The Next Picture Show

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#089: (Pt. 2) Planet of the Apes ('68) / War for the Planet of the Apes Aug 10, 2017

Show notes

We return to the PLANET OF THE APES series to see how it’s evolved from the 1968 original to Matt Reeves’ stunning new WAR FOR THE PLANET OF THE APES. After discussing why the new trilogy, and WAR in particular, works so well in the current era, we examine how the two ends of this franchise speak to each other over the span of five decades, discussing their ape effects, their social themes, and their very different central performances. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about PLANET OF THE APES, WAR FOR THE PLANET OF THE APES, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show:

• Scott: Amanda Lipitz’s STEP, Kogonada’s COLUMBUS, and Brett Leonard’s THE LAWNMOWER MAN

• Keith: the rest of the PLANET OF THE APES original series

• Genevieve: The Ross Bros.’ CONTEMPORARY COLOR

Outro music: The Kinks, “Apeman”

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#088: (Pt. 1) Planet of the Apes ('68) / War for the Planet of the Apes Aug 08, 2017

Show notes

This week, we’re exploring two films from the opposite ends of the same ape-filled franchise. First, we focus on the cry of “YOU MANIACS” heard ’round the world, 1968’s PLANET OF THE APES, which introduced a fruitful concept that would continue evolve through sequels, TV series, remakes, and a modern prequel series, the most recent installment of which, WAR FOR THE PLANET OF THE APES, we’ll discuss in Pt. 2. In this half, we tease out the various thematic notions that have kept this premise enticing over the decades, debate the merits of Charlton Heston’s hammy lead performance, and more. Plus, some spirited feedback from our recent episode on A GHOST STORY.

Please share your comments, thoughts, and questions about PLANET OF THE APES and WAR FOR THE PLANET OF THE APES, and all other ape-related queries, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

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#087: (Pt. 2) A Ghost Story / Carnival of Souls (1962) Jul 27, 2017

Show notes

We return to a plane somewhere between life and death (and between horror and drama) to discuss David Lowery’s new A GHOST STORY, both on its own and in the context of Herk Harvey’s similar haunting and genre-defying CARNIVAL OF SOULS. We talk over how the two films tackle big, weighty concepts like the nature of time and the afterlife, as well as how their distinctive use of music contributes to their eeriness. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about CARNIVAL OF SOULS, A GHOST STORY, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show:

• Genevieve: Douglas McGrath’s EMMA

• Tasha: Tom Weaver’s interviews with Candace Hilligoss on BMonster.com and Hirokazu Koreeda’s AFTER LIFE

• Scott: Brian Knappenberger’s NOBODY SPEAK: TRIALS OF THE FREE PRESS and Malcolm D. Lee’s GIRLS TRIP

Outro music: Dark Rooms, “I Get Overwhelmed” from A GHOST STORY

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#086: (Pt. 1) A Ghost Story / Carnival of Souls (1962) Jul 25, 2017

Show notes

Inspired by David Lowery’s new A GHOST STORY, we’re looking back at another microbudget horror-drama that’s haunting in both the literal and puntastic sense: Herk Harvey’s creepy cult hit CARNIVAL OF SOULS, a 1962 oddity about a woman trapped somewhere between life and death who can’t ditch the strange figures following her. In this half of the discussion, we look for links to Harvey’s background in industrial filmmaking and interest in European cinema, contextualize the film’s strangely wooden performances, and consider just what makes this strange film work, seemingly against all odds. Plus, some feedback on recent episodes and a brief discussion of another pairing we discussed for this week.

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#085: (Pt. 2) Okja / Babe (1995) Jul 13, 2017

Show notes

Bong-Joon Ho’s new Netflix release OKJA has some commonalities with Chris Noonan’s 1995 family film BABE — beyond just a porcine protagonist — but it’s a decidedly different animal. In this half of the discussion, we talk over the odd beast that is OKJA, then consider the how it and BABE both engage with the question of whether it’s wrong to eat meat, how they use very different settings and time periods to similar effect, and more. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about BABE, OKJA, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show:

• Keith: Nicholas Ray’s THEY LIVE BY NIGHT

• Scott: Alison Maclean’s THE REHEARSAL

• Genevieve: Edgar Wright’s BABY DRIVER, Michael Showalter’s THE BIG SICK, and James Mangold’s LOGAN NOIR

Outro music: The Mamas and The Papas, “Dedicated To The One I Love”

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#084: (Pt. 1) Okja / Babe (1995) Jul 11, 2017

Show notes

Inspired by Bong Joon-ho’s new OKJA, we look back at another whimsical fantasy film about a super-pig and its human, albeit one of a decidedly different breed: BABE, Christopher Noonan’s 1995 family hit about a taciturn farmer and his innocent sheep-pig. In this half of the discussion, we consider the film’s well-honed storybook sensibility, the endurance of its then-cutting-edge special effects, and the note-perfect perfect performance at its center. Plus, some of the excellent feedback we received on our recent episodes on THE THING and IT COMES AT NIGHT.

Please share your comments, thoughts, and questions about BABE, OKJA, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

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#083: (Pt. 2) It Comes At Night / The Thing Jun 29, 2017

Show notes

We return to matters of isolation and paranoia in the second half of our comparison of John Carpenter’s THE THING with Trey Edward Shults’ new horror-drama IT COMES AT NIGHT. After debating IT COMES AT NIGHT’s difficult ending and almost perverse commitment to ambiguity, we talk over what the two films share — and don’t — in their portrayals of paranoia, the ties that bind, the apocalypse, and, naturally, dogs. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about THE THING, IT COMES AT NIGHT, or both by sending an email to comments@nextpictureshow.net or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show:

• Tasha: John Sayles’ LIMBO and Jack Sholder’s THE HIDDEN

• Keith: Brad Bird’s THE IRON GIANT

• Scott: Alain Guiraudie’s STAYING VERTICAL

Outro music: Brian McOmber, “It Comes At Night”

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#082: (Pt. 1) It Comes At Night / The Thing Jun 27, 2017

Show notes

Trey Edward Shults’ new IT COMES AS NIGHT takes as one of its influences John Carpenter’s 1982 bloody masterpiece THE THING, which is as good a reason as any to revisit one of our favorite genre films. In this half of the discussion, we geek out over the film’s how’d-they-do-that gore effects and distinctive ensemble, and theorize why THE THING didn’t connect with audiences in 1982, and why it holds up so well today. Plus, a small taste of the deluge of feedback we got on our recent episodes on WONDER WOMAN and PATHS OF GLORY.

Please share your comments, thoughts, and questions about THE THING, IT COMES AT NIGHT, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

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#081: (Pt. 2) Wonder Woman / Paths of Glory Jun 15, 2017

Show notes

We return to the battlefields of WWI to talk over Patty Jenkins’ new WONDER WOMAN, both on its own and as it relates to Stanley Kubrick’s PATHS OF GLORY. After discussing what worked and didn’t work in WONDER WOMAN, we bring in the Kubrick film to discuss how these two stories approach themes of leadership and the military, as well as their views of the Great War specifically and all war in general. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about PATHS OF GLORY, WONDER WOMAN, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show:

• Tasha: Karl Freund's THE MUMMY (1932)

• Keith: Amber Tamblyn's PAINT IT BLACK and Bill Morrison's DAWSON CITY: FROZEN TIME

• Scott: kogonada.com and the work of Kogonada

• Genevieve: The One Perfect Shot video-essay database (video.filmschoolrejects.com)

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#080: (Pt. 1) Wonder Woman / Paths of Glory Jun 13, 2017

Show notes

Patty Jenkins’ new WONDER WOMAN takes World War I as its setting, opening up a host of comparisons to a much earlier, much different cinematic vision that looks to the Great War to uncover the best and worst of humanity: Stanley Kubrick’s 1957 anti-war drama PATHS OF GLORY. In this half of the discussion, we focus on PATHS OF GLORY, marveling at its efficiency and technical achievement — and at how both contribute to the film’s delicate but scathing unilateral indictment of the military system. And in lieu of feedback this week, we also discuss some other potential pairings we considered for this episode.

Please share your comments, thoughts, and questions about PATHS OF GLORY, WONDER WOMAN, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

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Support the show: https://www.patreon.com/join/NextPictureShow

See omnystudio.com/listener for privacy information.

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