The Next Picture Show

Like Gus Van Sant’s TO DIE FOR, Craig Gillespie’s new I, TONYA takes a light, playful tone with a lot of ugly events, an approach that’s earned it acclaim and some criticism, particularly for its treatment of domestic violence. We talk over our reactions to that and the rest of I, TONYA, then dive into the many connections between these two films, from their portrayals of a scandal-hungry media to their depictions of ambitious women in bad marriages to their conspicuous use of attention-getting music. Then we wrap up by sharing our individual picks for the top 5 films of 2017.

Please share your comments, thoughts, and questions about TO DIE FOR, I, TONYA, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Outro Music: Joanie Sommers, “Little Girl Bad”

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Craig Gillespie’s crowd-pleasing new I, TONYA features a tragicomic tone, a genesis in tabloid true-crime, and an abundance of style, all qualities it shares with Gus Van Sant’s 1995 mockumentary TO DIE FOR, starring an ascendant Nicole Kidman. In this half of our discussion of the two films, we attempt to pinpoint where TO DIE FOR fits into Van Sant’s varied filmography, how it navigates its tricky tonal and narrative divides, and what exactly its broad satire is actually targeting. Plus, in place of our usual Feedback segment, our four hosts share the first half of their individual lists of 2017’s best films.

Please share your comments, thoughts, and questions about TO DIE FOR, I, TONYA, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

**Show Notes**

Outro music: “Season of the Witch,” by Donovan

Works cited:

• “Naked Animals and Sacred Cows: Buck Henry” by Tim Sheridan at StopSmilingOnline.com

• “The 15 best movies of 2017” by Tasha Robinson at TheVerge.com

• Filmspotting #661 and #662 (“Top 10 Films of 2017”) at filmspotting.net

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We return to the consideration of pleasure and heartbreak under the Italian sun via Luca Guadagnino’s sensual new romance CALL ME BY YOUR NAME, a film with a very different narrative than THE TALENTED MR. RIPLEY that nonetheless shares some of its major characteristics. After sharing our reactions to CMBYN, we dive into a discussion of what the two films share, and don’t, in their portrayals of life in (and a little bit out of) the closet, their approach to the Italian/American cultural divide, and their use of music as an emotional and thematic underpinning. 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 TALENTED MR. RIPLEY, CALL ME BY YOUR NAME, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

• Genevieve: Dee Rees’ MUDBOUND

• Scott: Jairus McLeary and Gethin Aldous’ THE WORK

• Keith: Wim Wenders’ THE AMERICAN FRIEND

Outro Music: The Psychedelic Furs, “Love My Way”

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The new CALL ME BY YOUR NAME’s gorgeous invocation of Italian summers and repressed desire brought to mind an earlier film that does the same, though to much darker ends: Anthony Minghella’s 1999 film THE TALENTED MR. RIPLEY, starring top-of-their-games Matt Damon, Jude Law, Philip Seymour Hoffman, and Gwyneth Paltrow. In this half of the discussion, we dig into what all three of those actors bring to their respective roles, as well as the additions Minghella brings to his adaptation of Patricia Highsmith’s novel — including a pivotal character created for the film — and how he manages the film’s tricky tone. Plus, feedback from our recent episodes on ED WOOD and THE DISASTER ARTIST.

Please share your comments, thoughts, and questions about THE TALENTED MR. RIPLEY, CALL ME BY YOUR NAME, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

**Show Notes**

Outro music: “Tu Vuò Fà l’Americano” from THE TALENTED MR. RIPLEY

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Our so-bad-it’s-good moviemaking double feature continues with a new film from James Franco that channels the spirit of Tim Burton’s ED WOOD: THE DISASTER ARTIST, about the tortured making of Tommy Wiseau’s cult hit THE ROOM. We discuss the new film in some depth before going into its connections to ED WOOD, from their depictions of the filmmaking process to their shared instinct to send their tragic subjects out on a high note. 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 ED WOOD, THE DISASTER ARTIST, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

• Tasha: “The Battle over ‘The Room’” (Entertainment Weekly); “What’s Fact and What’s Fiction in The Disaster Artist,” by Marissa Martinelli (Slate); “The Room Actors: Where Are They Now” (Funny or Die)

• Genevieve: Craig Gillespie’s I, TONYA

• Keith: You Must Remember This: Boris and Bela

• Scott: Santiago Rizzo’s QUEST

Outro Music: Kitra Williams, “You Are My Rose”

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Inspired by James Franco’s new THE DISASTER ARTIST, we look back at another movie about bad movies and the people who make them, Tim Burton’s 1994 comic biodrama ED WOOD. In this half of our discussion, we muse on the motivations driving Wood and Burton alike, locate the emotional core of this highly stylized film, and try to determine what makes a good bad movie, rather than just a plain old bad one. Plus, some feedback on a recent episode and a suggestion for a pairing that might have been.

Please share your comments, thoughts, and questions about ED WOOD, THE DISASTER ARTIST, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

**Show Notes**

Outro music: “Que Sera Sera,” by Bill Murray w/Mariachi Band (from ED WOOD deleted scenes).

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Following our visit to David Mamet’s STATE AND MAIN, we head to another small town for a different sort of redemption tale: Martin McDonagh’s THREE BILLBOARDS OUTSIDE EBBING, MISSOURI. While the two films may not have a whole lot of overlap in terms of plot, they share a theatrical lineage as well as a tweaked view of small-town life, and both feature stacked ensembles with a strong handle on writerly dialogue, all of which we dig into here. 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 STATE AND MAIN, THREE BILLBOARDS, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

• Scott: Brett Morgan’s JANE and Chris Smith’s JIM & ANDY: THE GREAT BEYOND

• Genevieve: Nora Twomy’s THE BREADWINNER

• Tasha: Joachim Trier’s THELMA

• Keith: Jamie M. Dagg’s SWEET VIRGINIA

Outro Music: The Four Tops, “Walk Away Renee”

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Inspired by Martin McDonagh’s new pitch-black comedy THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, we look back at another playwright-driven film about redemption set in a small town populated by a colorful ensemble: David Mamet’s 2000 comedy STATE AND MAIN. How does the sex scandal at the center of Mamet's film look in a post-Weinstein 2017? What are we to make of the film’s cynicism toward Hollywood and those who populate it? And just what is the deal with that running matzo gag? We discuss all that and more, plus dig into some excellent feedback from recent episodes.

Please share your comments, thoughts, and questions about STATE AND MAIN, THREE BILLBOARDS, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

**Show Notes**

Outro music: “The Song Of The Old Mill” by Patti Lupone

Articles cited: 

• “David Mamet’s State And Main Engineers A Perfect Punchline,” by Mike D’Angelo (The AV Club)

• William H. Macy Interview (2001), by Scott Tobias (AV Club)

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We return to the dawn of the millennium to discuss Greta Gerwig’s new solo directorial debut LADY BIRD, and how it echoes the sardonic coming-of-age comedy that characterizes Terry Zwigoff’s GHOST WORLD. After parsing our individual reactions to and readings of LADY BIRD, we look at how the two films compare in terms of their view of nostalgia and mainstream culture, as well as the respective family dynamics that affect each protagonist’s view of the world. 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 GHOST WORLD, LADY BIRD, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show: 

• Genevieve: Taika Waititi’s BOY

• Tasha: Caroline Labreche and Steeve Leonard’s RADIUS

• Scott: Switchblade Sisters podcast

Show Notes:

Articles cited:

• “How Greta Gerwig Turned the Personal ‘Lady Bird’ Into a Perfect Movie,” by Esther Zuckerman (RollingStone.com)

• Interview with RADIUS’ Caroline Labreche and Steeve Leonard, by Tasha Robinson (TheVerge.com)

Outro Music: Dave Matthews Band, “Crash Into Me”

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Greta Gerwig’s fantastic directorial debut LADY BIRD is set in 2002, when its protagonist might have recognized a contemporary kindred spirit in Enid, the protagonist of Terry Zwigoff’s 2001 coming-of-age comedy GHOST WORLD: Both characters are creatively minded outcasts who are leaving high school and facing uncertainty about their futures. In this half of our pairing of the two films, we focus on the prickly and not-quite-lovable iconoclasts who populate GHOST WORLD, discussing its garish version of the turn of the millennium, how it translates Danial Clowes’ comic of the same name for movie screens, and whether it contains the best existential fart joke ever committed to film. Plus, feedback from our recent episodes on MOTHER! and THE GRADUATE.

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

Outro music: “Devil Got My Woman” by Skip James

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