The Next Picture Show

With its latest entry FALLOUT, the MISSION: IMPOSSIBLE franchise has solidified its evolution from the spy thriller Brian De Palma made in 1996 into the setpiece-centric, Tom Cruise-endangering action series we know it as today. In this half of our franchise-spanning conversation, we look at what FALLOUT, helmed by first-time returning director Christopher McQuarrie, brings to the table in terms of stakes-raising action and plot. Then we pull at the many strings connecting the two ends of the MISSION: IMPOSSIBLE franchise, most notably its seemingly ageless star, Tom Cruise, as well as its treatment of Ethan Hunt’s associates, both professional and romantic. 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 MISSION:IMPOSSIBLE, give or take a FALLOUT, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Works Cited: • Get Ready for Mission: Impossible—Fallout With This Recap of the Entire Series (From Michelle Monaghan’s Character’s Perspective) by Matthew Dessem (Slate.com)

Your Next Picture Show: 

• Tasha: Guy Richie’s THE MAN FROM U.N.C.L.E.

• Keith: Aaron Horvath and Peter Rida Michail’s TEEN TITANS GO! TO THE MOVIES

• Genevieve: Carlos Lopez Estrada’s BLINDSPOTTING

• Scott: Bo Burnham’s EIGTH GRADE

Outro Music: Lorne Balfe, “Mission: Accomplished”

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The new MISSION: IMPOSSIBLE — FALLOUT is the latest entry in a franchise that’s become a showpiece for Tom Cruise-endangering stunts and practical effects, but the surprisingly enduring action series began as something more akin to a spy thriller built around a handful of Hitchcockian setpieces. In this half of our franchise-spanning pairing, we look back at 1996’s MISSION: IMPOSSIBLE, in which Brian De Palma helped shape what the series would become, while also exerting his own iconoclastic style on the film. Plus, some feedback on our recent episodes on HEREDITARY and DON’T LOOK NOW.

Please share your comments, thoughts, and questions about MISSION: IMPOSSIBLE, give or take a FALLOUT, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Outro music: Pulp, “I Spy”

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As with Robert Downey Sr.’s 1969 satirical oddity PUTNEY SWOPE, there’s a lot going on in Boots Riley’s new SORRY TO BOTHER YOU, which takes a similar anything-goes approach to the intersection of race and capitalism. In the second part of our “white voice” double feature, we dig into the anti-capitalist philosophy that unites Riley’s work and keeps SORRY TO BOTHER YOU on the rails, then we look at how the two films compare in their views of race and capitalism, and their use of satire and surrealism. 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 PUTNEY SWOPE, SORRY TO BOTHER YOU, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Works Cited: • “Why Sorry To Bother You director Boots Riley thinks artists should be activists” by Alissa Wilkinson (Vox.com)

Your Next Picture Show: 

• Genevieve: The Coup’s SORRY TO BOTHER YOU and TuneYards’ I CAN FEEL YOU CREEP INTO MY PRIVATE LIFE

• Scott: Lynn Ramsay’s YOU WERE NEVER REALLY HERE

• Keith: Lewis Teague’s CUJO

• Tasha: Federico D’Allesandro’s TAU

Outro Music: The Coup f/ Lakeith Stanfield, “OYAHYTT”

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Rapper-director Boots Riley has said he hadn’t seen Robert Downey Sr.’s 1969 satirical comedy PUTNEY SWOPE when he made the buzzy new SORRY TO BOTHER YOU, but the films share so much on both a surface level (white men providing the literal voices of black characters) and deeper thematic ones (concerns about capitalism, race, and what it might take to burn down an unjust system) that we had to put them in conversation with each other. In this half, we try to make sense of the fascinating mess that is PUTNEY SWOPE, considering how it works as both satire and comedy, and whether Downey’s choice to overdub his black title character’s voice with his own is an asset or a liability.  Plus, feedback on our recent INCREDIBLES 2/GOLDFINGER episodes and some general thoughts on auteur theory and film categorization.

Please share your comments, thoughts, and questions about PUTNEY SWOPE, SORRY TO BOTHER YOU, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.  

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Ari Aster’s debut feature HEREDITARY carries over the themes of grief, guilt, and extrasensory perception found in Nicolas Roeg’s 1973 shocker DON’T LOOK NOW, another emotionally grueling story about parents wrestling with loss. After discussing our sometimes-visceral reactions to Aster’s film, we put these two movies in conversation with each other, talking over their use of shock tactics, the supernatural, and a memorable setting. 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 DON’T LOOK NOW, HEREDITARY, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Show Notes

Works Cited: 

• "How Hereditary composer Colin Stetson made the movie 'feel evil,'" by Bryan Bishop (The Verge)

• "The biggest shock in Hereditary was almost much worse," by Bryan Bishop (The Verge)

Your Next Picture Show: 

• Tasha: “How Pixar’s Open Sexism Ruined My Dream Job” by Cassandar Smolcic

(Variety/Medium) and Debra Granik’s LEAVE NO TRACE

• Scott: Tim Wardle’s THREE IDENTICAL STRANGERS

• Keith: Dave Itzkoff’s ROBIN and Marina Zenovich’s ROBIN WILLIAMS: COME INSIDE MY MIND

Outro Music: The Muppets, “Pass It On”

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Ari Aster’s breakout debut HEREDITARY draws on a fair number of horror touchpoints, but it’s linked by its themes of parental grief and psychic distress to another terrifying film about the lingering impact of a death in the family: Nicolas Roeg’s form-busting 1973 thriller DON’T LOOK NOW. In this half focused on Roeg’s film, we discuss why the film’s intensity of emotion is integral to its horror, what makes its shadowy vision of Venice so unnerving, and what's behind the film’s famously graphic sex scene. Plus, some feedback on our recent episode on GOLDFINGER and INCREDIBLES 2.

Please share your comments, thoughts, and questions about DON’T LOOK NOW, HEREDITARY, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.  

Outro music: “Don’t Look Now” by Torch Song

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On the surface, Brad Bird’s new animated family adventure INCREDIBLES 2 wouldn’t seem to have a lot in common with Guy Hamilton’s swingin’ 1964 James Bond entry GOLDFINGER, but superhero films and spy movies are actually pretty closely thematically related, as we discover in our comparison of the two films. After discussing our reactions to INCREDIBLES 2, a follow-up to what one of us calls “a perfect movie,” we look at how these two very different versions of 1960s heroism compare in their evolution (and establishment) of familiar tropes, in their respective wish-fulfillment fantasies, and in how they handle extraordinary individuals with a license to kill. 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 GOLDFINGER, INCREDIBLES 2, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Show Notes

Your Next Picture Show: • Scott: The Science Behind Pixar exhibit 

• Tasha: David Lynch and Kristine McKenna’s ROOM TO DREAM

• Keith: Sidney J. Furie’s THE IPCRESS FILE

Outro Music: Michael Giacchino, “Pow! Pow! Pow! - Mr. Incredible’s Theme”

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This week on the podcast, it’s supervillains, secretive heroes, and slippery schemes as we pair Brad Bird’s new, long-delayed INCREDIBLES 2 with arguably the best iteration of one of Bird’s oft-cited reference points — James Bond — the third film in the Bond franchise, 1964’s GOLDFINGER. In this Bond-centric first half, we discuss how GOLDFINGER helped codify the 007 we know so well today, how its aspirational qualities and gender politics have aged, and how playing Bond shapes an actor’s subsequent career. Plus, some (semi-spoiler-y) feedback on our recent episode on FIRST REFORMED.

Please share your comments, thoughts, and questions about GOLDFINGER, INCREDIBLES 2, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.  

Outro music: “Goldfinger” by Shirley Bassey.

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Our examination of Paul Schrader’s fixation with “God’s Lonely Man” continues with the critic-turned-screenwriter-turned-director’s 20th film, the searing and excellent FIRST REFORMED, which shares more in common with the Schrader-scripted TAXI DRIVER than just a lonely male protagonist. After examining our reactions to FIRST REFORMED — including its bold ending — we look at how these two films make use of their female characters and the idea of the male savior, what they have to say about societal values and decline, and their conspicuous use of voiceover. 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 TAXI DRIVER, FIRST REFORMED, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show:

• Genevieve: Alex Richanbach’s IBIZA

• Scott: Baltasar Kormakur’s ADRIFT

• Keith: THE ATOMIC CAFE and THE VALLEY OF GWANGI

Works cited: “Let’s talk about the ending of First Reformed,” by Kevin Lincoln (Vulture.com)

Outro Music: Iris Dement, “Leaning on the Everlasting Arms”

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Paul Schrader’s excellent, difficult new film FIRST REFORMED inspires us to travel back to Schrader’s first screenwriting collaboration with Martin Scorsese and grapple with TAXI DRIVER, to see how Schrader’s vision of “God’s Lonely Man” first graced movie screens. In this first half focusing on TAXI DRIVER, we discuss the techniques Scorsese uses to force us into Travis Bickle’s sick mind, and consider what effect that approach has had on the reception and legacy of this “dangerous” film. Plus, some feedback on our recent episode on THE RIDER, and another question that asks us to ponder the state of STAR WARS.

Please share your comments, thoughts, and questions about TAXI DRIVER, FIRST REFORMED, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Outro music: “Late For The Sky” by Jackson Browne

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