Padraic McKinley’s The Weight isn’t a remake ofThe Wages of Fear, though it feels deeply indebted to the H.G. Clouzot classic in its thrilling depiction of a group of outlaws on a near-impossible mission across deadly terrain. William Friedkin’s 1977 cult favorite Sorcerer technically isn’t a Wages remake, either — Friedkin insisted it was his own adaptation of the original Georges Arnaud novel — though it’s similarly difficult to watch without thinking about its predecessor. So you’ll forgive us if this week’s revisitation of Sorcerer takes a few detours into Wages as we consider how Friedkin put his own distinctive stamp on this juicy premise, whether the film’s extended prologue works toward or against its narrative momentum, and how much of Sorcerer’s notoriously arduous production comes across on screen. Then in Feedback, a listener provides a recommendation for a recent under-the-radar road movie that follows in the tire tracks of Paris, Texas and Priscilla, Queen of the Desert. Please share your thoughts about Sorcerer, The Weight, or anything else in the world of film, by sending an email or voice memo to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a href="tel:(773)%20234-9730">(773) 234-9730</a>. This episode is presented by⁠ <a href="https://www.regmovies.com/join-unlimited" data-saferedirecturl="https://www.google.com/url?q=https://www.regmovies.com/join-unlimited&source=gmail&ust=1790129046165000&usg=AOvVaw1t_ewCR6BW2_pxG4ZGYFBn">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.<a href="https://www.patreon.com/join/NextPictureShow" rel="payment">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

Padraic McKinley’s The Weight isn’t a remake ofThe Wages of Fear, though it feels deeply indebted to the H.G. Clouzot classic in its thrilling depiction of a group of outlaws on a near-impossible mission across deadly terrain. William Friedkin’s 1977 cult favorite Sorcerer technically isn’t a Wages remake, either — Friedkin insisted it was his own adaptation of the original Georges Arnaud novel — though it’s similarly difficult to watch without thinking about its predecessor. So you’ll forgive us if this week’s revisitation of Sorcerer takes a few detours into Wages as we consider how Friedkin put his own distinctive stamp on this juicy premise, whether the film’s extended prologue works toward or against its narrative momentum, and how much of Sorcerer’s notoriously arduous production comes across on screen. Then in Feedback, a listener provides a recommendation for a recent under-the-radar road movie that follows in the tire tracks of Paris, Texas and Priscilla, Queen of the Desert. Please share your thoughts about Sorcerer, The Weight, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off. Support the show: https://www.patreon.com/join/NextPictureShow See omnystudio.com/listener for privacy information.

Padraic McKinley’s The Weight isn’t a remake ofThe Wages of Fear, though it feels deeply indebted to the H.G. Clouzot classic in its thrilling depiction of a group of outlaws on a near-impossible mission across deadly terrain. William Friedkin’s 1977 cult favorite Sorcerer technically isn’t a Wages remake, either — Friedkin insisted it was his own adaptation of the original Georges Arnaud novel — though it’s similarly difficult to watch without thinking about its predecessor. So you’ll forgive us if this week’s revisitation of Sorcerer takes a few detours into Wages as we consider how Friedkin put his own distinctive stamp on this juicy premise, whether the film’s extended prologue works toward or against its narrative momentum, and how much of Sorcerer’s notoriously arduous production comes across on screen. Then in Feedback, a listener provides a recommendation for a recent under-the-radar road movie that follows in the tire tracks of Paris, Texas and Priscilla, Queen of the Desert. Please share your thoughts about&nbsp;Sorcerer, The Weight, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net" rel="noopener noreferrer">comments@nextpictureshow.net</a>, or leaving a short voicemail at&nbsp;<a href="tel:(773)%20234-9730" rel="noopener noreferrer">(773) 234-9730</a>. This episode is presented by⁠ <a href="https://www.regmovies.com/join-unlimited" rel="noopener noreferrer">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.<a href="https://www.patreon.com/join/NextPictureShow" rel="noopener noreferrer">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener" rel="noopener noreferrer">omnystudio.com/listener</a> for privacy information.

Hazard Pay, Pt. 1 — Sorcerer

Alexander Ullom’s feature debut, It Ends, has been billed as a horror movie, but it’s more of an existential exercise wrapped inside a genre premise. That same description could be applied to Solaris, though Andrei Tarkovsky’s 1972 science-fiction classic takes nearly twice as long to ponder the nature of life in a situation where death has no meaning anymore. So this week we’re discussing whether Solaris’ deliberate pace and opaque symbolism work toward or against its emotional core, its relative accessibility compared to Tarkovsky’s other work, and what about the film invites its reputation as the “anti-2001.” Then in Feedback, a listener brings an alternative reading to our recent discussion of War of the Worlds as a response to 9/11. Please share your thoughts about Solaris, It Ends, or anything else in the world of film, by sending an email or voice memo to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a href="tel:(773)%20234-9730">(773) 234-9730</a>. This episode is presented by⁠ <a href="https://www.regmovies.com/join-unlimited" data-saferedirecturl="https://www.google.com/url?q=https://www.regmovies.com/join-unlimited&source=gmail&ust=1788917988893000&usg=AOvVaw2iHFzpCVNp5v53iJOtb9BB">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.<a href="https://www.patreon.com/join/NextPictureShow" rel="payment">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

Alexander Ullom’s feature debut, It Ends, has been billed as a horror movie, but it’s more of an existential exercise wrapped inside a genre premise. That same description could be applied to Solaris, though Andrei Tarkovsky’s 1972 science-fiction classic takes nearly twice as long to ponder the nature of life in a situation where death has no meaning anymore. So this week we’re discussing whether Solaris’ deliberate pace and opaque symbolism work toward or against its emotional core, its relative accessibility compared to Tarkovsky’s other work, and what about the film invites its reputation as the “anti-2001.” Then in Feedback, a listener brings an alternative reading to our recent discussion of War of the Worlds as a response to 9/11. Please share your thoughts about Solaris, It Ends, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off. Support the show: https://www.patreon.com/join/NextPictureShow See omnystudio.com/listener for privacy information.

Alexander Ullom’s feature debut,&nbsp;It Ends, has been billed as a horror movie, but it’s more of an existential exercise wrapped inside a genre premise. That same description could be applied to&nbsp;Solaris, though Andrei Tarkovsky’s 1972 science-fiction classic takes nearly twice as long to ponder the nature of life in a situation where death has no meaning anymore. So this week we’re discussing whether&nbsp;Solaris’ deliberate pace and opaque symbolism work toward or against its emotional core, its relative accessibility compared to Tarkovsky’s other work, and what about the film invites its reputation as the “anti-2001.” Then in Feedback, a listener brings an alternative reading to our recent discussion of&nbsp;War of the Worlds&nbsp;as a response to 9/11. Please share your thoughts about Solaris, It Ends, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net" rel="noopener noreferrer">comments@nextpictureshow.net</a>, or leaving a short voicemail at&nbsp;<a href="tel:(773)%20234-9730" rel="noopener noreferrer">(773) 234-9730</a>. This episode is presented by⁠ <a href="https://www.regmovies.com/join-unlimited" rel="noopener noreferrer">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.<a href="https://www.patreon.com/join/NextPictureShow" rel="noopener noreferrer">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener" rel="noopener noreferrer">omnystudio.com/listener</a> for privacy information.

#539: Existential Zones, Pt. 1 — Solaris (1972)

Alexander Ullom's It Ends is a daring little piece of microbudget drama about four friends at transition points in their lives, who find themselves in a place where life and death no longer hold any meaning. Whether it’s a film about despair, about the afterlife, about the human condition, or all of the above, is up for discussion this week, as well as how It Ends fits into this current moment in independent horror cinema. After that, we bring Andrei Tarkovsky’s Solaris back in for Connections to discuss these two films’ respective existential journeys, the baggage their characters are bringing with them, and how each movie uses its genre premise to explore a big central metaphor. Then for Your Next Picture Show, we take a quick look at how Steven Soderbergh’s 2002 version of Solaris compares to Tarkovsky’s. Please share your thoughts about Solaris, It Ends, or anything else in the world of film, by sending an email or voice memo to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at <a href="tel:(773)%20234-9730">(773) 234-9730</a>. Next Pairing: Padraic McKinley’s The Weight and William Friedkin’s Sorcerer This episode is presented by⁠ <a href="https://www.regmovies.com/join-unlimited" data-saferedirecturl="https://www.google.com/url?q=https://www.regmovies.com/join-unlimited&source=gmail&ust=1789527164722000&usg=AOvVaw3wVCK9JI_hIxlC5TiQq8C_">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.<a href="https://www.patreon.com/join/NextPictureShow" rel="payment">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

Alexander Ullom's It Ends is a daring little piece of microbudget drama about four friends at transition points in their lives, who find themselves in a place where life and death no longer hold any meaning. Whether it’s a film about despair, about the afterlife, about the human condition, or all of the above, is up for discussion this week, as well as how It Ends fits into this current moment in independent horror cinema. After that, we bring Andrei Tarkovsky’s Solaris back in for Connections to discuss these two films’ respective existential journeys, the baggage their characters are bringing with them, and how each movie uses its genre premise to explore a big central metaphor. Then for Your Next Picture Show, we take a quick look at how Steven Soderbergh’s 2002 version of Solaris compares to Tarkovsky’s. Please share your thoughts about Solaris, It Ends, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Next Pairing: Padraic McKinley’s The Weight and William Friedkin’s Sorcerer This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off. Support the show: https://www.patreon.com/join/NextPictureShow See omnystudio.com/listener for privacy information.

Alexander Ullom's It Ends is a daring little piece of microbudget drama about four friends at transition points in their lives, who find themselves in a place where life and death no longer hold any meaning. Whether it’s a film about despair, about the afterlife, about the human condition, or all of the above, is up for discussion this week, as well as how It Ends fits into this current moment in independent horror cinema. After that, we bring Andrei Tarkovsky’s Solaris back in for Connections to discuss these two films’ respective existential journeys, the baggage their characters are bringing with them, and how each movie uses its genre premise to explore a big central metaphor. Then for Your Next Picture Show, we take a quick look at how Steven Soderbergh’s 2002 version of Solaris compares to Tarkovsky’s. Please share your thoughts about&nbsp;Solaris, It Ends, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net" rel="noopener noreferrer">comments@nextpictureshow.net</a>, or leaving a short voicemail at&nbsp;<a href="tel:(773)%20234-9730" rel="noopener noreferrer">(773) 234-9730</a>. Next Pairing: Padraic McKinley’s The Weight and William Friedkin’s Sorcerer This episode is presented by⁠ <a href="https://www.regmovies.com/join-unlimited" rel="noopener noreferrer">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.<a href="https://www.patreon.com/join/NextPictureShow" rel="noopener noreferrer">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener" rel="noopener noreferrer">omnystudio.com/listener</a> for privacy information.

Existential Zones, Pt. 2 — It Ends

Matt Johnson’s new biopic Tony sidesteps the infamous Walk Hard trap by narrowing its scope to a single summer that would end up shaping the rest of Anthony Bourdain’s life, but not necessarily defining it. Whether that approach is ultimately satisfying to fans of the late celebrity chef and author is up for debate this week, as we’re once again joined by Vulture critic Roxana Hadadi to discuss how Tony plays into and against our expectations of a Bourdain narrative. Then we bring Ratatouille back in for Connections, to compare how these two films introduce us to kitchen culture through the eyes of a newbie. Then for Your Next Picture Show, we recommend two more recent films to fill out a Matt Johnson triple feature. Please share your thoughts about Ratatouille, Tony, or anything else in the world of film, by sending an email or voice memo to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at (773) 234-9730. Next Pairing: David Robert Mitchell’s The End of Oak Street and Steven Spielberg’s The War of the Worlds This episode is presented by⁠ <a href="https://www.regmovies.com/join-unlimited" data-saferedirecturl="https://www.google.com/url?q=https://www.regmovies.com/join-unlimited&source=gmail&ust=1787112878424000&usg=AOvVaw3ljNkfur_rz-f1BKBUWuCr">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.<a href="https://www.patreon.com/join/NextPictureShow" rel="payment">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

Matt Johnson’s new biopic Tony sidesteps the infamous Walk Hard trap by narrowing its scope to a single summer that would end up shaping the rest of Anthony Bourdain’s life, but not necessarily defining it. Whether that approach is ultimately satisfying to fans of the late celebrity chef and author is up for debate this week, as we’re once again joined by Vulture critic Roxana Hadadi to discuss how Tony plays into and against our expectations of a Bourdain narrative. Then we bring Ratatouille back in for Connections, to compare how these two films introduce us to kitchen culture through the eyes of a newbie. Then for Your Next Picture Show, we recommend two more recent films to fill out a Matt Johnson triple feature. Please share your thoughts about Ratatouille, Tony, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Next Pairing: David Robert Mitchell’s The End of Oak Street and Steven Spielberg’s The War of the Worlds This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off. Support the show: https://www.patreon.com/join/NextPictureShow See omnystudio.com/listener for privacy information.

Matt Johnson’s new biopic&nbsp;Tony&nbsp;sidesteps the infamous&nbsp;Walk Hard&nbsp;trap by narrowing its scope to a single summer that would end up shaping the rest of Anthony Bourdain’s life, but not necessarily defining it. Whether that approach is ultimately satisfying to fans of the late celebrity chef and author is up for debate this week, as we’re once again joined by Vulture critic Roxana Hadadi to discuss how&nbsp;Tony&nbsp;plays into and against our expectations of a Bourdain narrative. Then we bring&nbsp;Ratatouille&nbsp;back in for Connections, to compare how these two films introduce us to kitchen culture through the eyes of a newbie. Then for Your Next Picture Show, we recommend two more recent films to fill out a Matt Johnson triple feature. Please share your thoughts about Ratatouille, Tony, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net" rel="noopener noreferrer">comments@nextpictureshow.net</a>, or leaving a short voicemail at (773) 234-9730. Next Pairing: David Robert Mitchell’s The End of Oak Street&nbsp;and Steven Spielberg’s&nbsp;The War of the Worlds This episode is presented by⁠ <a href="https://www.regmovies.com/join-unlimited" rel="noopener noreferrer">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.<a href="https://www.patreon.com/join/NextPictureShow" rel="noopener noreferrer">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener" rel="noopener noreferrer">omnystudio.com/listener</a> for privacy information.

Anyone Can Cook, Pt. 2 — Tony

Christopher Nolan’s The Odyssey approaches Homer’s epic from a much more literal vantage point than O Brother Where Art Thou, but that doesn’t mean it’s a dutiful, beat-by-beat adaptation. So this week we’re talking through the ways in which Nolan put his personal stamp on one of the most well-known stories in all of literature, from the film’s non-linear structure and preoccupation with time, to the physicality and humanity Nolan brings to this big-screen spectacle about a time of apparent magic. Then in Connections, we look at how these two very different films approach their shared source material, not just in direct character and narrative parallels, but also their interest in the oral tradition and eras coming to an end. Then in Your Next Picture we return to the subject of O Brother ’s music with a recommendation for the 2000 concert film Down From the Mountain.   Please share your thoughts about O Brother, Where Art Thou?, The Odyssey, or anything else in the world of film, by sending an email or voice memo to <a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at (773) 234-9730. Next Pairing: Matt Johnson’s Tony and Brad Bird’s Ratatouille This episode is presented by⁠ <a href="https://www.regmovies.com/join-unlimited" data-saferedirecturl="https://www.google.com/url?q=https://www.regmovies.com/join-unlimited&source=gmail&ust=1785287833393000&usg=AOvVaw0k5kqriFYLPbccDTgBzAsn">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.<a href="https://www.patreon.com/join/NextPictureShow" rel="payment">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

Christopher Nolan’s The Odyssey approaches Homer’s epic from a much more literal vantage point than O Brother Where Art Thou, but that doesn’t mean it’s a dutiful, beat-by-beat adaptation. So this week we’re talking through the ways in which Nolan put his personal stamp on one of the most well-known stories in all of literature, from the film’s non-linear structure and preoccupation with time, to the physicality and humanity Nolan brings to this big-screen spectacle about a time of apparent magic. Then in Connections, we look at how these two very different films approach their shared source material, not just in direct character and narrative parallels, but also their interest in the oral tradition and eras coming to an end. Then in Your Next Picture we return to the subject of O Brother ’s music with a recommendation for the 2000 concert film Down From the Mountain. Please share your thoughts about O Brother, Where Art Thou?, The Odyssey, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Next Pairing: Matt Johnson’s Tony and Brad Bird’s Ratatouille This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off. Support the show: https://www.patreon.com/join/NextPictureShow See omnystudio.com/listener for privacy information.

Christopher Nolan’s&nbsp;The Odyssey&nbsp;approaches Homer’s epic from a much more literal vantage point than&nbsp;O Brother Where Art Thou,&nbsp;but that doesn’t mean it’s a dutiful, beat-by-beat adaptation. So this week we’re talking through the ways in which Nolan put his personal stamp on one of the most well-known stories in all of literature, from the film’s non-linear structure and preoccupation with time, to the physicality and humanity Nolan brings to this big-screen spectacle about a time of apparent magic. Then in Connections, we look at how these two very different films approach their shared source material, not just in direct character and narrative parallels, but also their interest in the oral tradition and eras coming to an end. Then in Your Next Picture we return to the subject of&nbsp;O Brother&nbsp;’s music with a recommendation for the 2000 concert film&nbsp;Down From the Mountain.&nbsp;&nbsp; Please share your thoughts about&nbsp;O Brother, Where Art Thou?, The Odyssey, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net" rel="noopener noreferrer">comments@nextpictureshow.net</a>, or leaving a short voicemail at (773) 234-9730. Next Pairing: Matt Johnson’s Tony&nbsp;and Brad Bird’s&nbsp;Ratatouille This episode is presented by⁠ <a href="https://www.regmovies.com/join-unlimited" rel="noopener noreferrer">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.<a href="https://www.patreon.com/join/NextPictureShow" rel="noopener noreferrer">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener" rel="noopener noreferrer">omnystudio.com/listener</a> for privacy information.

Home Sweet Homer, Pt. 2 — The Odyssey

The Next Picture Show's discussion of ALL THE PRESIDENT'S MEN and SPOTLIGHT continues with the group Forum discussion. In this half, Scott Tobias, Tasha Robinson and Keith Phipps talk about the films' respective approaches to journalism, the cities of Washington, D.C., and Boston, and visual style. 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 "All The President's Men," "Spotlight," or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices">megaphone.fm/adchoices</a><a href="https://www.patreon.com/join/NextPictureShow" rel="payment">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

The Next Picture Show's discussion of ALL THE PRESIDENT'S MEN and SPOTLIGHT continues with the group Forum discussion. In this half, Scott Tobias, Tasha Robinson and Keith Phipps talk about the films' respective approaches to journalism, the cities of Washington, D.C., and Boston, and visual style. 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 "All The President's Men," "Spotlight," or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices Support the show: https://www.patreon.com/join/NextPictureShow See omnystudio.com/listener for privacy information.

The Next Picture Show's discussion of ALL THE PRESIDENT'S MEN and SPOTLIGHT&nbsp;continues with the group Forum discussion. In this half, Scott Tobias, Tasha Robinson and Keith Phipps talk about the films' respective approaches to journalism, the cities of Washington, D.C., and Boston, and visual style. 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 "All The President's Men," "Spotlight," or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="noopener noreferrer">megaphone.fm/adchoices</a><a href="https://www.patreon.com/join/NextPictureShow" rel="noopener noreferrer">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener" rel="noopener noreferrer">omnystudio.com/listener</a> for privacy information.

#002: All The President's Men / Spotlight (Pt. 2)

Welcome to The Next Picture Show, a movie of the week podcast devoted to a classic film that has shaped our take on a new release. With director Tom McCarthy's SPOTLIGHT getting lots of acclaim for its treatment of the Boston Globe's investigation into the Catholic Church sexual abuse scandal, Scott Tobias, Tasha Robinson and Keith Phipps devote their debut show to arguably the Fourth Estate's finest couple of hours on celluloid, the 1970s classic ALL THE PRESIDENT'S MEN. Part of the Filmspotting Podcast Network. Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices">megaphone.fm/adchoices</a><a href="https://www.patreon.com/join/NextPictureShow" rel="payment">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

Welcome to The Next Picture Show, a movie of the week podcast devoted to a classic film that has shaped our take on a new release. With director Tom McCarthy's SPOTLIGHT getting lots of acclaim for its treatment of the Boston Globe's investigation into the Catholic Church sexual abuse scandal, Scott Tobias, Tasha Robinson and Keith Phipps devote their debut show to arguably the Fourth Estate's finest couple of hours on celluloid, the 1970s classic ALL THE PRESIDENT'S MEN. Part of the Filmspotting Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support the show: https://www.patreon.com/join/NextPictureShow See omnystudio.com/listener for privacy information.

Welcome to The Next Picture Show, a movie of the week podcast devoted to a classic film that has shaped our take on a new release. With director Tom McCarthy's SPOTLIGHT getting lots of acclaim for its treatment of the Boston Globe's investigation into the Catholic Church sexual abuse scandal, Scott Tobias, Tasha Robinson and Keith Phipps devote their debut show&nbsp;to arguably&nbsp;the Fourth Estate's finest couple of hours on celluloid, the 1970s classic ALL THE PRESIDENT'S MEN. Part of the Filmspotting Podcast Network. Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="noopener noreferrer">megaphone.fm/adchoices</a><a href="https://www.patreon.com/join/NextPictureShow" rel="noopener noreferrer">Support the show: https://www.patreon.com/join/NextPictureShow</a>See <a href="https://omnystudio.com/listener" rel="noopener noreferrer">omnystudio.com/listener</a> for privacy information.

#001: All The President's Men / Spotlight (Pt. 1)

Looking at cinema's present via its past. From the former editorial team of The Dissolve, The Next Picture Show examines how classic films inspire and inform modern movies. Episodes take a deep dive into a classic film and its legacy, then compare and contrast that film with a modern successor. Hosted and produced by Genevieve Koski, Keith Phipps, Tasha Robinson, and Scott Tobias.

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