Paul Thomas Anderson’s ONE BATTLE AFTER ANOTHER is a very different film in form and function than the other half of this pairing, RUNNING ON EMPTY, but it’s built on the same foundational questions as Sidney Lumet’s 1988 family drama: what does it mean to lead a revolutionary life, and how does one generation’s fight get handed off to the next? After talking through how ONE BATTLE AFTER ANOTHER engages with those questions, as well as its more action-movie-oriented thrills (and hills), we bring in RUNNING ON EMPTY to compare how the two films depict coming of age while on the run from the feds, and parents attempting to safeguard their children from an unknown future. Then in Your Next Picture Show, we discuss some of the other films Anderson chose, alongside RUNNING ON EMPTY, for a recent TCM guest-programming selection inspired by ONE BATTLE.

Please share your thoughts about RUNNING ON EMPTY, ONE BATTLE AFTER ANOTHER, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.

Next Pairing: Kathryn Bigelow’s A HOUSE OF DYNAMITE and Sidney Lumet’s FAIL-SAFE

Intro: 00:00:00-00:01:40

One Battle After Another discussion: 00:01:40 - 00:32:37

One Battle After Another/Running on Empty Connections: 00:32:37-00:59:38

Your Next Picture Show and goodbyes: 00:59:38-end

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Paul Thomas Anderson himself cited 1988’s RUNNING ON EMPTY as a direct influence on the new ONE BATTLE AFTER ANOTHER, and it’s not difficult to see the rhymes between these two films about former revolutionaries trying to protect their kids from the consequences of their parents’ past. We’ll get into those rhymes more next week, but first we devote some time to Sidney Lumet’s 1988 film, which is less cat-and-mouse chase than coming-of-age family drama, anchored by a remarkable River Phoenix as the teenage son of former anti-war protesters on the run from the law. Unlike with PTA’s film, there are no real bad guys in RUNNING ON EMPTY, only problems to negotiate within a rich family dynamic that is both delightful in its specificity and heartbreaking in its fragility. After that, we field some Feedback from listeners about our recent episodes on HIGHEST 2 LOWEST and THEY SHOOT HORSES, DON’T THEY?

Please share your thoughts about RUNNING ON EMPTY, ONE BATTLE AFTER ANOTHER, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.

Intro: 00:00:00-00:04:58

Running on Empty Keynote: 00:04:58-00:09:39

Running on Empty Discussion: 00:09:39-00:44:26

Feedback/outro: 00:44:26-end

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It took decades in development hell for an adaptation of Stephen King’s THE LONG WALK to trudge its way into theaters, and now that it has, we’re of split opinions on how Francis Lawrence’s film goes about distinguishing itself from its source material, particularly in its graphic depiction of violence. There’s also the matter of the film’s very different ending, which we dig into once we move into Connections to compare how THE LONG WALK’s endurance contest compares to the one in Sydney Pollack’s THEY SHOOT HORSES, DON’T THEY?, in terms of how voluntary they actually are, what spectators get out of watching participants suffer, and what passes for victory in a contest where no one really wins. Then, in Your Next Picture Show, we devote a little time to revisiting a film franchise that came up repeatedly in our discussions of both these films: THE HUNGER GAMES.

Please share your thoughts about THEY SHOOT HORSES, DON’T THEY?, THE LONG WALK, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.

Next Pairing: Paul Thomas Anderson’s ONE BATTLE AFTER ANOTHER and Sidney Lumet’s RUNNING ON EMPTY

Intro: 00:00:00-00:01:59

The Long Walk discussion: 00:01:59 - 00:30:14

The Long Walk / They Shoot Horses Connections: 00:30:14-01:01:49

Your Next Picture Show and goodbyes: 01:01:49-end

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It took decades for THE LONG WALK to make it to the big screen, in part because the Stephen King novel on which it’s based is so unrelentingly grim — but as we discovered this week, it may actually be less so than the other half of this pairing, THEY SHOOT HORSES, DON’T THEY. Set during the Great Depression and featuring a protagonist who is greatly depressed, Sydney Pollack’s 1969 drama about a marathon dance contest has little room for uplift, but it’s nonetheless full of interesting characters and performances, evocative filmmaking choices, and one of cinema’s all-time downer endings. After that discussion, we pick ourselves back up off the floor with the help of some feel-good Feedback from a long-time listener as we approach this podcast’s ten-year anniversary. 

Please share your thoughts about THEY SHOOT HORSES, DON’T THEY, THE LONG WALK, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.

Intro: 00:00:00-00:04:32

They Shoot Horses, Don’t They Keynote: 00:04:32-00:09:38

They Shoot Horses, Don’t They Discussion: 00:09:38-00:50:10

Feedback/outro: 00:52:06-end

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Spike Lee’s HIGHEST 2 LOWEST is built on the rock-solid narrative foundation of HIGH AND LOW, but the “interpretation” of Akira Kurosawa’s 1963 crime-thriller classic he builds atop it can be shaky at times. We’re all in agreement that HIGHEST 2 LOWEST has flaws, but whether those flaws add up to ruin or simply provide texture to a singular filmmaker’s singular film is up for discussion in the first part of this week’s episode. Then we move into Connections to see where Lee and Kurosawa’s films align and diverge when it comes to high-low metaphor and imagery, the intersection of media and public opinion, and the value of police work. And in Your Next Picture Show, Scott recommends an earlier collaboration between Lee and HIGHEST 2 LOWEST star Denzel Washington that has only grown in his estimation since its 1998 release. 

Please share your thoughts about HIGH AND LOW, HIGHEST 2 LOWEST, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.

Next Pairing: Francis Lawrence’s THE LONG WALK and Sydney Pollack’s THEY SHOOT HORSES, DON’T THEY?

Intro: 00:00:00-00:02:02

Highest 2 Lowest discussion: 00:02:02 - 00:30:51

Highest 2 Lowest / High and Low Connections: 00:30:51-01:12:02

Your Next Picture Show and goodbyes: 01:12:02-end

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The new HIGHEST 2 LOWEST includes an onscreen credit for “the master” Akira Kurosawa as inspiration for a film that has the same basic shape and mistaken-identity kidnapping premise of 1963’s HIGH AND LOW, but is still unmistakably a Spike Lee joint. So in order to better evaluate Lee’s modernization of a crime classic, we’re returning to the master’s version to see how Kurosawa himself reshaped HIGH AND LOW from its pulp-novel origins, utilizing a bifurcated structure and leading man Toshirō Mifune to challenge viewers’ assumed sympathies towards a villain and a victim on opposite sides of the class divide. Then in Feedback, a letter from a listener underlines a point about storytelling that HIGH AND LOW handily illustrates: the necessity of a three-act structure has been greatly exaggerated.

Please share your thoughts about HIGH AND LOW, HIGHEST 2 LOWEST, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.

Intro: 00:00:00-00:06:18

High and Low Keynote: 00:06:18-00:13:10

High and Low Discussion: 00:13:10-00:52:06

Feedback/outro: 00:52:06-end

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Zach Cregger’s WEAPONS overlaps with Atom Egoyan’s THE SWEET HEREAFTER in both its broad narrative setup — a town grapples with the sudden disappearance of a group of children — and its non-traditional structure, but diverges considerably in its tone. Then again, WEAPONS diverges considerably from its own tone as it goes on, artfully shifting gears as it makes its way through a story that prioritizes entertainment value over horror allegory. We’re joined once again by Vulture movie critic Alison Willmore to talk about why that approach worked so well on us, and less so on the film’s detractors, before bringing THE SWEET HEREAFTER back in to discuss how each film’s broken timeline serves to reveal the intricacies of a community shattered by grief and anger. Then in Your Next Picture Show, we offer two recommendations for follow-up viewing, one for each half of this pairing.

Please share your thoughts about THE SWEET HEREAFTER, WEAPONS, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.

Next Pairing: Spike Lee’s HIGHEST 2 LOWEST and Akira Kurosawa’s HIGH AND LOW.

Intro: 00:00:00-00:02:14

Weapons discussion: 00:02:14 - 00:36:00

Weapons/The Sweet Hereafter Connections: 00:36:00-00:58:58

Your Next Picture Show and goodbyes: 00:58:58-end

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As a story about a community shattered by the disappearance of its children, Zach Cregger’s WEAPONS lured us, Pied Piper-like, toward Atom Egoyan’s 1997 film THE SWEET HEREAFTER, which doesn’t have quite as many jump scares as Cregger’s film, but makes up for it in enveloping sadness as it explores the far-reaching effects of a school bus crash on a small Canadian town. So this week we’re revisiting Egoyan’s film with the help of Vulture movie critic Alison Willmore, to discuss how telling this story out of order shapes both the narrative and the characterization, where certain performances help fill in blanks left by the dialogue, and what we’re meant to take from the film’s ending. Then, in lieu of Feedback, we’re acknowledging a tough loss for the Chicago film criticism community by celebrating some of the critics and editors who helped shape it, and us.

Please share your thoughts about THE SWEET HEREAFTER, WEAPONS, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.

Intro: 00:00:00-00:02:44

The Sweet Hereafter Keynote: 00:02:44-00:08:09

The Sweet Hereafter Discussion: 00:08:09-00:59:15

Feedback/outro: 00:59:15-end

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Akiva Schaffer’s new take on THE NAKED GUN sends up both the cop-story cliches that inspired the 1988 Zucker-Abrahams-Zucker original and the modern action tropes littering the filmography of star Liam Neeson, but at heart it’s less a genre parody than a spoof of nostalgia reboots like, well, this one. That meta layer is a major distinction between Schaffer’s film and the original, but it’s not the only one, so in between rehashing some of our favorite bits we attempt to determine where the new film’s ZAZ homage ends and its specific comedic sensibility begins. Then in Connections we use the many elements these two films share — bumbling cops and femmes fatale, a blend of timely and timeless humor, guns — to further distinguish between their approaches to satire, spoofery, and slapstick. And in Your Next Picture Show, our resident Quaid offers a recommendation for Schaffer’s podcast with his Lonely Island compatriots and Seth Meyers.

Please share your thoughts about any and all NAKED GUNs, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.

Next Pairing: Zach Cregger’s WEAPONS and Atom Egoyan’s THE SWEET HEREAFTER

Intro: 00:00:00-00:02:10

The Naked Gun 2025 discussion: 00:02:10 - 00:28:04

The Naked Gun 1988/2025 Connections: 00:28:04 - 00:55:54

Your Next Picture Show and goodbyes: 00:55:54-end

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While technically a sequel, Akiva Schaffer’s new THE NAKED GUN is more accurately a reboot of the 1988 Zucker-Abrahams-Zucker cop-show spoof, which was itself a sequel-slash-reboot of their TV series POLICE SQUAD and would go on to spawn two sequels of its own. As circuitous as this IP has become over the years, though, THE NAKED GUN remains simple in both its approach and its appeal, which are essentially the same: lots and lots and lots of jokes. The original NAKED GUN was not unique in that approach, particularly within the spoof genre, but it is uniquely successful at it, so this week we’re parsing how it balances small comedic one-offs with drawn-out set pieces, contemporary references with timeless silliness, and broad mugging with underplayed straight-facedness. Then, in Feedback, a listener helps fill in some knowledge gaps from our recent F1 episode.

Please share your thoughts about any and all NAKED GUNs, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.

Intro: 00:00:00-00:03:59

Naked Gun Keynote: 00:03:59-00:10:01

Naked Gun Discussion: 00:10:01-00:45:29

Feedback/outro: 00:45:29-end

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