitions between reality and memory are especially inventive, showcasing advantages of adapting the stage play cinematically. Additional topics include:
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership. Support The Next Reel Family of Film Podcasts:
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| Dog Day Afternoon | 02 Oct 2025 | 01:00:42 | |
“He needed the money for the operation for you?” Bank Robbery Meets Social Commentary in Lumet's Masterpiece Sidney Lumet's Dog Day Afternoon (1975) dramatizes the true story of a Brooklyn bank robbery gone wrong, transforming a sensational crime into a penetrating study of media spectacle, sexual identity, and institutional power. Based on a 1972 robbery attempt by John Wojtowicz, the film stars Al Pacino as Sonny Wortzik, whose plan to steal money for his partner's gender confirmation surgery escalates into a day-long hostage situation and media circus. Join us—Pete Wright and Andy Nelson—as we continue the Golden Jubilee: 1975's Pioneering Visions in Global Cinema series with a conversation about Dog Day Afternoon. A Pioneering Vision of American Society Pete and Andy explore how Lumet's documentary-style approach creates an intimate portrait of 1970s New York City, with the handheld cameras and long lenses making viewers feel like witnesses to the unfolding drama. They discuss how the film's lack of non-diegetic music enhances its verisimilitude, noting the director's careful choices about when to let performances stand alone. Performance and Reality The hosts delve into the remarkable performances, particularly praising John Cazale's portrayal of Sal as a quiet, intense presence that contrasts with Pacino's more theatrical Sonny. They examine how the film handles its queer storyline with surprising sensitivity for 1975, while acknowledging the historical context of both the actual events and the film's production. Key discussion points include:
Pete and Andy reflect on how Dog Day Afternoon remains relevant today, particularly in its examination of institutional power, media influence, and social justice. They note how the film's themes of identity, authority, and spectacle continue to resonate with contemporary audiences. 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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| Rome, Open City • The Next Reel | 28 Sep 2023 | 01:03:48 | |
“We're fighting for something that has to be, that can't help coming. The road may be long and hard, but we'll get there and we'll see a better world. And our children especially will see it.”Rome Wasn't Built in a Day, But This Movie Sure WasRome, Open City is adapted from a book of true stories about living through the Nazi occupation. Co-writer and director Roberto Rossellini took these tales of survival and wove them into a gripping drama about the Italian resistance. Filmed using non-professional actors and real Roman locations, the movie has a gritty, documentary feel. Join us – Pete Wright and Andy Nelson – as we conclude our series on the nominees of the 1947 Academy Awards for ‘Best Writing, Screenplay’ with Rossellini's iconic 1945 film Rome, Open City. Reel Talk on Real LifeWe unpack this landmark of Italian neorealism that was filmed on the war-torn streets of Rome just months after the Nazi occupation ended. The filmmakers wanted to capture the rawness of life during wartime. Iconic scenes like Pina's death as she runs after the Nazi truck became cinematic landmarks. The movie birthed a whole movement in Italian neorealism. Women Navigating Impossible Choices Pina, played unforgettably by Anna Magnani, is the fiancée of resistance fighter Francesco. Her violent death scene is one of the film's most wrenching moments. Dancer Marina gets caught up spying for the Nazis in exchange for drugs and fur coats. We see how she becomes compromised and is discarded when no longer useful. German officer Ingrid manipulates Marina through addiction. She represents the female face of Nazi villainy and moral corruption. War's Impact on the Next Generation The tragedy of the film is how war devastates the lives of children like Pina's son and the street boys who witness Pietro's death. Yet the image of these boys resolutely marching back into the city provides a hopeful note that the youth may lead Italy to a better future. Enduring Classic Is Born Rome, Open City packs an emotional punch that holds up decades later. It's essential viewing for anyone interested in Italian cinema or World War II stories. This landmark film demonstrates how constraints can breed art and truth. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins. Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.
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| The Mission • A Conversation with Costume Designer Deborah L. Scott • Movies We Like | 25 Sep 2023 | 01:13:22 | |
“If might is right, then love has no place in the world.”Talking About The Mission with our guest, Academy Award-winning costume designer Deborah L. ScottAndy and legendary costume designer Deborah L. Scott dive deep into Roland Joffé’s 1986 masterpiece The Mission, an intense and emotional story of faith, colonialism, and redemption. Set in 18th century South America, this Best Picture Oscar nominee boasts an incredible cast and a stunning visual style.Jeremy Irons delivers an incredible performance as Father Gabriel, a Jesuit priest trying to build a mission in the jungle and protect the indigenous Guarani people. Robert De Niro is unforgettable as Rodrigo Mendoza, a mercenary and slaver who murdered his own brother and seeks forgiveness and redemption by becoming a Jesuit priest. The complex story deftly explores the intersection of religion, politics, and colonialism during this volatile historical period. From the lush South American jungles to the thundering Iguaçu Falls, the movie is a visual feast, thanks in large part to Chris Menges' Oscar-winning cinematography. Ennio Morricone’s haunting, Golden Globe-winning score adds an emotional weight that permeates each scene. Though Deborah did not work on this film, she provides an insider's appreciation for Enrico Sabbatini’s period costumes which also help transport viewers to 18th century South America.Deborah’s Legendary Career in Costume DesignDeborah also discusses highlights from her amazing career in costume design, including unforgettable films like Titanic, Back to the Future, Avatar, Heat, and yes, even Armed and Dangerous. She shares fascinating stories about how iconic costumes were created and working with visionary directors like James Cameron, Robert Zemeckis, and Michael Mann.The Mission is a powerful and unforgettable film that stays with you long after the credits roll. Deborah and Andy's insightful conversation highlights why the movie remains so impactful decades later. Plus, hearing Deborah's stories provides a fascinating look behind-the-scenes at her legendary costume design career. Join the conversation with movie lovers from around the world in our Discord community!Film SundriesLearn more about supporting Movies We Like through your own membership with The Next Reel family of podcasts.
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| The Killers • The Next Reel | 21 Sep 2023 | 00:58:42 | |
“I tell ya what’s gonna happen. We’re gonna kill a Swede.” The Killers: Dissecting a Landmark NoirRobert Siodmak’s 1946 crime drama The Killers earned four Oscar nominations at the 19th Academy Awards, including Best Director for Siodmak and Best Adapted Screenplay. The influential film noir also marked the screen debut of Hollywood legend Burt Lancaster. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1947 Academy Award Best Writing, Screenplay nominees with an in-depth discussion about Siodmak’s 1946 film The Killers. Behind the Stylish Noir LensBased on Ernest Hemingway’s 1927 short story, The Killers greatly expands the sparse source material into a complex, nonlinear narrative involving murder, robbery and betrayal. Director Siodmak utilizes creative camera angles and lighting techniques to craft a visually stunning noir landscape. Cinematographer Woody Bredell’s high-contrast, shadowy aesthetic defines the classic film noir look and feel. Lancaster shines in his first on-screen role as Ole “The Swede” Anderson, a washed-up boxer mixed up in a criminal underworld scheme. His powerful performance launched the charismatic new star to fame. Ava Gardner embodies the femme fatale archetype as the alluring but dangerous siren Kitty Collins. Standout Elements of This Influential Crime Drama
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