The Next Picture Show

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Lady Killers, Pt. 1 — American Psycho Feb 02, 2021

Show notes

PROMISING YOUNG WOMAN writer-director Emerald Fennell has cited AMERICAN PSYCHO as one of her cinematic reference points when creating her first debut feature, which was enough reason for us to revisit Mary Harron’s 2000 cult classic ‘80s satire to see if there’s more to that comparison than the films’ shared taste for dark, dark humor. First up this week, we dig into AMERICAN PSYCHO’s inscrutable protagonist and even more inscrutable ending, its approach to adapting what many considered an unadaptable Bret Easton Ellis novel, and whether the characters in this film who are not named Patrick Batemen have any lasting resonance. Plus, we respond to some feedback regarding our recent episode on Pixar’s SOUL, and another about the pandemic’s effects on our home-viewing habits.

Please share your comments, thoughts, and questions about AMERICAN PSYCHO, PROMISING YOUNG WOMAN, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Works Cited:

• “The Frustrating Tradition Behind Soul’s Great Flaw,” by Robert Daniels (polygon.com)

• “Stop Telling Me To Turn My Brain Off At Movies,” by Matt Singer (screencrush.com)

• “Pixar’s Troubled ‘Soul’” by Namwali Serpell (newyorker.com)

Outro Music: Huey Lewis and the News, “Hip to Be Square”

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Drinking Buddies, Pt. 1 — Sideways Jan 19, 2021

Show notes

Among other accomplishments, Thomas Vinterberg’s new ANOTHER ROUND has unseated Alexander Payne’s SIDEWAYS as the ne plus ultra of funny films about sad men drinking their way through midlife crises. In celebration of that feat, this week we’re looking back at what made SIDEWAYS so intoxicating back in 2004, discussing the film’s many small moments that carry a wealth of character, what to make of the connection between Miles (Paul Giamatti) and Maya (Virginia Madsen), and whether we feel comfortable characterizing oenophile Miles as a snob. Plus, we respond to some feedback taking us to task for our comparison of MANK and CITIZEN KANE, and inquiring about our favorite examples of a timely movie trope.

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

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Stairways to Heaven, Pt. 2 — Soul Jan 12, 2021

Show notes

Both Pixar’s new feature SOUL and Powell and Pressburger’s 1946 fantasy-romance A MATTER OF LIFE AND DEATH center on a soul gone missing from heaven’s ledger because he’s anxious to get back to his life on earth, but the journeys each of them takes to get there end up drawing different conclusions about the meaning of life. This week we’re joined again by critic and 812FilmReviews founder Robert Daniels to dig into SOUL and debate whether it manages to strike the delicate tonal balance it’s reaching for, how it carries its status as the first Pixar film with a Black protagonist, and how it fits into director Pete Doctor’s filmography, before bringing MATTER OF LIFE AND DEATH into the discussion to compare the two films’ depictions of afterlife bureaucracy.

Please share your comments, thoughts, and questions about A MATTER OF LIFE AND DEATH, SOUL, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show:

Tasha: Hirokazu Koreeda’s AFTER LIFE and Goran Dukic’s WRISTCUTTERS: A LOVE STORY

Robert: Regina King’s ONE NIGHT IN MIAMI

Keith: Alexander Hall’s HERE COMES MR. JORDAN

Scott: Benjamin Ree’s THE PAINTER AND THE THIEF

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Stairways to Heaven, Pt. 1 — A Matter of Life and Death Jan 05, 2021

Show notes

With the image early in SOUL of a conveyor belt ferrying new souls into the afterlife, the new Pixar film makes clear the thematic debt it owes to Michael Powell and Emeric Pressburger’s 1946 fantasy-romance A MATTER OF LIFE AND DEATH. But there’s much more to the Powell and Pressburger film than that indelible image; in this week’s half of our pairing we dig into what lies beyond the stairway to heaven with an assist from critic and 812FilmReviews founder Robert Daniels, with whom we discuss MATTER’s central romantic relationship, its varied approach to tone, and its relationship to the afterlife, both stylistically and narratively. Plus, we respond to some feedback on our recent WOLFWALKERS episode that wonders if the film is "actually AVATAR for kids," as well as a letter seeking clarification on our collective aversion to the term “dated.”

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The Manking of Kane, Pt. 2 — Mank Dec 08, 2020

Show notes

Though David Fincher’s new MANK certainly makes the case for giving Herman Mankiwiecz more of the credit for CITIZEN KANE than he’s often received, it’s more interested in peeling back the layers of a complex character and exploring the many personal and cultural themes that found their way into KANE. That makes it all but impossible not to discuss the film in relation to the Orson Welles classic, which is exactly what we do this week, comparing how the two films function as biography, how they each tackle politics and cronyism, and how they use non-chronological storytelling to different effect (and success). Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar.

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

Your Next Picture Show:

Tasha: Aaron Sorkin’s THE TRIAL OF THE CHICAGO 7

Keith: Sofia Coppola’s ON THE ROCKS and Steve McQueen’s SMALL AXE

Genevieve: Alex Huston Fischer and Eleanor Wilson’s SAVE YOURSELVES!

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The Manking of Kane, Pt. 1—Citizen Kane Dec 01, 2020

Show notes

It’s rare that a new film suggests a historical comparison point as strongly as David Fincher’s new MANK does, so we’re taking the bait and putting it in conversation with the film that is its raison d’etre: Orson Welles’ towering 1941 directorial debut, CITIZEN KANE. Is there anything new to say about a film frequently hailed as the form’s crowning achievement? Perhaps not, so in this half of the conversation we dig into KANE’s legacy as much as the film itself, to consider how the film plays in the context of everything it inspired, whether it’s a useful dividing point in film history, and the ways it still manages to surprise us after all this time. Plus, Scott Tobias presents an abbreviated 2020 edition of his annual “Movies to See” checklist, covering all the films you need to see to be conversant in this past year in film.

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#253: Family Feuds, Pt. 2 — The Nest Nov 24, 2020

Show notes

Writer-director Sean Durkin’s long-awaited followup to MARTHA MARCY MAY MARLENE, the new THE NEST casts Jude Law and Carrie Coon as an unhappily married couple in the 1980s who relocate their family to an isolated British country estate, a move that hastens the seemingly inevitable collapse of their family unit. Though the film is separated from the setting of Ang Lee’s 1970s-set THE ICE STORM by a decade and an ocean, the two films express a similar merging of period values and family values, and build to nearly identical dark-night-of-the-soul climaxes. We get into that and more as we bring THE NEST into conversation with THE ICE STORM. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar.

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

Your Next Picture Show:

Keith: George Romero’s SEASON OF THE WITCH

Tasha: Christopher Caldwell and Zeek Earl’s PROSPECT

Scott: Michael Cimino’s HEAVEN’S GATE (Director’s Cut)

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Family Feuds, Pt. 1 — The Ice Storm Nov 17, 2020

Show notes

THE NEST, Sean Durkin’s chilly new drama about a marriage on the brink, weaves together its very 1980s setting and the issues afflicting its central family in a manner we found reminiscent of Ang Lee’s 1997 feature THE ICE STORM, which examines a similar sort of familial dysfunction through the lens of 1970s libertine values. In this half, we debate how well THE ICE STORM holds up another two decades removed from the time period it depicts, what stands out about its approach to that time period, and what it has to say as a film about parenthood. Plus, in place of our usual Feedback, we take some time to survey the career of Ang Lee via a discussion of his films that have most stuck with us.

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Byrne-ing Down the House, Pt. 2 — David Byrne's American Utopia Nov 10, 2020

Show notes

DAVID BYRNE’S AMERICAN UTOPIA is a fairly traditional concert film — at least as traditional as a collaboration between David Byrne and Spike Lee can be — which differentiates it from Byrne’s vignette-based 1986 ramble TRUE STORIES, but both projects are indelibly marked by the musician’s mindset, clearly the products of someone who works intuitively and metaphorically. This week we attempt to parse how the “David Byrne” character has evolved over the decades separating the two films, and how TRUE STORIES and AMERICAN UTOPIA echo each other’s interests in American stories, collective celebration through music, and how technology can foster human connection. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar.

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

Your Next Picture Show:

Genevieve: Marielle Heller’s WHAT THE CONSTITUTION MEANS TO ME

Keith: Costa Gavras’ Z

Tasha: Michael O’Shea’s THE TRANSFIGURATION

Scott: John Huston’s FAT CITY

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Byrne-ing Down the House, Pt. 1 — True Stories Nov 03, 2020

Show notes

Spike Lee’s new feature-length document of David Byrne’s stage show AMERICAN UTOPIA seemed like a prime opportunity to look back on the the iconoclastic alt-rocker’s own 1986 directorial effort TRUE STORIES, which also uses the framework of Talking Heads songs to muse about the state of America and how humans seek and find connections in the modern world. In the first half of our Byrne double feature, we consider TRUE STORIES’ vignette-based journey through the fictional Virgil, Texas, through the overlapping lenses of comedy, music, and Byrne himself. Plus, we respond to some feedback regarding our recent episode on DOGTOOTH.

Works Cited:

• “David Byrne’s American Triptych” by Keith Phipps (Slate.com)

Outro Music: Talking Heads ft. Annie McEnroe, “Dream Operator”

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