"It ain’t all muscle, it’s all heart. Heart and fire."

Sylvester Stallone returned to his beloved Rocky series in 1990, fully intending to close it out with a story as powerful as the first one. He even got John G. Avildsen back to direct it. Unfortunately, the film was a weaker film, one that didn’t find much love from critics or audiences. It made its money back and was a financial success at the box office, but nowhere near the four films that preceded it. But how does it hold up nearly 30 years later? Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Avildsen’s 1990 film Rocky V.

We talk about the script and why most of the problems come from here (even if Andy finds them much more egregious than Pete). We look at what happens to the characters we’ve been following through this franchise so far – Rocky, Adrian, Paulie – and what this script and film is doing with them. We look at the antagonists of the film – Duke and Tommy – and chat about their strengths and weaknesses. We look at the relationship Rocky has with his son, played by Stallone’s real son Sage, and why that’s such a strong element of the story. And we look at what Avildsen is bringing to the film and wonder why it still feels largely like a Stallone film.

It’s a rough entry in the franchise, but it’s one that half of us still enjoy. And we certainly have a great time talking about it. So check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"I must break you."

At the height of the Cold War, it seems fitting that Sylvester Stallone would find incredible success in his Rocky franchise by weaving a tale about his all-American boxer going up against a cold, almost-robotic Russian boxer. The film found tremendous success at the box office, becoming the highest grossing sports film ever, a record which it held for 24 years. But how well does it hold up today? Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Stallone’s 1985 film Rocky IV.

We talk about the decline this franchise has taken and how this one almost feels like a parody of the original characters – yet how it’s strangely still entertaining. We look at some of the nonsensical elements in the film – the robot, the montages, the dumbing down of characters – and we pair those with our levels of enjoyment. We chat about the returning talent continuing in the franchise – Stallone, Talia Shire, Carl Weathers, Burt Young – and look at the newcomers – specifically Dolph Lundgren and Brigitte Nielsen. We complain about the absence of Bill Conti but at least we have the music to talk about… so much music. And we wonder about product placement.

It’s a fun movie, even if it feels like the franchise is falling off the rails a bit. We have a great time talking about it, so check it out and tune in! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"No, I don’t hate Balboa, but I pity the fool and I will destroy any man who tries to take what I got."

Three years after the success of Rocky II, Sylvester Stallone went back to the mats with the third film in the franchise and made yet another box office smash. But was Rocky III as good as it could have been? Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Stallone’s 1982 film Rocky III.

We look at the formula that Stallone has created with this franchise so far, what works about it, and what’s getting old with it. We talk about the cast – Stallone, Mr. T, Burt Young, Talia Shire, Burgess Meredith and Carl Weathers primarily – and look at how well they work in this film. We look at the success of Survivor’s song “Eye of the Tiger” and its integration into the film, especially paired with Bill Conti’s score. We touch on the boxing matches and if they’re bringing anything new to the table here. We look at the hard work the actors have to do to prepare themselves for these roles. And we discuss the possible overuse of montages here.

It’s a fine entry into the franchise but not the best one so far. We have a good time talking about it regardless, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"You got the heart, but you ain’t got the tools no more."

Sylvester Stallone’s directorial debut, Paradise Alley, was a flop and the studio didn’t want to give him another shot when he said he wanted to direct Rocky II. Luckily, Rocky was such a success and the producers knew he was largely the man behind it, so they gave him another chance. Join us – Pete Wright and Andy Nelson – as we continue our Rocky series with Stallone’s 1979 film Rocky II.

We talk about how this film fixes some of the issues we had with the previous film, but also how it has some new problems of its own. We look at what Stallone is doing as a director and what we think about him in that role. We chat about the returning cast – notably Paulie, Adrian and Creed – and look at how their roles have evolved. We chat about Bill Butler’s cinematography, Bill Conti’s cinematography and more. And we dig into the final fight to really see what makes it work so well.

It’s a solid entry into the franchise and a great follow-up to the previous film. We have a great conversation about it so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"All I wanna do is go the distance."

Sylvester Stallone pretty much embodies everything about the character Rocky Balboa that he created for the film Rocky. He’s someone who wanted to go the distance, and may not have won but proved that he had the determination and stamina to really persevere in the long haul. And what’s interesting about the first film in the Rocky franchise is that it’s more a 70s character study than it really is a boxing film. Join us – Pete Wright and Andy Nelson – as we kick off our look into the films of the Rocky franchise with John G. Avildsen’s 1976 film Rocky.

We talk about how we went into the film and our histories with the franchise. We look at what the film is doing here and how it fits so well into 70s cinema, with boxing matches only bookending the story. We talk about Stallone as writer and the titular character and why this character is so endearing. We also talk about the characters around him – Adrian, Paulie, Mickey and of course Apollo Creed – and the wonderful actors playing the roles. We discuss Bill Conti’s iconic score. And we examine why this film hit so big at the time, both financially and in the awards circuits.

It’s an iconic sports movie that’s more about determination than anything, and it’s a great way to kick off this new year and new series. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, the conversation begins.

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Film Sundries

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"Parting is such sweet sorrow."

The works of William Shakespeare have been adapted to the screen more times than any other author, and ‘Romeo and Juliet’ is way up there with at least 44 direct screen versions and even more adaptations (West Side Story, anyone?). It speaks to the way that Shakespeare still speaks to the populace, or at least to the number of filmmakers who want to make their own mark cinematically with the Bard’s words. To that end, Franco Zeffirelli’s 1968 version stands out largely because of the youth of the title couple. These young lovers caught the social unrest at the time and made a big splash on the big screen. But how well does it hold up today? Join us – Pete Wright and Andy Nelson – as we close out our celebration of films from 1968 celebrating their 50th anniversaries with Zeffirelli’s second Shakespeare adaptation – Romeo and Juliet.

We talk about our feelings about Shakespeare in general and this play specifically and how those feelings likely shaped our viewing of it. We look at the performances of Leonard Whiting and Olivia Hussey as the teen lovers and why they largely work for us. We chat about the feel of the film and if the cinematography, locations, costumes and production design help give us a feel of this world. And we debate not only this film’s place in the award season discussions of the year but also close out this overarching 1968 series with a look back at everything we’ve discussed and what, if anything, we’d change about the award recognition.

It’s a good adaptation of the Bard’s tale and allows for a spirited discussion. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"We’re all fools. You can’t be part of the human race and not be a fool to somebody."

Paul Newman and Joanne Woodward had already been married for a decade before Newman decided to make his directorial debut with Woodward as his star in 1968’s Rachel, Rachel. The film was a small character piece that likely garnered box office and awards attention because of the caliber of those two people heading it up. It was nominated for Best Picture in 1968, but seems to be largely lost in time these days. How well does it hold up today? Is it worth looking at? Join us – Pete Wright and Andy Nelson – as we continue looking at and celebrating 50th anniversaries of films from 1968 with our series on the Best Picture nominees of that year by talking about Newman’s film Rachel, Rachel.

We talk about why we think the film largely is forgotten these days, what works with it and what doesn’t. We look at Woodward’s performance, clearly a performance that stands out as the principal reason to look at the film. We chat about the other performances in the film, notably Estelle Parsons as Rachel’s friend, and what they bring to the table. We look at what Newman does as a director and talk about how well it works when paired with the cinematography and editing. And we debate what awards and nominations we would’ve bestowed on it if it was up to us.

It’s an interesting film to look at for context of the time, but doesn’t stand out as something worth looking at for anything more than that. Still, it allows for a great conversation, so tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"You raised an artificial spirit in the lad unbecoming to his station in life. This would never have happened if you kept him on gruel."

Film adaptations of Charles Dickens’ works almost seem as common as Shakespeare’s works. It’s even quite possible that certain stories of his may have been adapted for the screen more frequently than some from the Bard. When Carol Reed brought Lionel Bart’s musical stage adaptation to the big screen in 1968, the time was ripe for it. Audiences and critics loved it. The film won a bunch of Oscars. It made a bunch of money. But how well does it hold up 50 years later? Join us – Pete Wright and Andy Nelson – as we continue our look at films nominated for Best Picture at the Oscars 50 years ago, this time with Reed’s 1968 film Oliver!.

We talk about our struggles with this film this go-around. We discuss the adaptations of “Oliver Twist” to the screen and where this fits… and discuss where it succeeds and fails in its translation. We chat about the actors that bring it to life and the technicians that create this world. And, of course, we talk about the music.

It’s a fun film but not one we think merits an Oscar for Best Picture. Still, it’s definitely worth talking about, so tune in to this week’s show to get in on the conversation! The Next Reel – when the movie ends, our conversation begins!

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Film Sundries

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"What family doesn’t have its ups and downs?"

British royalty is full of fascinating tales of power, conspiracies, distrust, and greed. They make such great characters that actors relish the opportunities to play them, sometimes even playing the same character more than once. Peter O’Toole certainly jumped at the chance when he read the script for The Lion in Winter based on the play. Having already played Henry II in Beckett a few years earlier, he seemed eager to dig back into the king’s life with this film. Join us – Pete Wright and Andy Nelson – as we continue celebrating films from 1968 celebrating their 50th anniversaries with a new series looking at the films that were nominated for Best Picture that year. How well do they hold up? Are they still relevant? Dated? Or boring? We kick this new series off with Anthony Harvey’s 1968 film The Lion in Winter.

We talk about the the messy world of this royal family and how angry everyone seems to be all the time. We look at elements of the film that immerse us fully in the world – the sets, the costumes, the production design – and those that pull us out, reminding us we’re in the 60s – those awful zooms. We chat about the wonderful – and wonderfully big – performances of O’Toole, Katherine Hepburn, Anthony Hopkins, Timothy Dalton, and more. And we touch on how much of this story is fiction versus fact, and if that helps or hurts the film.

It’s an interesting film with some powerhouse performances that certainly provides lots of fodder for a conversation, so check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"I’m the German Ethel Merman, don’tcha know!?"

Adapting a non-musical into a Broadway musical into a film musical takes a lot of work, but Mel Brooks clearly had the gumption to do it, and was successful most of the way along. His Broadway adaptation of 1968’s The Producers was a massive hit with records that still haven’t been broken. The question, then, is why the film adaptation of that hit floundered at the box office? It’s a tricky question and as is almost always the case, there really isn’t a clear answer. Join us – Pete Wright and Andy Nelson – as we look at Susan Stroman’s 2005 film The Producers.

We talk about why Stroman – the Broadway director/choreographer – is on board as the director and look at if that really makes any sense, especially considering some of our issues with the direction. We debate the difference between big, comedic performances and ones that are over-the-top, trying to decide why we feel differently with Will Ferrell’s and Kenneth Mars’ performances as Fritz. We discuss the script and some of our struggles with elements that were left nearly identical from the original. And we review some of our favorite performers and songs.

It’s a fun film, even if it ends up struggling under its own weight. We have a great conversation about it all the same, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

Thank you for supporting The Next Reel Film Podcast on Patreon!

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What are some other ways you can support us and show your love? Glad you asked!

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