"Dave, this conversation can serve no purpose anymore. Goodbye."

Before 1968, science fiction films were largely genre films that didn’t take themselves too seriously. The general consensus is that the change that allowed filmmakers to take science fiction seriously was Stanley Kubrick’s film 2001: A Space Odyssey. Upon its initial release, critics and audiences were very split on the film but it eventually found its audience (thanks to a lot of hippies smoking weed during screenings). The film has since been touted as one of the greatest films ever made. It’s influenced generations of filmmakers and storytellers. It’s allowed for hours upon hours of discussion and theorizing about things happening within the story. But it still has its detractors. It’s not a film for everyone – it can feel long and boring. There’s hardly any dialogue. And the film doesn’t engage the way the book did. Join us – Pete Wright and Andy Nelson – as we kick off a 50th anniversary celebration of films and series from 1968. And what a better way to start than with the films made from Clarke’s Odyssey series, beginning with Kubrick’s 1968 film 2001: A Space Odyssey.

We realize right away that we’re on opposite sides of the fence as to our opinions of this film and try to rationalize that. We look at what works in the film and what Kubrick and Clarke were trying to say. We talk about the effects and what Kubrick, paired with Douglas Trumbull and their team, were able to create. We look at the performances of the actors, starting with Daniel Richter – the Andy Serkis of Kubrick’s time. We ponder several of the various theories about the film and deliberate the nature of theories like these. And we duke it out in one of our most serious Flickchart battles as we try valiantly to get the film closer on our ranking to where we each personally rank the film. It’s a battle of the ages!

It’s a very divisive movie between us but that allows for a wonderful conversation about the movie. Check it out if you haven’t. Don’t be embarrassed if you’re one of the people who don’t click with it – you’re not alone. And if you do click with it, don’t make fun of those other people. Much. But what you should do is tune in to the show and enjoy the spirited chat! The Next Reel – when the movie ends, the conversation begins.

Film Sundries

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"A Him gets noticed. A Her gets ignored. And for once, we’d like to be ignored."

Steven Soderbergh never wanted to return to the helm for the Ocean’s franchise, but he was more than happy to get behind any future films, so when Warner Bros. said they wanted to return to the franchise with an all-woman cast in a spin-off, he signed on board as producer. Gary Ross and Olivia Milch were hired to write the script and Ross to direct, and with that, Ocean’s Eight was born. But will Ross and Milch be able to capture the fun and unbelievable heists that Soderbergh did in his original trilogy? Join us – Pete Wright and Andy Nelson – as we aim to find out as we wrap up the Ocean’s series with Ross’ 2018 film Ocean’s Eight.

We talk about how this film fits in the franchise and how well it works as part of that universe. We look at the struggles we have with the story and particular elements of the heist, which is particularly frustrating because we largely love the characters so much. We discuss the actresses playing the team, from Sandra Bullock and Cate Blanchett through to Awkwafina and Rihanna, and look at what they’re each bringing to the table. We debate if Helena Bonham Carter is playing too many crazy roles but revel in what she’s doing here. We try to figure out if this was an original script or based on a different property. And we go through what Ross is doing here as director and wonder if he’s just not bringing enough fun to the film, which is already struggling with a weaker script and diminishing what Soderbergh had created.

It’s still a fun film and feels a part of the franchise, even if it’s a blander entry. That being said, we have a great conversation about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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"There’s a code amongst guys that shook Sinatra’s hand!"

Even though Ocean’s Twelve was financially successful, it was largely disliked by audiences who saw it as a misfire. When the studio decided to make a follow-up, they returned the story to Vegas where the first film took place and made a film that largely feels like a return to form. But that doesn’t mean the film isn’t without its problems. Join us – Pete Wright and Andy Nelson – as we continue our Ocean’s series with Steven Soderbergh’s 2007 film Ocean’s Thirteen.

We talk about where the film falls on our own ranking of Soderbergh’s trilogy and ponder how anyone could see it any other way. We look at the direction they took the script with this one and look at all the various elements they amped up with ridiculous comedy, and how two of those moments feel very much like weak writing just to make the heist work. We look at the brilliant cast and discuss them, but notably point out Al Pacino added as the new villian and how wonderfully he works here. We also talk about the lack of women and why, also commenting on how wonderful it is to see Ellen Barkin again even if it’s a disappointingly written role. We look at what Soderbergh is doing here as cinematographer Peter Andrews on his last film shot on film. And we dig into the back story behind Linus’ fake nose and connections to Evel Knievel.

It’s a fun film with its own share of problems, but certainly a fitting entry into the Ocean’s franchise. We have a great time talking about it so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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"I mean Danny, it was one job that we did together so I don’t know where this whole, like, proprietary stance comes from. It seems a little possessive."

The script for Ocean’s Twelve had a bit of a circuitous route to get to where it ended up. George Nolfi had sold his script entitled “Honor Among Thieves” to Warner Bros., but instead of making his film, the studio executives decided that his script would make for a great foundation to Soderbergh’s successful remake of the classic Rat Pack film Ocean’s 11. Nolfi rewrote it many times to shape the script, and ended up having to modify it many times afterward due to cast schedules and the like. What finally got made created quite a lot of complaints as it didn’t feel like it stood at the same level as Ocean’s Eleven. But is it that bad? Or just different and not what people were expecting? Join us – Pete Wright and Andy Nelson – as we continue our coverage of the Ocean’s series with Steven Soderbergh’s 2004 film Ocean’s Twelve.

We talk about why the film works and why it doesn’t, notably in comparison with the first film. And we have quite differing opinions on this. We look at how the story is structured and ponder if it would be stronger if there was more of Catherine Zeta-Jones’ character earlier on in the story outside of the opening. We look at the complexities and convolutions of the plot and the heists, wondering if it was all really necessary to make a cohesive story or if it benefits from being so complex. And we marvel at the prowess with which Soderbergh films his stories as DP.

He’s a fantastic filmmaker who make a largely contentious film that still has a lot of good going for it (and is still a fun-to-watch Soderbergh film at the end of the day). So check it out then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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"You brought music back into the house. I’d… forgotten."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, producer Catherine Hand joins us to talk about one of her favorite films, Robert Wise’s 1965 film The Sound of Music.

We talk about how the story made it from Maria Von Trapp’s memoirs about her family to the big screen, with several detours along the way. We chat about the movie’s longevity and why it’s had such a long life. We discuss the performances of Julie Andrews and Christopher Plummer, not to mention Plummer’s disdain for the project until recently. And we spend some time looking at Catherine’s career, notably her decades-long pursuit to bring A Wrinkle in Time to the big screen.

It’s a wonderful conversation with Catherine that ranges all over, so check out A Wrinkle in Time, revisit The Sound of Music, then tune in to the show!

Film Sundries

• Find Catherine Hand on Twitter
• Watch A Wrinkle in Time: iTunes • Amazon • YouTube
• Watch The Sound of Music: iTunes • Amazon • YouTube
• Script Transcript
• Original theatrical trailer
• Original poster artwork
• The Story of the Trapp Family Singers by Maria A Trapp
• Flickchart
• Letterboxd

Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.

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"It’ll be nice working with proper villains again."

The decision to remake Ocean’s 11 with an ensemble cast of stars led to an incredible amount of turnover as stars became attached then had to bail out because of other film commitments. But with the final eleven actors locked in as Danny Ocean’s team of thieves, not to mention Andy Garcia and Julia Roberts in supporting roles, it’s hard to imagine the film working with any other cast except George Clooney, Brad Pitt, Matt Damon and the rest of the gang. Join us – Pete Wright and Andy Nelson – as we continue our Ocean’s series with Steven Soderbergh’s 2001 remake, Ocean’s Eleven.

We talk about Pete’s love for the film and Andy’s initial feelings that contrast a bit with his recent watch. We look at what this film does better than the original, starting with team building. We chat about Julia Roberts’ element of the story and if it’s just a romance that is shoehorned in here or if it carries more weight. We look at the team and what we think of the main players. We discuss Soderbergh’s style and what he’s bringing to the table as director and shooter. And we ponder the lightness of this film and how well that works to keep people from worrying too much about the crimes taking place in the story.

It’s a fun, breezy film that is miles above its predecessor and shows Soderbergh continuing his work to always be doing something new and unique with his career. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

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"You’re just in time for the jokes."

Frank Sinatra, Dean Martin and Sammy Davis, Jr. were a part of what people called ‘The Rat Pack,’ a group of friends who all started hanging out regularly back at Humphrey Bogart’s and Lauren Bacall’s place. The members changed over time, but Sinatra, Martin and Davis always seemed to be the core trio. The three only appeared in a handful of films together, and the one they’re most known for is the heist film Ocean’s 11. Join us – Pete Wright and Andy Nelson – as we kick off our Ocean’s series with Lewis Milestone’s original 1960 Rat Pack film, Ocean’s 11.

We talk about why the film doesn’t hold up very well for today’s audience and how it really takes someone who was much more connected to the Rat Pack group to really connect with this film today. We look at the script and its shift from drama to comedy, and why perhaps that shift during development left the script largely feeling disjointed and disconnected. We discuss the cast and try to answer why they’re largely uninteresting and unlikeable. We chat about the ending of the film and debate whether it’s effective or not. And we touch on the songs in the film – notably “Ain’t That a Kick in the Head” – and stew on why it wasn’t recognized by the Academy.

It’s a film that unfortunately feels very dated, which means it may only appeal to audiences who really were fans of the Rat Pack. That doesn’t stop us from having a great conversation about it! So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Film Sundries

Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel

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"We were born into this job."

Time travel stories come in all shapes and sizes – some are more focused on the fun and entertainment. Others use the conceit to allow for explorations of themes and ideas. Robert A. Heinlein’s short story “—All You Zombies—” is more the latter, and the Spierig brothers – Michael and Peter – do a great job adapting it for the silver screen with their film Predestination. And while it’s easy to get lost in time loops and find fault in rules and story construction, this film is an easy one to enjoy with the paradoxes presented because of the themes and concepts it develops. Join us – Pete Wright and Andy Nelson – as we conclude our time travel series with the Spierig brothers’ 2014 film Predestination.

We talk about the nature of the film and why it works, even if the film does spend the first half of its running time setting things up. We look at the meaning of the word ‘predestination’ and what it means in context with this film and the ideas put forth. We chat about Ethan Hawke (busiest man in Hollywood) and how great he is here, and also about Sarah Snook, who really puts forth an incredibly challenging performance and nails every bit of it. We debate the strength of Noah Taylor’s character and if he’s really necessary for the story. And we discuss what the Spierig brothers bring to the table here and how well they work as writers, producers and directors, but also visual effects artists and composers.

There’s a lot to discuss in a film like this, and we have a fantastic time unpacking it. Check out the movie then tune in! The Next Reel – when the movie ends, our conversation begins!

Film Sundries

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"We used to look up in the sky and wonder at our place in the stars. Now, we just look down and worry about our place in the dirt."

Christopher Nolan certainly is a filmmaker with ambition. People may argue one way or the other about his story construction, or his editing style, or his attachment to film even, but it’s hard to argue that he’s not a filmmaker who is working hard to push big ideas out into the world of film. His 2014 film Interstellar, which he wrote with his brother Jonathan, pushes ideas about interstellar space travel, about space-time, about a dying Earth, about wormholes, about black holes – about leaving our planet – and creates a film that feels as much a scientific thesis as it does a story. Is it perfect? No. But the ambition and passion shine through in every frame. Join us – Pete Wright and Andy Nelson – as we continue our time travel series with Nolan’s film Interstellar.

We talk about how our feelings for this film have shifted over time – particularly Andy’s – and what our problems are with the film still. We look at the science behind this film and examine how it can be seen as a time travel movie in the first place. We talk about the performances, notably Matthew McConaughey’s, and what they do for the film. We dig into some of the theories and try to figure out exactly what they mean, because we swear we completely understood it while watching the film. We discuss the incredible imagery created by the camera team, the miniatures team, the visual effects team, the locations team and the production design team. We chat about Hans Zimmer and his music and how well it largely works in the film, and how it pairs interestingly with some edit choices. And we debate the choices the filmmakers use in the climax of the film.

It’s a challenging Hollywood film with big ideas and exciting themes, all laid out in a somewhat sloppy package. But there’s a lot going for it so it’s certainly worth a watch. Check it out for yourselves then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

Film Sundries

Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.

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