Podcasts about next reel's discord

What is it about Jennifer Kent's film The Babadook that draws so many people in? Before writer/director Jennifer Kent made her debut feature film The Babadook, she made a short film called Monster which bears a lot of similarities with her feature. What it doesn't have is the metaphorical element that the feature carries, but it's got a mom, her son, and a monster living in the closet. In some ways, the streamlined short story works better because it's just a straightforward story. The feature film is hard to separate from its existence as a metaphor as grief. Still, countless people have found a connection with it. Join us – Pete Wright and Andy Nelson – as we continue our Horror Debuts series with Kent's first film, 2014's The Babadook. Here's a hint at what we talk about in our conversation about The Babadook. Does the fact that the Babadook is so obviously a metaphor for the mother character's grief after losing her husband in a car wreck make the film less interesting? Or perhaps that's its strength and why so many people connect with it. Either way, the film seems to have garnered many fans who love it and just as many who find it too obvious as to what Kent is saying. (Oddly, when Andy first saw the film, he completely ignored any readings of the film and watched it only for what it was, and seeing it that way didn't work that well for him.) What it does do, however, is allow for interesting conversations about grief after watching it, so perhaps it's a win no matter how you see it. But assuming you get past the grief metaphor, what about the way the mother and child are written? It's a difficult duo to connect with because we're asked to join Amelia seven years after she's lost her husband and she's a mess. She also isn't a great parent – Samuel, who's about to turn seven – is aggressive, violent, and uncontrollable. He often seems like he's more in charge than she is. But is that a bad thing if they're written this way and we can't connect? Or does it force us to find a way to sympathize with them? (No matter how you slice it, though, six-year-old Noah Wiseman delivers as strong a child performance in a horror film as Danny Pintauro did in Cujo.) These two elements seem to largely be the things that keep audiences from really connecting with The Babadook. If you can get into the metaphor and if you can connect with the characters, you'll likely love this ride. If you can't truck with one or both of these, however, you may struggle a bit more with the film. And that's where we sit. That's not to say we didn't like The Babadook. Kent clearly has a handle on her directing style. The Babadook looks great. She uses creative transitions. We feel completely in this world and it works well. The character design of Mister Babadook, done with practical effects and patterned in part after Lon Chaney in London After Midnight, is terrifying. And honestly, there may be elements that we each struggle with but we still find it an effective ride. So to that end, should we count this as a win? We think so. It's a strong first film and clearly shows her vision as a storyteller. Plus, it allows for an exciting conversation. We have a great time digging into this one, 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Apple or Amazon, or find other places at JustWatch Script Draft 6.3 by Jennifer Kent Trailer Poster artwork Flickchart Letterboxd Jennifer Kent's short film Monster

Relic delivers on the haunted house tropes. There's a tone and mood that often permeates horror films that give you a constant sense of dread and terror. Sometimes, it's broken up with laughs or jump scares, but that's clearly not what director/co-writer Natalie Erika James is looking for. Her debut film Relic generates this sense of dread and terror but maintains it throughout in a quiet way that for some keeps them on the edges of their seats but for others leaves them feeling bored. Which are we? Join us – Pete Wright and Andy Nelson – as we add to our Horror Debuts series this member bonus episode, James' 2020 film Relic. Relic is a quiet but moody metaphorical horror film. There are shadowy spirits lurking in the corners of Edna's house, but are they really there? The way James constructs the film creates wonderful tension as we just catch glimpses of something in the shadows. It's really a blink-and-you-miss-it type of treat because they're not highlighted by musical stings that hit you over the head. We love the way she builds tension through these techniques, and how she uses her location to great effect. The cast is wonderful as well. Emily Mortimer, Robyn Nevin and Bella Heathcote play the three generations of this family and as the story progresses, we are right there with mother and daughter as they try to sort out what's wrong with Gram. Their performances become more affecting as the story reveals itself to be about the family struggle with Alzheimer's. It's a powerful metaphor handled well and works because of the power in the three lead performances. Relic is a quiet horror film but one that works exceptionally well for us. It's likely not for everyone, particularly people who are looking for those jump scares in their horror, but we had a great time watching it and talking about it. 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Apple or Amazon, or find other places at JustWatch Theatrical trailer Poster artwork Flickchart Letterboxd Get your Relic T-Shirt!

During their seasons on Trailer Rewind JJ and Steve have seen a lot. But will it prepare them for The Yellow Birds? Have years of viewing violence numbed them to the atrocities and dehumanizing experience of war? Will they be the same when they come back from watching The Yellow Birds? Is the talented cast of Alden Ehrenreich, Tye Sheridan, Toni Collette, Jennifer Aniston, Jason Patric and Jack Huston able to hold this film together? Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: iTunes • Amazon Script Transcript Original theatrical trailer Original poster artwork [Original Material][original] Flickchart Letterboxd

A Girl Walks Home Alone at Night is a unique take on the vampire mythos. Ana Lily Amirpour had written a dozen screenplays but wasn't getting any traction with getting them made. That's when she had the idea for her Iranian vampire story. The script came easily and was something she could make in the small town of Taft CA on an ultra-low budget. Watching the film, though, Amirpour clearly had a vision and was able to bring it to screen. The film is hypnotic, dark, full of mood, and surprisingly romantic. Join us – Pete Wright and Andy Nelson – as we continue our Horror Debuts series with Amirpour's 2014 film A Girl Walks Home Alone at Night. They don't say much in Amirpour's film, but we have a lot to say about it. It's an interesting film in its simplicity and pacing. Combing through reviews, it seems a good number of people find issue in the slow pace and long takes. Even Pete initially reacted this way. But this film has a way of sticking with you. Both of us found the film to be one that lingers, and in the end, we both ended up big fans of Amirpour's vampire story. Is it the fact that it's horror-lite? Or perhaps that we connected with the romance, which Amirpour herself talks about as being like in a John Hughes film? Regardless, it's a bit hypnotic spending time in this film and one we'd return to readily. The black-and-white cinematography by Lyle Vincent paired with Amirpour's story as well as the soundtrack fully immerse us in this town of Bad City. It helps that Sheila Vand plays such a compelling vampire, stalking the streets in her chador and on her skateboard. And we're intrigued by the larger messages Amirpour puts forth in the film, even if she's not overtly trying to make comments on these things. Things like the oppression of women in Iran and other Middle Eastern countries. Addiction. Social isolation. Depression. Social status. Even the way we drain the land of its oil like vampires on the Earth is emphasized over and over again with the shots of the oil pumpjacks moving up and down. But it's not a message movie. Amirpour includes those elements as themes to look at and think about, but we think she's really focused on the love story and these two lost souls trying to find a connection in a dark town. A Girl Walks Home Alone at Night is really a love story. That connection between Arash, played by Arash Marandi, and Vand's vampire (called simply The Girl) is the beating heart in this dark, cold movie. The scenes the two of them have together – at the street light, in her place, and at the power plant – create strong moments that are some of the more unforgettable moments in cinema. We found a strong connection to this film. It's one we'll likely jump back into sooner rather than later to reconnect with Arash and The Girl. We have a great conversation about Amirpour's film A Girl Walks Home Alone at Night. Check it out and tune in to this week's show. 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Apple or Amazon, or find other places at JustWatch Script Transcript Theatrical trailer Poster artwork Flickchart Letterboxd

Two Directors With a Shared Voice for Horror Directing duos are rare, but it may be a completely unique situation to have a directing duo be an aunt/nephew pair. That's the case with Veronika Franz and Severin Fiala, the writers/directors of Goodnight Mommy. When they realized they shared a love for horror films, this duo decided to pursue it and to date have three horror features under their belt. They certainly found a strength in their tone and style, which was clear right out of the gate with their narrative debut. Join us – Pete Wright and Andy Nelson – as we continue our Horror Debuts series with Franz's and Fiala's 2014 film Goodnight Mommy. From the tone to the story, we have a lot to say about Goodnight Mommy. Goodnight Mommy is an exercise in cinematography that evokes mood. From the framing to the lighting, Franz and Fiala, along with cinematographer Martin Gschlacht, use the camera to set a tone of horror and discomfort right from the start. Even when the two twin boys, Elias and Lukas, adventure through the woods, they capture it with an aura of tension. Nothing feels safe. We love brilliant cinematography and that holds true here. (This was something that worked well for Steve and Ray in their conversation about Franz's and Fiala's The Lodge, which they talked about here on Trailer Rewind.) But how does the story hold up? It's one of those films with a big surprise. We both picked up on it right away. Does that ruin the film? Or perhaps leave it feeling plodding? We come at that from two perspectives and in the end think it works either way. The question still remains if the film just becomes boring afterward. The performances are top notch both from the twins, played by Lukas and Elias Schwarz, and from Susanne Wuest playing their mother. It says a lot about the directors what they were able to get from these kids. It also says a lot about Wuest who has to act for half the film with her head wrapped up in bandages. Even when the story feels a bit incredulous, their performances work brilliantly. Do we buy the story? But speaking to the story feeling incredulous, particularly as it builds toward its conclusion, how much do we care that it's not as believable? Or does it ruin the film when we never see the mother call the father to discuss the children? Or doesn't put them in grief counseling? Are we able to look past those issues and just assume Mommy is making some dumb decisions that pushes things a certain way? (Even though we spoil the film thoroughly in our conversation, we're trying not to spoil it here.) Where is the line in the decisions that get made that's too far? And speaking of ‘too far,' what is up with those Red Cross workers? Is there something we don't know about Austrian customs as far as unlocked doors? Because these two Red Cross workers looking for donations who swing by to ask for money then just won't leave after the child says Mom's not home definitely cross the line for us. It's a great tense scene, but it's nonsense because it's only here to serve the plot – not the reality of the story. But can we keep it anyway? The concept of coping mechanisms to deal with grief play strongly in this film. We like how they tie to the concept of lullabies as a way to sooth children. This film largely works, even with some of its less believable elements, because this theme holds strong and creates a frightening portrait of unmanaged grief at the worst of possible moments that leads to devastating consequences. The film is certainly one to watch. It has its problems, but is immensely watchable. There are enough issues we find with the story that we'd be hard-pressed to give this film five stars. Still, it's a fun watch – and beautiful to look at for a horror film. We have a great time talking about it on the show this week. This is definitely an episode to listen to after you've seen the movie, 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Amazon or find other places at JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

John Cena and Aaron Taylor-Johnson are stuck at the wall, and together with Laith Nakli's voice we have a film about relationships and the power of words — and weapons — to navigate war in The Wall. It's an intimate film from director Doug Liman and writer Dwain Worrell that trucks in confusion, suspense, and facing a threat on the ground in a time of political uncertainty around the globe. Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: Amazon • iTunes Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

While Gloria Katz and Willard Huyck wrote the script for American Graffiti for their USC chum George Lucas, they were working on a low budget horror film that they would produce, write, and direct together. This film was Messiah of Evil. Unfortunately for them, the producers took it away before they could finish filming. The producers hastily cut the project together and released a version in 1973, hoping it would make its money back. Because of that, Katz and Huyck largely dismissed the film for decades. Their attitude changed with time, and by the time the film's restoration for its 35th anniversary rolled around, they recognized the film was peculiar but had its fans and its strengths. Join us – Pete Wright and Andy Nelson – as we kick off our ‘Horror Debut' series with Katz's and Huyck's 1973 horror film Messiah of Evil. What works in Messiah of Evil and what doesn't? Katz and Huyck delivered a script that is a bit of a mess when you look at the story, but can we look past that? Perhaps if Katz and Huyck had been able to finish it their way. Then again, who knows? They did make Howard the Duck. So, we have to look at the film as what we have here. And honestly, the story may not be that strong, but it is definitely a horror tone poem. Katz, Huyck and team created a strong mood and tone for sure. Pete struggles a bit more with this tone because he felt like he'd been set up for more slasher killings. The film starts with several brutal murders, after all, before it shifts into less overt, bloody killings. But the film gets under Andy's skin, which he really likes. He feels it's enough. He thinks the film is excelling at creating a vibe that's hard to shake. We try tackling the story to see if we can sort out what we're meant to get from it. Because the story is more vague and ill-defined, it's tricky. There's a lot of guesswork in here on our parts. We think we have it sorted out, but again, this speaks to the problems with the story as it was constructed for this finished film. The story is rough, but are we here for the story? The colors, scene construction, lighting, editing, music, production design and effects all lend tremendously to this mood. Again, is that enough? Regardless, how great is it seeing so many film artists in these roles that would go on to contribute so strongly to the industry. The artfulness with the visuals really speaks to us though. From the first out of focus shot of Arletty in the hallway as she walks toward camera and eventually into focus, we're hooked. From creepy zombie people's silhouettes on the skylight to the crazy paintings on Arletty's dad's studio, to the killing in the movie theatre, the images are designed to terrify. And speaking of that movie theatre scene, that's likely the strongest horror scene in the film. It builds the tension well and becomes truly terrifying. The grocery store is great too, but doesn't work quite as well as this. And it leaves the question – if these townspeople are mindless zombies eating whatever meat they can find, why does the albino leave her alone when he picks her up hitchhiking? Is it because he's full from eating rats? Or has the sickness not quite completely infected him? These are those story points that can be frustrating. Regardless, it's a great film selection to kick off our Horror Debuts series. It gives us a chance to talk about Gloria Katz and Willard Huyck, which is particularly touching having lost Katz in 2018 to ovarian cancer. We have a great conversation about this film 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Amazon, or find other places at JustWatch Original theatrical trailer Original poster artwork Flickchart Letterboxd

How Does Heckerling's Biggest Hit Hold Up 30+ Years Later? It's funny looking back on writer/director Amy Heckerling's 1989 romantic comedy Look Who's Talking now and thinking that studios thought it was too sexual for the genre or that women couldn't carry a comedy like this. Heckerling has said that she had to pitch the film as a talking baby voiced by a hot male comic because of that fact. Remembering that it was the 80s perhaps is all the reminder we need as to why she struggled to find a studio for the film. But the president of Tri-Star saw Heckerling's ‘quirky, offbeat sense' and greenlit the film. Lucky for all of them, it was a huge hit that led to a very successful franchise. Join us – Pete Wright and Andy Nelson – as we wrap up our ‘80s Comedy with Coolidge & Heckerling' series with Heckerling's 1989 romantic comedy Look Who's Talking. Mikey's not the only one talking. We've clearly got a few things to say about Look Who's Talking. What about the movie makes it feel dated? There are definitely some derogatory comments that people just wouldn't say today, but there's more to it than that. Is it how Kirstie Alley's Molly tells everyone that she was artificially inseminated instead of coming clean about accidentally getting pregnant? Should she have had more agency and just admitted that she accidentally got pregnant? Does that feel dated, or is that relevant still today? Maybe it's that people were so surprised by a working, single woman deciding to raise a child on her own. Between this and Baby Boom it was definitely a topic at the time. We bat around a few ideas but never quite agree on why some of the elements feel dated. One thing that certainly doesn't feel dated is the relationship between Molly and John Travolta's James. They're a delightful pair and we love the chemistry they clearly have on screen. The movie also doesn't feel like it has to rush with their relationship. In the realm of romantic comedies, this works well. Pete really struggles with the talking baby conceit though. Why is it in here? It's a fun element that, when paired with Molly's fantastical dreams and visions throughout the film, lend the movie a sense of fantasy that we don't often see in romantic comedies. We like that they're doing something different with the genre here. But Bruce Willis as the baby? Pete never can quite come to terms with it, whereas Andy doesn't find any problems with it. We think largely it's one of those things you either can buy into or can't when you sit down to watch the film. But what about Heckerling's script? Do we like Molly's and James' meet-cute in the taxi cab? It has its issues, largely centered around the silly race through the city to get Molly to the hospital in time. What about the way Heckerling comes up with to keep James in Molly's life after that initial meeting? This is a potential problem for some because of the way he lies to use her mailbox for grandpa's residency, but they both handle the element realistically and because of that, we buy into it. But speaking of grandpa, it's a toothless Abe Vigoda! This is an interesting part of the script because it gives us the conclusion of the film, and to that end actually delivers on something we buy into. What we have a harder time buying into is the way James sabotages one of Molly's dates. Why? The date is clearly a schlub and she won't end up with him. Does he do it just for fun? We're not really sure. One thing we are sure of is how great Heckerling is at putting amazing soundtracks together. The music in this film is eminently listenable. Something that may not hold up as well as the music selections – the kinda creepy fetus puppet we see before Mikey's born. It's kinda fun but those eyes... yeah... just a bit creepy... What was it about this film that drew so many people in at the time? It was successful enough for them to greenlight two sequels and a TV show. Our recollection of the subsequent films is thin but it's hard to get people to realize just how massively this film was at the time. We have a great time talking about this film, which may be our least favorite in this series thus far but was still an entertaining watch and a welcome entry into the show. Check it out then tune in to hear all of these thoughts and more. 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Apple or Amazon, or find other places at JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

The Book of Henry is not the film any of us expected. This is a film that splits audiences - including JJ, Steve and Tommy. JJ says it is at least 3 or 4 films. Special guest Tommy doesn't rate it as much of a film. And Steve was thoroughly enjoying this YA story about a precocious 12 year old . . and then it took a turn. Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: iTunes • Amazon • Netflix • JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

The producer of Real Genius, Brian Grazer, approached director Martha Coolidge a number of times, trying to convince her to direct the film. From Coolidge's perspective, the script just wasn't there. It was a juvenile, teen male-oriented comedy and just wasn't her thing. But Grazer wouldn't give up. He wanted Coolidge as director for Real Genius so the two of them talked and he agreed to bring on another screenwriter, and also let Coolidge do some uncredited rewrites as well. Coolidge was able to get the script to feel like a story about real students at a real CalTech-adjacent school and kept it from being as straightforward juvenile comedy. The result is smart and fun. Join us – Pete Wright and Andy Nelson – as we continue our 80s Comedy with Coolidge & Heckerling series with Coolidge's 1985 film Real Genius. From Val Kilmer and William Atherton to the nods to CalTech to popcorn, here's what we talk about in this episode about Real Genius We both watched the new doc Val about Val Kilmer's life and recent battle with throat cancer. That put an interesting perspective on his performance here as Chris Knight, the goofball senior. To that point, we also have an opportunity to talk about how much we love his shirts throughout the movie. William Atherton is a fantastic foil as Dr. Hathaway, the mean and manipulative professor and Robert Prescott is brilliant as the nerd villain. And as it turns out, Coolidge and company didn't even realize how accurate they were being with how the government has manipulated students into working on weapons secretly for them. Speaking of weapons, we talk about how accurate Coolidge fought to be in the script and why this film has influenced so many people to become scientists. And you know how they blow up Hathaway's house with popcorn? They actually used 140 tons of popcorn for that scene. That's a lot of popcorn! (I wonder if it was GMO...?) Aside from Kilmer, we also have Gabriel Jarret, Michelle Meyrink, Jon Gries, Mark Kamiyama, Dean Devlin, and more as our students. They're all great, particularly Meyrink as Jordan and Jarret as Mitch, but we sure would've loved more in-depth characters for some of our non-white males in the group. Regardless, it's a fun group. But who is the protagonist? Is it Mitch or is it Chris? It seems we're following both. On a cursory level, it makes it a bit difficult to figure out who we're supposed to be following. But what's all this about having a separate main character and protagonist? How does that work and why would someone do it? Turns out, it's fairly complex but works well here leaving Mitch as the main character and Chris as the protagonist. What makes this film hold up so well though is the fact that Coolidge wanted to keep the science as real as possible and make school life feel accurate. From the lasers to the dorm graffiti to the party to the strange student living in the steam tunnels, it all feels real. This makes for such a great revisit after all these years. So check out the movie then tune in to this week's show. It's a strong film that is ripe for discovery or re-discovery. 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Apple or Amazon, or find other places at JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd CalTech References I Heart Toxic Waste t-shirt Surf Nicaragua t-shirt Roy Rogers Olympic Games 1984 t-shirt Toxic Summer Games 1984 International Order for Gorillas Mythbusters episode Car vs. Rain

Director Amy Heckerling obviously did something right with her first feature film, Fast Times at Ridgemont High. For Heckerling's second feature film, she had almost double the budget that she had before. Considering her second film was a period film, that likely helped. Now it may seem that Johnny Dangerously was a strange choice after her first film captured modern teens so well, but she clearly was tuned into young audiences. Perhaps the producer and studio felt she could carry a period parody and do it in such a way to bring in young audiences. The studio, Twentieth Century Fox, needed a hit after all. And while there were decisions made that date the film, we still find it works. Join us – Pete Wright and Andy Nelson – as we continue our 80s Comedy With Coolidge & Heckerling series with Heckerling's 1984 film Johnny Dangerously. Is there really much to talk about with Johnny Dangerously? You bet there is! We talk about the nature of parody films, why some work really well, and why this one may not have stood the test of time with some bigger ones like Airplane! and Blazing Saddles. All the same, we can't stop our effusive love for this film. That's likely because of the impressionable age we saw it. We think this is even more true after talking to our Discord community about it only to find many had never even heard of this film. The cast is bonkers. Michael Keaton. Joe Piscopo. Marilu Henner (theatre genius!). Peter Boyle. Maureen Stapleton. Griffin Dunne. Dom DeLuise. Danny DeVito. Ray Walston. Dick Butkus. Alan Hale Jr. Neal Israel. Jack Nance. Taylor Negron. Vincent Schiavelli. Richard Dimitri. And they all deliver. Especially Marilu Henner – what a voice! They're all clearly having fun and even when it's a big surprise to see someone like Stapleton in the film, it's clear she's having a good time. But what's with the 30s style eye makeup? Yeah, we get that it's meant to feel like we're watching a movie from the era, but it feels a bit strange when watching a color film. All the same, we don't really care too much about this. The script is chock full of laugh lines, meta humor, fourth wall breakage, and visual gags, and we laugh at most of them. It's damn funny! We're not sure why some people just don't click with it. When writing constant jokes in a script, though, you have to expect some are going to fall flat. But would it have all worked better with the original ending where Johnny dies? But seriously – what's with the weird bull joke? It took us forever, but while we were recording, we found the source Schlitz Malt Liquor ad campaign on YouTube to help make the joke make more sense. This leads to a whole conversation about the nature of timed jokes vs. timeless ones, and why jokes that are so key to the era may fall completely flat if you don't know the reference point. (All the same, check out some of the Schlitz Malt Liquor Bull commercials in our show notes. They're bonkers! Kevin Kline even turns up on one as Robin Hood!) Was this the film that saved Fox from certain bankruptcy at the end of the year? Okay, maybe that's putting a bit too much on this one film but its box office success certainly was welcome for the studio that had been struggling all year. Last but not least, what are your feelings about “Weird” Al Yankovic? He's been around for decades and whether you like his stuff or not, it's hard to argue that he's not cranking out some very clever work. His title song in this film is a lot of fun! We acknowledge that Johnny Dangerously may be a film you need to have seen when it came out and have been of a certain age to really click with it, but if you did, you're likely are like us and have strong feelings for this film. We have such a great time talking about it and reminiscing. 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Amazon, or find other places at JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd Schlitz Malt Liquor Bull commercials with Kool & the Gang and The Commodores, Rufus Thomas, Don Adams, Kevin Kline as Robin Hood, Richard Roundtree, Gunga Din, The Old West, Marshall Tucker Band, and more (The Teddy Roosevelt one at 2:30 is great!)

Joanna Hogg's 2019 film The Souvenir is based on her own experiences as a student filmmaker in the 1980s. This leads JJ and Steve to again ponder the question of whether such a personal story can be fully accessible to an audience. They are sharply divided on their ratings, but agree that this isn't a film for everyone. Listen in to the episode to find out who they think this film is for. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Watch this film: iTunes • Amazon • JustWatch Original theatrical trailer Original poster artwork Flickchart Letterboxd

The story of Valley Girl is simply another Romeo & Juliet type of tale, but director Martha Coolidge captured a lot more in her film. The movie depicts an authentic look at life as a teenager in the early 80s, particularly the culture that grew out of Valley Speak and the whole concept of what a ‘valley girl' represented, not just in the San Fernando Valley but anywhere in the country. Because of this sense of authenticity, Coolidge's film has stood the test of time. Join us – Pete Wright and Andy Nelson – as we continue our 80s Comedy With Coolidge & Heckerling series with Coolidge's 1983 film Valley Girl. Here's a hint at what we talk about in this episode looking at Valley Girl. Like, totally. Valspeak. Ironic or not, it was a part of our youth, for sure. How was Frank and Moon Unit Zappa's song connected to it though? And to this film? How did Martha Coolidge find the young Nicolas Cage and get him for one of her leads? And how easy is it to fall in love with Deborah Foreman? The cast is all together perfect in the film, and turns out they largely supplied their own wardrobes! Ah, indie filmmaking. There's a strong story about finding your own identity though, and that shines through strong. Martha Coolidge is as good at putting soundtracks together as Amy Heckerling is! Wall to wall music and we love it all. And how about the look that defines the two worlds? But what about the required breasts that Coolidge had to include per instructions from the executive producers? We talk about all that and more in this episode, 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Apple or Amazon or find other places at JustWatch Script Transcript Original theatrical trailer Original poster artwork ”Valley Girl” • Moon Zappa Flickchart Letterboxd

Cameron Crowe already had success as a writer when he went undercover and posed as a high school student to write his book “Fast Times at Ridgemont High: A True Story.” Of course, he was high school age so it made perfect sense, and perhaps that's why the film adapted from his book feels so authentic of the time and of these youths portrayed. And perhaps part of that is because of how first-time director Amy Heckerling approached the subject matter – for a teen sex comedy, this is actually carrying some fairly heavy themes. But how well do these themes work for us? Turns out they work really well for Andy but not as well for Pete. Still, it's a nostalgic flashback to our own youths! Join us – Pete Wright and Andy Nelson – as we kick off our 10th season with the ‘80s Comedy with Coolidge & Heckerling' series, starting with Heckerling's 1982 film Fast Times at Ridgemont High. Here's a hint at what we talk about in this episode looking at Heckerling's film. The film completely brings us back to our younger days with popped collars and bigger hair. The story, however, doesn't completely work for Pete because it's spread across too many characters and we don't get enough time to really connect with any of them. Andy feels the story completely works and operates well as a depiction of the adult world these kids are starting to deal with. Perhaps the problem is that the filmmakers seemed to feel that Jeff Spicoli, played by Sean Penn, was the lead when in reality, it seems to be Stacy's film (played by Jennifer Jason Leigh). Regardless, it's an incredible cast of young actors from the day – a good number in their first roles – and they all do great. There are some strong scenes that carry a lot of weight, but perhaps not enough payoff for them? The music is great and the look completely feels right. Heckerling approaches the film from a matter-of-fact perspective that makes the situations feel real, but perhaps that's also why it's harder to connect. But it's a film that has a lot more to it than many other teen sex comedies from the decade and to that end, this one definitely stands out. We have a great time talking about it as we kick off our new season. 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Apple or Amazon or find other places at JustWatch Script Transcript Original theatrical trailer Original poster artwork Fast Times at Ridgemont High: A True Story by Cameron Crowe Flickchart Letterboxd

JJ and Steve travel back to 1995. That time when landlines were ubiquitous and had yet surrendered to the internet, cell phones and texting. Although Landline is from 2017, it feels like a close relative to the mid-90s indie film scene that was bursting onto the festival circuit at the time. Landline has an amazing cast: Jenny Slate, Jay Duplass, John Turturro, Edie Falco, and a true standout performance from Abby Quinn. Unfortunately they are given a script that fails to commit to fully being a comedy or a tragedy. Instead it straddles the fence and never fully commits to either side and exists in that painful and awkward space between. JJ and Steve discuss the awkwardness of not knowing whether to grin or cringe, because laughing or crying would be too strong a reaction. Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast! Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

The Roads Not Taken is the third in a trio of films about taking care of an adult relative. JJ really struggled with it, in part due to his own experiences with similar situations. Steve, on the other hand, found his own way to make connections and sense out of it. Both agree that it's a challenging film to watch. Writer/director Sally Potter put together a film that is very clearly a personal one. The question is whether it is intended to be oblique or if it is such a personal film that audiences aren't expected to fully access the intent and meaning behind it. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

The Roads Not Taken is the third in a trio of films about taking care of an adult relative. JJ really struggled with it, in part due to his own experiences with similar situations. Steve, on the other hand, found his own way to make connections and sense out of it. Both agree that it's a challenging film to watch. Writer/director Sally Potter put together a film that is very clearly a personal one. The question is whether it is intended to be oblique or if it is such a personal film that audiences aren't expected to fully access the intent and meaning behind it. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

The Film Board finds itself in the Red Room as we discuss Cate Shortland's new entry into the MCU, Black Widow. It's a full house on this episode as Andy Nelson is joined by Kyle Olson from Marvel Movie Minute, Matthew Fox from the Superhero Ethics podcast, Craig Price from Matinee Heroes, as well as CJ Lindsey and Jordan Petersen. The conversation ranges all over the place. How popular was blue hair in the 90s? How great is our family of Natasha, Yelena, Alexei and Melina as played by Scarlett Johansson, Florence Pugh, David Harbour, and Rachel Weisz? What do we think about how Marvel dealt with the darkness of the Red Room and Natasha Romanov's backstory, not to mention the opening credits depicting essentially an abduction trade of young girls? What did we think of the changes from the comics with Taskmaster and the Red Room? How great is Ray Winstone as the villain, even when his accent's a bit off? What do we think of the red dust solution? And with F9 having just opened, what's with all these storylines right now that are all about family? It's a fun film to talk about and a worthy entry into the MCU, even if delayed due to COVID (not to mention feeling long overdue). Join us in the board room on this episode as we have a great, spoiler-filled conversation! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Support The Next Reel Film Podcast by becoming a member of our community! Watch this film: JustWatch Original theatrical trailer Original poster artwork Original Material Flickchart Letterboxd

The Film Board finds itself in the Red Room as we discuss Cate Shortland's new entry into the MCU, Black Widow. It's a full house on this episode as Andy Nelson is joined by Kyle Olson from Marvel Movie Minute, Matthew Fox from the Superhero Ethics podcast, Craig Price from Matinee Heroes, as well as CJ Lindsey and Jordan Petersen. The conversation ranges all over the place. How popular was blue hair in the 90s? How great is our family of Natasha, Yelena, Alexei and Melina as played by Scarlett Johansson, Florence Pugh, David Harbour, and Rachel Weisz? What do we think about how Marvel dealt with the darkness of the Red Room and Natasha Romanov's backstory, not to mention the opening credits depicting essentially an abduction trade of young girls? What did we think of the changes from the comics with Taskmaster and the Red Room? How great is Ray Winstone as the villain, even when his accent's a bit off? What do we think of the red dust solution? And with F9 having just opened, what's with all these storylines right now that are all about family? It's a fun film to talk about and a worthy entry into the MCU, even if delayed due to COVID (not to mention feeling long overdue). Join us in the board room on this episode as we have a great, spoiler-filled conversation! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Support The Next Reel Film Podcast by becoming a member of our community! Watch this film: JustWatch Original theatrical trailer Original poster artwork Original Material Flickchart Letterboxd

The Endless treads into some creepy territory, so JJ brought in some backup. We are pleased to have Tommy join us for our discussion of this story of two brothers that escaped from a weird death cult. Is it a cult, or just a commune of people that like being off the grid? Is this a horror film or a sci-fi film? Can it be both? The Endless had a very limited and short theatrical run, so it's likely that you haven't even heard of it. It has bounced around on different streaming services over the past few years. It's not always easy to find on a service that you are subscribed to, but JJ, Steve, and Tommy agree that this mindbending and weird story is one worth finding and watching. Join the conversation with movie lovers from around the world on [The Next Reel's Discord channel][discord]! ### Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! * Watch this film: [JustWatch][justwatch] * [Script Transcript][script] * [Original theatrical trailer][trailer] * [Original poster artwork][pinterest] * [Flickchart][flickchart] * [Letterboxd][letterboxd] [script]:https://www.scripts.com/script/the_endless_20153 [trailer]:https://www.youtube.com/watch?v=Ur8UgpvRPXU [pinterest]:https://www.pinterest.com/thenextreel/the-next-reels-poster-collection/ [flickchart]:https://www.flickchart.com/movie/ABD69003C7 [letterboxd]:https://letterboxd.com/film/the-endless/ [justwatch]:https://www.justwatch.com/us/movie/the-endless [discord]:https://discord.gg/yW72E6M

The Endless treads into some creepy territory, so JJ brought in some backup. We are pleased to have Tommy join us for our discussion of this story of two brothers that escaped from a weird death cult. Is it a cult, or just a commune of people that like being off the grid? Is this a horror film or a sci-fi film? Can it be both? The Endless had a very limited and short theatrical run, so it's likely that you haven't even heard of it. It has bounced around on different streaming services over the past few years. It's not always easy to find on a service that you are subscribed to, but JJ, Steve, and Tommy agree that this mindbending and weird story is one worth finding and watching. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

Identity was James Mangold's first opportunity to direct a film based on a script he didn't write. The screenplay, written by Michael Cooney, was inspired by Agatha Christie's “And Then There Were None,” but adds some twists to the story that take it in a new direction. Mangold was immediately attracted to the material because he relished the opportunity to tell what is essentially a closed room mystery. The film is taut and a thrill of a ride, but it certainly became a love it or hate it type of movie because of the big twists it takes. Join us – Pete Wright and Andy Nelson – as we wrap up our brief ‘Spoiled. Rotten? Twist Endings' series with Mangold's 2003 film Identity. Here's a hint at what we talk about. The twists in this film work for us, but why don't they work for so many others? Do you just have to buy into the bonkers made-up science presented here for it to succeed? The cast is great, but why does Pete have such an issue with Clea Duvall's and William Lee Scott's characters? We totally forget to talk about Pruitt Taylor Vince's fantastically creepy eyes. Turns out it's a condition called nystagmus and he's used it as often as he can to be cast or to enhance his roles. Do the plot threads with no payoffs create problems for us, particularly when the story begins pointing at the supernatural? This film's a great reminder as to why we love John Hawkes so much. And the fact that it's a fun film Mangold provides for us that doesn't take itself seriously and really goes all-in on the crazy world set up. We have a great time talking about it as our season wrap-up. 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: Reelgood Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

Identity was James Mangold's first opportunity to direct a film based on a script he didn't write. The screenplay, written by Michael Cooney, was inspired by Agatha Christie's “And Then There Were None,” but adds some twists to the story that take it in a new direction. Mangold was immediately attracted to the material because he relished the opportunity to tell what is essentially a closed room mystery. The film is taut and a thrill of a ride, but it certainly became a love it or hate it type of movie because of the big twists it takes. Join us – Pete Wright and Andy Nelson – as we wrap up our brief ‘Spoiled. Rotten? Twist Endings' series with Mangold's 2003 film Identity. Here's a hint at what we talk about. The twists in this film work for us, but why don't they work for so many others? Do you just have to buy into the bonkers made-up science presented here for it to succeed? The cast is great, but why does Pete have such an issue with Clea Duvall's and William Lee Scott's characters? We totally forget to talk about Pruitt Taylor Vince's fantastically creepy eyes. Turns out it's a condition called nystagmus and he's used it as often as he can to be cast or to enhance his roles. Do the plot threads with no payoffs create problems for us, particularly when the story begins pointing at the supernatural? This film's a great reminder as to why we love John Hawkes so much. And the fact that it's a fun film Mangold provides for us that doesn't take itself seriously and really goes all-in on the crazy world set up. We have a great time talking about it as our season wrap-up. 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: Reelgood Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

Justin Lin is back in the driver's seat for the latest in the Fast Saga, F9. Despite people's excitement to have him returning to the helm, the film's had mixed reviews. For this episode of The Film Board Podcast, Andy's joined by Next Reel regular Ocean Murff, a big fan of the franchise, to talk about the film and its place in the saga. Are the reviews mixed here as well? How do we feel about the action sequences? And are we getting sick yet of the constant mention of family? You'll just have to tune in to find out! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Support The Next Reel Film Podcast by becoming a member of our community! Watch this film: JustWatch Original theatrical trailer Original poster artwork Flickchart Letterboxd

Justin Lin is back in the driver's seat for the latest in the Fast Saga, F9. Despite people's excitement to have him returning to the helm, the film's had mixed reviews. For this episode of The Film Board Podcast, Andy's joined by Next Reel regular Ocean Murff, a big fan of the franchise, to talk about the film and its place in the saga. Are the reviews mixed here as well? How do we feel about the action sequences? And are we getting sick yet of the constant mention of family? You'll just have to tune in to find out! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Support The Next Reel Film Podcast by becoming a member of our community! Watch this film: JustWatch Original theatrical trailer Original poster artwork Flickchart Letterboxd

Christopher Nolan's second film, Memento from 2001, caught a lot of attention on its release because of the clever screenplay structure where the story unfolds both forward and backward in time, in a way creating an experience much like 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 very abbreviated 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 for his cinematographer. What do we think of the look? David Julyan composed music for a few films for Nolan before he switched to working with Hans Zimmer. Do we like the 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. It's 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Original Material Flickchart Letterboxd

Christopher Nolan's second film, Memento from 2001, caught a lot of attention on its release because of the clever screenplay structure where the story unfolds both forward and backward in time, in a way creating an experience much like 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 very abbreviated 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 for his cinematographer. What do we think of the look? David Julyan composed music for a few films for Nolan before he switched to working with Hans Zimmer. Do we like the 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. It's 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Original Material Flickchart Letterboxd

When is a film that has scenes with Kirk and Spock not a Star Trek movie? Well . . . when it's a film about a young woman writing an epic screenplay for a Star Trek contest. A lack of knowledge about or love for Star Trek shouldn't be a barrier to watching Please Stand By. This is the second film adapted from a play on this season of Trailer Rewind. It's also the second film this season to feature an atypical main character. The result is another enjoyable gem. Join the conversation with movie lovers from around the world on [The Next Reel's Discord channel](https://discord.gg/yW72E6M)! ### Film Sundries More information about [The Miracle Project](http://www.themiracleproject.org) * Watch this film: [JustWatch](https://www.justwatch.com/us/movie/please-stand-by) * [Script Transcript](https://www.scripts.com/script/please_stand_by_15993) * [Original theatrical trailer](https://www.youtube.com/watch?v=ghI4y6otpjY) * [Original poster artwork](https://www.pinterest.com/thenextreel/the-next-reels-poster-collection/) * [Flickchart](https://www.flickchart.com/movie/DB1E92C54B) * [Letterboxd](https://letterboxd.com/film/please-stand-by-2017/)

When is a film that has scenes with Kirk and Spock not a Star Trek movie? Well . . . when it's a film about a young woman writing an epic screenplay for a Star Trek contest. A lack of knowledge about or love for Star Trek shouldn't be a barrier to watching Please Stand By. This is the second film adapted from a play on this season of Trailer Rewind. It's also the second film this season to feature an atypical main character. The result is another enjoyable gem. Join the conversation with movie lovers from around the world on [The Next Reel's Discord channel](https://discord.gg/yW72E6M)! ### Film Sundries More information about [The Miracle Project](http://www.themiracleproject.org) * Watch this film: [JustWatch](https://www.justwatch.com/us/movie/please-stand-by) * [Script Transcript](https://www.scripts.com/script/please_stand_by_15993) * [Original theatrical trailer](https://www.youtube.com/watch?v=ghI4y6otpjY) * [Original poster artwork](https://www.pinterest.com/thenextreel/the-next-reels-poster-collection/) * [Flickchart](https://www.flickchart.com/movie/DB1E92C54B) * [Letterboxd](https://letterboxd.com/film/please-stand-by-2017/)

Fatherhood is a fairly loose adaptation from Matthew Logelin's memoir, but unfortunately it feels loose in all the wrong ways. It seems like there's an interesting story there, but it never clicks. Andy Nelson is joined in the board room for this episode by Ocean Murff and Steve Sarmento to celebrate Father's Day with this latest Netflix release, but they're all left scratching their heads in frustration with this film. Kevin Hart and DeWanda Wise make a great couple but they'd much rather see them in a different romantic comedy. The rest of the performers deliver strong performances too, but unfortunately it's in a film that just doesn't warrant it. So is there anything to like here? Bits and pieces. Bits and pieces. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Support The Next Reel Film Podcast by becoming a member of our community! Watch this film: JustWatch Original theatrical trailer Original poster artwork Two Kisses for Maddy: A Memoir of Loss and Love* by Matt Logelin Flickchart Letterboxd

Fatherhood is a fairly loose adaptation from Matthew Logelin's memoir, but unfortunately it feels loose in all the wrong ways. It seems like there's an interesting story there, but it never clicks. Andy Nelson is joined in the board room for this episode by Ocean Murff and Steve Sarmento to celebrate Father's Day with this latest Netflix release, but they're all left scratching their heads in frustration with this film. Kevin Hart and DeWanda Wise make a great couple but they'd much rather see them in a different romantic comedy. The rest of the performers deliver strong performances too, but unfortunately it's in a film that just doesn't warrant it. So is there anything to like here? Bits and pieces. Bits and pieces. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Support The Next Reel Film Podcast by becoming a member of our community! Watch this film: JustWatch Original theatrical trailer Original poster artwork Two Kisses for Maddy: A Memoir of Loss and Love* by Matt Logelin Flickchart Letterboxd

With Sword of Trust, writer/director Lynn Shelton continued her exploration of low budget, independent comedies while stepping a bit outside her comfort zone by filming a story in Alabama instead of the Pacific Northwest. It gave her another opportunity to work with her partner at the time Marc Maron. In the film, she skewers conspiracy theorists and clearly is having fun with it. But how does her improvisational style work as the film builds to its third act? Join us – Pete Wright and Andy Nelson – as we conclude our Lynn Shelton series with her 2019 comedy Sword of Trust. Here's a hint at what we talk about. We love the comedy as it relates to making fun of the belief systems that support some of these nutty conspiracy theories. Unfortunately, Shelton and her co-writer Mike O'Brien rely too heavily on the improv style, which doesn't allow for a satisfactory third act. Marc Maron is great as the cantankerous pawn shop owner. We buy his emotion in the dramatic story involving his former girlfriend. But he comes across as a bit lost in that third act as well. Jon Bass, Michaela Watkins, and Jillian Bell are great as the rest of the team rounding out Maron's group as they try to sell an antique Civil War sword, but even they fall prey to some of the struggles of improv performing in the film. It's great to see Shelton filming in another area of the country, but does the indie budget and her lack of knowledge of the area keep them from really getting the Southern locations to stand out? Sadly, Shelton passed away in 2020 from a rare form of blood cancer, but her films will live on and even if we didn't love all of these, we fell under her spell as a director and certainly want to explore more of her output. Largely, we like Sword of Trust quite a bit, but that third act does bog things down. Still, we'd absolutely watch it again. It's a very fun and funny movie. It's worth checking out, then tune in to this week's show! 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

With Sword of Trust, writer/director Lynn Shelton continued her exploration of low budget, independent comedies while stepping a bit outside her comfort zone by filming a story in Alabama instead of the Pacific Northwest. It gave her another opportunity to work with her partner at the time Marc Maron. In the film, she skewers conspiracy theorists and clearly is having fun with it. But how does her improvisational style work as the film builds to its third act? Join us – Pete Wright and Andy Nelson – as we conclude our Lynn Shelton series with her 2019 comedy Sword of Trust. Here's a hint at what we talk about. We love the comedy as it relates to making fun of the belief systems that support some of these nutty conspiracy theories. Unfortunately, Shelton and her co-writer Mike O'Brien rely too heavily on the improv style, which doesn't allow for a satisfactory third act. Marc Maron is great as the cantankerous pawn shop owner. We buy his emotion in the dramatic story involving his former girlfriend. But he comes across as a bit lost in that third act as well. Jon Bass, Michaela Watkins, and Jillian Bell are great as the rest of the team rounding out Maron's group as they try to sell an antique Civil War sword, but even they fall prey to some of the struggles of improv performing in the film. It's great to see Shelton filming in another area of the country, but does the indie budget and her lack of knowledge of the area keep them from really getting the Southern locations to stand out? Sadly, Shelton passed away in 2020 from a rare form of blood cancer, but her films will live on and even if we didn't love all of these, we fell under her spell as a director and certainly want to explore more of her output. Largely, we like Sword of Trust quite a bit, but that third act does bog things down. Still, we'd absolutely watch it again. It's a very fun and funny movie. It's worth checking out, then tune in to this week's show! 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

Is the magic in the new film In the Heights from Jon M. Chu's direction or from Lin-Manuel Miranda's original Broadway show? We definitely think it's Chu working wonders here to bring this show to vibrant life. Andy Nelson is joined in The Film Board this week by Mandy Kaplan and Justin Jaeger along with special guest Brian Rowe from the Film at Fifty Podcast to form our own artistic opinions of this film. The story doesn't wow any of us as much as we were hoping, but Chu creates a film that just oozes personality. He also casts the film with people that feel authentic and we love them all – Anthony Ramos, Melissa Barrera, Leslie Grace, Corey Hawkins, Daphne Rubin-Vega, Olga Merediz, Gregory Diaz IV, and Jimmy Smits. That's right, Jimmy Smits holds his own here with the singing and dancing! This is definitely one we recommend seeing on the big screen because Christopher Scott's choreography, the production design, and the rest of Chu's team made something epic. We have a lively conversation about it, so check out the movie and join us! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Support The Next Reel Film Podcast by becoming a member of our community! Watch this film: JustWatch Stage Libretto Original theatrical trailer Original poster artwork Original Material Flickchart Letterboxd Broadway's Back!

Is the magic in the new film In the Heights from Jon M. Chu's direction or from Lin-Manuel Miranda's original Broadway show? We definitely think it's Chu working wonders here to bring this show to vibrant life. Andy Nelson is joined in The Film Board this week by Mandy Kaplan and Justin Jaeger along with special guest Brian Rowe from the Film at Fifty Podcast to form our own artistic opinions of this film. The story doesn't wow any of us as much as we were hoping, but Chu creates a film that just oozes personality. He also casts the film with people that feel authentic and we love them all – Anthony Ramos, Melissa Barrera, Leslie Grace, Corey Hawkins, Daphne Rubin-Vega, Olga Merediz, Gregory Diaz IV, and Jimmy Smits. That's right, Jimmy Smits holds his own here with the singing and dancing! This is definitely one we recommend seeing on the big screen because Christopher Scott's choreography, the production design, and the rest of Chu's team made something epic. We have a lively conversation about it, so check out the movie and join us! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Support The Next Reel Film Podcast by becoming a member of our community! Watch this film: JustWatch Stage Libretto Original theatrical trailer Original poster artwork Original Material Flickchart Letterboxd Broadway's Back!

Outside In comes after a big box office failure from writer/director Lynn Shelton with her film Laggies. That film never found its audience and lost a lot of money, so it makes sense that Shelton returned to her ‘even more indie' roots, teaming up with Mark and Jay Duplass again to make this film with a lower, indie-sized budget. Outside In features Edie Falco as a high school teacher who worked for years to help free a former student, played by Jay Duplass, from prison after being wrongfully convicted in a murder case. She and Duplass have a complicated and messy emotional affair, all while he tries to figure out post-prison life and she tries to sort out her failing marriage and her relationship with her daughter. It's a touching, powerful film that resonates well with us, and is a strong turn for Shelton to try her hand at a straight-up drama. Join us – Pete Wright and Andy Nelson – as we continue our Lynn Shelton series with her 2017 film Outside In. Here's a hint at what we talk about. Who's our favorite Duplass brother? And why haven't we seen as much of Jay? Does Shelton direct a straightforward drama better than when she directs comedy? Edie Falco, Jay Duplass, and Kaitlyn Dever are so great to watch, particularly Falco who works so well here. Why didn't she get more attention? Why didn't the film get more attention overall? Does this small town in the Pacific Northwest stand out as compared to her other PacNorth locations? The script that Duplass and Shelton co-wrote works effectively because it conveys a lot with little bits of info. And Shelton's penchant for messy people and forgiveness continues in this film! We both really loved this film. In Shelton's career, it's a standout. 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

Outside In comes after a big box office failure from writer/director Lynn Shelton with her film Laggies. That film never found its audience and lost a lot of money, so it makes sense that Shelton returned to her ‘even more indie' roots, teaming up with Mark and Jay Duplass again to make this film with a lower, indie-sized budget. Outside In features Edie Falco as a high school teacher who worked for years to help free a former student, played by Jay Duplass, from prison after being wrongfully convicted in a murder case. She and Duplass have a complicated and messy emotional affair, all while he tries to figure out post-prison life and she tries to sort out her failing marriage and her relationship with her daughter. It's a touching, powerful film that resonates well with us, and is a strong turn for Shelton to try her hand at a straight-up drama. Join us – Pete Wright and Andy Nelson – as we continue our Lynn Shelton series with her 2017 film Outside In. Here's a hint at what we talk about. Who's our favorite Duplass brother? And why haven't we seen as much of Jay? Does Shelton direct a straightforward drama better than when she directs comedy? Edie Falco, Jay Duplass, and Kaitlyn Dever are so great to watch, particularly Falco who works so well here. Why didn't she get more attention? Why didn't the film get more attention overall? Does this small town in the Pacific Northwest stand out as compared to her other PacNorth locations? The script that Duplass and Shelton co-wrote works effectively because it conveys a lot with little bits of info. And Shelton's penchant for messy people and forgiveness continues in this film! We both really loved this film. In Shelton's career, it's a standout. 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

Steve has a 15-minute rule. You have got to give a film 15 minutes to prove itself. If after 15 minutes you can easily walk away, then do it. Don't waste your time on a movie, if after 15 minutes you haven't connected with the characters, or the story hasn't drawn you in. Don't worry. The Peanut Butter Falcon is not a bad movie. JJ and Steve agree that the beginning may not draw everyone in. Give it time. By the time the paths of our two main characters cross you will likely be invested in them enough to want to watch the rest of their journey. Is there magical realism woven into the end of this film? Possibly. Will kids want to carve watermelon helmets after watching this? Maybe. Is this a film that the whole family can watch together and enjoy? Steve and JJ disagree. Listen in to find out why. Join the conversation with movie lovers from around the world on [The Next Reel's Discord channel][discord]! ### Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! * Watch this film: [JustWatch][justwatch] * [Script][script] * [Original theatrical trailer][trailer] * [Original poster artwork][pinterest] * [Flickchart][flickchart] * [Letterboxd][letterboxd] [script]:https://www.scriptslug.com/assets/uploads/scripts/the-peanut-butter-falcon-2019.pdf [trailer]:https://www.youtube.com/watch?v=UNl9RqjLCwc [pinterest]:https://www.pinterest.com/thenextreel/the-next-reels-poster-collection/ [flickchart]:https://www.flickchart.com/movie/6B3CC28D44 [letterboxd]:https://letterboxd.com/film/the-peanut-butter-falcon/ [justwatch]:https://www.justwatch.com/us/movie/the-peanut-butter-falcon [discord]:https://discord.gg/yW72E6M

Steve has a 15-minute rule. You have got to give a film 15 minutes to prove itself. If after 15 minutes you can easily walk away, then do it. Don't waste your time on a movie, if after 15 minutes you haven't connected with the characters, or the story hasn't drawn you in. Don't worry. The Peanut Butter Falcon is not a bad movie. JJ and Steve agree that the beginning may not draw everyone in. Give it time. By the time the paths of our two main characters cross you will likely be invested in them enough to want to watch the rest of their journey. Is there magical realism woven into the end of this film? Possibly. Will kids want to carve watermelon helmets after watching this? Maybe. Is this a film that the whole family can watch together and enjoy? Steve and JJ disagree. Listen in to find out why. Join the conversation with movie lovers from around the world on [The Next Reel's Discord channel][discord]! ### Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! * Watch this film: [JustWatch][justwatch] * [Script][script] * [Original theatrical trailer][trailer] * [Original poster artwork][pinterest] * [Flickchart][flickchart] * [Letterboxd][letterboxd] [script]:https://www.scriptslug.com/assets/uploads/scripts/the-peanut-butter-falcon-2019.pdf [trailer]:https://www.youtube.com/watch?v=UNl9RqjLCwc [pinterest]:https://www.pinterest.com/thenextreel/the-next-reels-poster-collection/ [flickchart]:https://www.flickchart.com/movie/6B3CC28D44 [letterboxd]:https://letterboxd.com/film/the-peanut-butter-falcon/ [justwatch]:https://www.justwatch.com/us/movie/the-peanut-butter-falcon [discord]:https://discord.gg/yW72E6M

Ed and Lorraine Warren have their ghost-fighting hats back on in The Conjuring: The Devil Made Me Do It, the third film in the Conjuring films and eighth in The Conjuring Universe. Andy Nelson's here to discuss it with Pete Wright, Tommy Metz III, and guest Justin Harlan from Cinapse and The Farsighted. Does this entry fit well into the franchise? Why did James Wan not direct it but turn it over to Michael Chaves instead? And what do we think of that decision? How do we feel about them taking the story out of a haunted house to focus on a possessed person instead? What about the integration of CG effects with the practical effects? And is our villain the creep we needed? Tune in to join the conversation! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Support The Next Reel Film Podcast by becoming a member of our community! Original theatrical trailer Original poster artwork Flickchart Letterboxd

Ed and Lorraine Warren have their ghost-fighting hats back on in The Conjuring: The Devil Made Me Do It, the third film in the Conjuring films and eighth in The Conjuring Universe. Andy Nelson's here to discuss it with Pete Wright, Tommy Metz III, and guest Justin Harlan from Cinapse and The Farsighted. Does this entry fit well into the franchise? Why did James Wan not direct it but turn it over to Michael Chaves instead? And what do we think of that decision? How do we feel about them taking the story out of a haunted house to focus on a possessed person instead? What about the integration of CG effects with the practical effects? And is our villain the creep we needed? Tune in to join the conversation! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Support The Next Reel Film Podcast by becoming a member of our community! Original theatrical trailer Original poster artwork Flickchart Letterboxd

Laggies was Lynn Shelton's chance to step up and make a film for a bit more money than she's had before. She's not working with the Duplass brothers. She's directing an original script that she didn't write. So how does it fare compared to her earlier work? Join us – Pete Wright and Andy Nelson – as we hit the midpoint of our Lynn Shelton series with her 2014 film Laggies, starring Keira Knightley, Sam Rockwell, Chloë Grace Moretz, Ellie Kemper, Mark Webber, and Kaitlyn Dever. Here's a hint at what we talk about. What's with the title? According to Andrea Seigel, the screenwriter, a laggie is an adult slacker and is a common term. Shelton and the producers all went along with it before learning it really meant nothing. But hey – that's how words get started, right? Sam Rockwell and Keira Knightley are fantastic in their roles, and the script has some laughs, but why does everything feel so expected? It's frustrating that Megan, Knightley's character, seems to be struggling with her group of friends and her boyfriend, but we don't like any of them from the start which makes for story problems. Shelton definitely seems to have a thing for human faults and forgiveness. We've seen it in all the films in this series so far, but why does it work better sometimes than at others? Do they do much to capture the Seattle area in Laggies? And how did Shelton do with stepping out of her indie comfort zone to make this bigger budget film? It's a film that strikes a chord for many people but wasn't something we connected to that much. Regardless, the main characters are a delight and there are some really strong moments. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd Our Lynn Shelton Series Humpday Your Sister's Sister Laggies (You're here!) Outside In (coming soon) Sword of Trust (coming soon)

Once Lynn Shelton and her producers had locked in plans to make Your Sister's Sister, they cast Mark Duplass, Emily Blunt and Rachel Weisz in the three lead roles. They worked on the script and concepts over eight months and then they had to push the production back. When they did this, they lost Weisz due to scheduling conflicts she had with Deep Blue Sea. With only two days before they started shooting, Shelton cast Rosemary DeWitt to replace Weisz whom she had met when directing an episode of “Mad Men.” DeWitt connected right away with the project and the loose production style, and they got the film made. Join us – Pete Wright and Andy Nelson – as we continue our Lynn Shelton series with her 2012 film Your Sister's Sister. We talk about the nonsensical confusion the title creates for us, because it feels like there should be three sisters, but how it really doesn't matter because it's a cool and memorable title. Just don't think about it too much. We chat about the great central performances by Duplass, Blunt, and DeWitt and debate if the story is too dramatic for the subject or if it works. We look at the idea of Shelton's films as comedies and debate the genre label for them, deciding they're more comedic dramas. We discuss our struggle with the dramatic open and how it never feels like an element that's dealt with in the film. And we chat about the gorgeous filming location in the Seattle area and the San Juan Islands. It's a solid story with great actors, even if it has some story elements we struggled with. Regardless, it's a film worth watching and discussing. 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Original theatrical trailer Original poster artwork Flickchart Letterboxd

JJ and Steve are joined by Tommy to make sense of the puzzle that is The Goldfinch. It's not that the story is complex or difficult to decipher. It's not that there's a mystery to solve. It's just that it is very challenging to describe why this film doesn't work. Why does a Pulitzer Prize winning novel not translate to the big screen? Is there not enough, or is it too much? Is “beautiful disaster” the most appropriate description? Join JJ, Steve, and Tommy on their quest to solve this mystery because misery loves company. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork The Goldfinch by Donna Tartt Flickchart Letterboxd

The Film Board convenes! We're back on the Zack Snyder train with the first entry in what promises to be a big, nasty, zombie universe in the Netflix film “Army of the Dead.” Board the container with Pete Wright, Jordan Petersen, and Ocean Murff and let's go to Vegas. Coming on the heels of Snyder's re-take on ‘Justice League,' and with his zombie credibility on lock thanks to his ‘Dawn of the Dead' pedigree, it's fair to say we came into this film with high hopes. It's a blockbuster, to be sure, and every single one of those sweet, sweet Netflix dollars is up on screen in running, crouching, shambling zombies. How well does the team create the world of Dead Vegas? What do we think of Snyder's eye behind the camera? How much do we want to wear one of those fancy motion capture suits? So, so much. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Support The Next Reel Film Podcast by becoming a member of our community! Watch this film: Netflix Original theatrical trailer Original poster artwork Flickchart Letterboxd

Lynn Shelton sadly passed away about a year ago at the age of 54, but left a mark on the independent film scene with the personal stories she created. Her third theatrical feature film, Humpday, got a lot of attention when it premiered at Sundance, and that gave Shelton the boost she needed to get more of her storytelling out into the world. Join us – Pete Wright and Andy Nelson – as we kick off our Lynn Shelton series with her 2009 indie hit Humpday. We talk about the mumblecore film movement, what these types of films consist of, and why perhaps so many involved (and critics as well) aren't a fan of the moniker. We look at Shelton and her personal storytelling here, and perhaps why this story idea was an easy one to latch on to and one to make to get noticed. We chat about the characters in the film and why elements of them work so well for us but why others don't. We discuss the concept of friendship and manliness and what Shelton and the story are saying about that. We touch on our frustrations with how the film ends. And we revel in a few scenes that really stand out, including one character moment that we really don't like. It's an interesting film that has a lot to say, even if there are issues we have with the film itself. Regardless, it's a film worth checking out, so see what you think 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd Dan Savage's Hump Film Festival

Frank Darabont wanted to adapt Stephen King's novella “The Mist” as his directorial debut, but obviously that didn't happen. It took him 13 years and three feature films, not to mention all the TV writing he was involved in, before he'd finally get around to adapting the story and making the film. What's great about it is that he went dark with the story and took the original story even further than King took it. It worked for some people but not that well for others who found it far too bleak. Still, it's found its audience and is generally considered one of the strongest horror adaptations of Kings' work. Join us – Pete Wright and Andy Nelson – as we wrap up our Stephen King à la Darabont series, with his 2007 film The Mist. We talk about the bleak nature of the story and how well it works for us in context of what King was doing with it. We look at the color version versus the director's preferred black-and-white version and why we both prefer the black-and-white as well. We chat about the performances, notably Thomas Jane and Marcia Gay Harden (not to mention all the Darabont regulars) and why they work so well in their respective roles. We discuss the Lord of the Flies aspect to the humans in the story and why it fits so perfectly in this world. We chat about the creatures and why we find them so perfectly terrifying. We touch on the music and why the haunting voice of Lisa Gerrard works so well in context of this story. We debate the ending and why it works so well for us while certainly not as well for others – and how it can be interpreted in different ways. And if you're tuning in to hear us talk about how cool it is that Darabont is such a fan of Drew Struzan's poster art that he builds it into his lead character's occupation, you'll be disappointed. We completely forget to bring it up! So we'll just mention it here. It's a fantastically freaky film and we both love it. We had a great time talking about it on the show this week, 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork Original Material Flickchart Letterboxd

For some reason this film about building a 1000 mile underground fiber optic connection was also buried underground. In this story about an attempt to set a speed record in round trip communications JJ and Steve find that it's the back half of the story where this film reveals its true intent. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: JustWatch Script Original theatrical trailer Original poster artwork Flickchart Letterboxd

Guy Ritchie steps out of his usual type of filmmaking and focuses on a gritty, dark crime story with his new film Wrath of Man. Sure, it's got a lot of his usual traits and it has Jason Statham, returning to work with him after 16 years, but does this style work for him? Andy's joined by Charlie Juhl and Hannah Buchdahl from The Cinema Clash Podcast as well as Jordan Petersen to talk through what works and what doesn't with this new action thriller currently in theatres. It's big and action-packed, but is it any good? Check out the movie then tune in! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Support The Next Reel Film Podcast by becoming a member of our community! Watch this film: JustWatch Original theatrical trailer Original poster artwork Original Material Flickchart Letterboxd The Cinema Clash Podcast The Cinema Clash on Twitter Jordan Petersen on Twitter Andy on Twitter

When Stephen King published “The Green Mile,” it was quite a novelty as he chose to release it in six serialized segments, each releasing a month apart. It was inevitable that it would get adapted as a film, as so many other of King's works, but perhaps because of its popularity, its subject matter, and because of Frank Darabont's connection to King after making The Shawshank Redemption, it came as no surprise that Darabont was adapting and directing it as his next film. Join us – Pete Wright and Andy Nelson – as we talk about the next film in our Stephen King à la Darabont series, his 1999 film adaptation The Green Mile. We talk about the episodic nature the film has, perhaps because of its original serialized format, and how that affects our viewing of it. We look at the flashback structure with Old Paul in the nursing home at the start and finish and debate if it helps or hurts the film. We also talk about the mean orderly in the nursing home in the novel and why perhaps the film would've worked better if that character was kept. We discuss the magical negro nature of the film and why it can be harmful to the interpretations of the film today. We look at all of the performances but notably Michael Clarke Duncan and how well he works as John Coffey. We touch on the cinematography, production design, music, and editing and why they all work well in this long story. And we ponder what it's saying about death sentences, if anything. It's a good film, despite the problems it has with the magical negro element, but doesn't approach the level of Shawshank for us. Still, it's worth watching, 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 Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: JustWatch Script Transcript Original theatrical trailer Original poster artwork The Green Mile: The Complete Serial Novel by Stephen King Flickchart Letterboxd I Really Like You • Carly Raw Jepsen