The Next Reel Film Podcast

“Oh, what sad times are these when passing ruffians can say ‘Ni!’ at will to old ladies. There is a pestilence upon this land, nothing is sacred. Even those who arrange and design shrubberies are under considerable economic stress in this period in history.”

After the immense success of Monty Python’s Flying Circus on television, the Python troupe set out to take their unique brand of absurd (møose) comedy to the big screen. Securing funding from rock stars and record companies, they scraped together a modest budget and set out to create a silly sendup of the legend of King Arthur. Shooting on location at a couple of castles, they used low-budget tricks like smoke machines and clever framing to build an entirely new medieval world. Armed with coconuts and a killer rabbit, Monty Python unleashed their wit upon the Round Table and llamas everywhere, spawning an instant cult classic. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Monty Python and the Holy Grail.

Here's a hint at what we talk about:

We gush over the brilliant comedic writing, discussing how each joke builds upon the last to create a fully formed world of nonsense. The clever framing allows the limited locations to represent far more of Arthur's moose than actually existed. We praise the meta elements like the voice of god and the police abruptly ending the quest. The French taunting scene stands out as a highlight. While Pete finds some scenes drag, the overall effect remains potent even after countless viewings.

Here are a few other points in our discussion:

• Appreciating the extensive history satire
• Debating our favorite Python troupe members
• The legend of how rock stars financed the film
• Eric Idle's later Broadway adaptation Spamalot
• Quoting every line despite ourselves

Monty Python crafted an endlessly quotable masterpiece that lampoons British legends and remains uproariously funny decades later. We have a great time talking about it, so check it out then tune in. The Next Reel – when the moose ends, our llama begins!

Film Sundries

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“Don’t give me any of that ‘intelligent life’ stuff. Find me something I can blow up!”

John Carpenter and Dan O'Bannon met as film students at USC in the early 1970s. Together they created a 45-minute student film called Dark Star that ended up gaining traction on the film festival circuit. With additional funding, they expanded it into a feature film that was released in 1974. This sci-fi comedy film became a cult classic, despite its tiny budget and limited release. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Dark Star.

Here's a hint at what we talk about:

In our discussion of Dark Star, we dive into the film's origins as a student project and how it evolved into a feature film. We analyze the absurdist tone and philosophy of the story, as well as the mix of comedy and horror elements. Though we find some flaws, we appreciate the ambition and creativity behind this early work by Carpenter and O'Bannon.

Here are a few other points in our discussion:

• The impressive visual effects and production design given the microbudget
• Memorable characters and comedic performances
• Thought-provoking themes about technology and human nature
• Influences on later sci-fi classics like Alien and Red Dwarf

In the end, we see Dark Star as a unique cult film that shows the promise of Carpenter and O'Bannon as emerging filmmakers. Despite its uneven moments, it offers an imaginative vision and bold filmmaking. 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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• Theatrical trailer
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“You’re so funny when you’re sexually frustrated.”

In 1975, producer Alvy Moore teamed up with director L.Q. Jones to bring Harlan Ellison’s 1969 novella A Boy and His Dog to the big screen. With a budget of just $400,000, Jones cast newcomer Don Johnson alongside canine actor Tiger in this post-apocalyptic sci-fi that would go on to earn acclaim and cult status. Join us – Pete Wright and Andy Nelson – as we kick off the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about A Boy and His Dog.

Here's a hint at what we talk about:

We dive into the fascinating dystopian world depicted in the film, analyzing how the survivalist society shapes the animalistic characters. We discuss the interesting gender politics and debate whether the controversial elements hold up today. And we talk about the great casting, including Don Johnson's standout performance and the fitting voice work for Blood.

Here are a few other points in our discussion:

• The shocking ending and how it subverts expectations
• The hilarious dynamic between Vic and Blood
• The lo-fi retro aesthetic of the visuals
• Harlan Ellison's legacy in sci-fi

In the end, we find A Boy and His Dog to be a wholly unique entry in the post-apocalyptic sci-fi genre that was ahead of its time. Despite flaws, it presents a creative vision of humanity's dark future that leaves a lasting impression. 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

• Watch this on Apple or Amazon, or find other places at JustWatch
• Script Options
• Theatrical trailer
• Original Material
• 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.

Join the conversation with movie lovers from around the world in our Discord community!

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

• You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.
• Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.
• Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.
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• Or sign up for AUDIBLE.

“A painting means as much to you as a string of pearls to an ape.”

In the early 1960s, French author Rose Valland pitched the idea for The Train to producer Jules Bricken. Valland had worked at the Jeu de Paume Museum in Paris during World War II, overseeing the Nazi looting of French art treasures. Intrigued by her true story of resisting Nazi art theft, Bricken brought in director Arthur Penn to develop the film. Penn saw it as a vehicle for his friend Burt Lancaster and got him on board to star and co-produce. But creative differences led Penn to depart the project, with action director John Frankenheimer taking over. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Train.

Here's a hint at what we talk about:

We dive into the real history behind this fictionalized account of protecting French art from the Nazis in WWII. We discuss Frankenheimer’s groundbreaking filming techniques using real trains and locations. And we debate the deeper themes around valuing art over human life.

Here are a few other points in our discussion:

• Highlighting the standout performance by Burt Lancaster
• Appreciating Paul Scofield as the obsessive Nazi colonel
• Noting the exceptional black and white cinematography
• Poking fun at the uneven accents
• Praising the thrilling climactic train yard action sequences

The Train is a thoroughly engrossing WWII action-drama that also makes you think. 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

• Watch this on Apple or Amazon, or find other places at JustWatch
• Script Options
• Theatrical trailer
• Original Material
• 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.

Join the conversation with movie lovers from around the world in our Discord community!

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

• You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.
• Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.
• Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.
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• Or sign up for AUDIBLE.

“My life is an empty place.”

Harold Pinter adapted Penelope Mortimer’s 1962 semi-autobiographical novel The Pumpkin Eater into a screenplay for this 1964 British drama film directed by Jack Clayton. With acclaimed performers Anne Bancroft and Peter Finch on board, Clayton and cinematographer Oswald Morris shot the black and white film partly on location in London and Shepperton Studios. Despite its downbeat subject matter, The Pumpkin Eater was considered a prestige picture with a relatively large budget upon its production. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Pumpkin Eater.

Here's a hint at what we talk about:

In this episode, we dive deep into the complex psychology of the characters and relationships in The Pumpkin Eater. We discuss how the film provides an intimate portrait of a woman struggling with depression and a crumbling marriage in 1960s England. The stellar performance by Anne Bancroft anchors the film, while the script by Harold Pinter brings emotional honesty through raw, confrontational dialogue. We also analyze how the movie explores challenging themes like women's rights, mental health, fidelity, and family.

Here are a few other points in our discussion:

• Appreciation for Jack Clayton’s skilled direction
• The intriguing nonlinear structure using flashbacks
• James Mason’s supporting turn as the angry betrayed husband

The Pumpkin Eater is a psychologically complex drama that impressed us both. The gorgeous black and white cinematography transports you into this intimate story. 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

• Watch this on Apple or Amazon, or find other places at JustWatch
• Script Options
• Theatrical trailer
• Original Material
• 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.

Join the conversation with movie lovers from around the world in our Discord community!

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

• You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.
• Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.
• Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.
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“This is something that happens.”

Talking About Paul Thomas Anderson’s 1999 film Magnolia with our guest, cinematographer Lyn Moncrief

On this episode of Movies We Like, hosts Andy Nelson and Pete Wright invite cinematographer Lyn Moncrief to discuss his career and one of his favorite films, Paul Thomas Anderson’s sprawling 1999 drama Magnolia.

We talk with Lyn about how he first got interested in cinematography and making the move to Los Angeles to pursue his passion. He discusses some of his early work in independent films and horror movies, explaining that the genre can allow for creative freedom visually. Lyn also touches on his collaborations with director Emma Tammi, including the recent Five Nights at Freddy's adaptation.

When we dive into Magnolia, we analyze the film's unique visual style, editing, and how the different storylines weave together. We highlight standout emotional performances, especially from Tom Cruise and Julianne Moore. We also praise the film's musical interludes featuring songs written for the movie by Aimee Mann. Lyn explains how Magnolia inspired him as a young cinematographer and made him want to be part of ambitious filmmaking.

With its sprawling stories, raw performances, and stunning cinematography, Magnolia is truly a modern classic. This was a fascinating discussion about both Lyn's career and one of his favorite films. We clearly had an excellent time geeking out over this towering achievement. Be sure to check out Magnolia if you haven't seen it and listen to Lyn's insights from working in the industry.

Film Sundries

• Find Lyn on His Website or Instagram
• Watch this on Apple or Amazon, or find other places at JustWatch
• Script Options
• Theatrical trailer
• 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.

Join the conversation with movie lovers from around the world in our Discord community!

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

• You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.
• Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.
• Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.
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"Gentlemen, you can’t fight in here! This is the war room!"

REBROADCAST

Stanley Kubrick didn’t do comedy often which is a shame because “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” is arguably one of the funniest films ever made. What’s interesting is that Kubrick intended on making a serious film about one of his greatest fears at the time: the threat of nuclear war. But after several attempts at finding the right way to tell the story seriously (including one involving aliens watching us from above, discussing our penchant for destruction), he hit on the idea of making it funny. And his dark comedy classic was born.

Join us – Andy Nelson and Pete Wright – as we wrap up our brief vacation challenge with Andy’s choice of his favorite end-of-the-world comedy, Kubrick’s 1964 film “Dr. Strangelove.” We talk about how we were introduced to this film and why it may not be a film that one connects to immediately but a film that one has to find the humor over time. We discuss the actors – Peter Sellers, George C. Scott, Slim Pickens, Sterling Hayden, Keenan Wynn, even James Earl Jones in his first screen role – and the level of comedy brilliance they all achieve individually and how it ties to the overall film. We single out Sellers, of course, as we discuss the three roles he played in the film and what makes them all so unique. We touch on the look of the film, shot by Gilbert Taylor with impeccable production design by Ken Adam, pointing out just what it took to make the war room one of the most iconic sets ever made. We mention the sequel that Kubrick wanted to make with the help of Terry Gilliam. And we argue about its placement on our Flickchart, as we inevitably do every week. 

It’s one of the best films out there and well worth a discussion. Haven’t seen it? Give it a try. Just be aware that you may not connect on the first viewing. This is one of those movies that may need a few shots. But it’ll be well worth it. We promise you.

Film Sundries

• Check out our Watch Page to get links to rent or buy this movie and everything else we’ve covered
• Script Transcript
• Original theatrical trailer
• Original poster artwork
• Art of the Title
• Red Alert by Peter George
• Flickchart
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• Dr. Strangelove — Internet Movie Firearm Database

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.

Join the conversation with movie lovers from around the world in our Discord community!

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

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“But where is Becket’s honour?”

Before cameras could roll on Becket, the film's producers had to secure the screen rights to Jean Anouilh's original French play. Anouilh was initially hesitant to sell the rights, but the persistence of producer Hal B. Wallis convinced him to sign on. With the acclaimed playwright on board, the next task was finding a director who could bring the theatrical story to life on the big screen. The producers eventually landed on Peter Glenville, an experienced theater director who had recently made the jump to film. With Glenville set to direct, Wallis turned his attention to casting the two crucial lead roles. Several big names were considered, but it ultimately came down to Richard Burton and Peter O’Toole. The two actors had never worked together before, but their chemistry and talent made them the perfect choices to embody this complex medieval tale of friendship and betrayal. Join us – Pete Wright and Andy Nelson – as we kick off the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about Glenville’s 1964 film Becket.

Here's a hint at what we talk about:

We dive deep into the fascinating central relationship between King Henry II and Thomas Becket. Their intimate friendship takes surprising twists and turns, and we examine how Burton and O'Toole bring nuance, humor, and gravitas to their performances. We also discuss how Becket grapples with weighty themes like loyalty, honor, and the separation of church and state. Though we take issue with some historical inaccuracies, we find the film an engrossing character study bolstered by its two talented leads.

Here are a few other points in our discussion:

• Appreciating Becket's unexpected comedic tone and banter
• The riveting confrontations between Henry and Becket
• Questioning the importance of the Saxon/Norman divide
• Assessing Peter Glenville's brisk direction and Anne V. Coates’ editing
• Burton and O'Toole's captivating performances

Becket gives a revealing look at how friendship, politics, and religion collide for two powerful men. 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

• Watch this on Apple or Amazon, or find other places at JustWatch
• Script Options
• Theatrical trailer
• Original Material
• 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.

Join the conversation with movie lovers from around the world in our Discord community!

Here’s where you can find us around the internet:

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

• You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.
• Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.
• Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.
• Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.
• Or sign up for AUDIBLE.

“Stella! Hey, Stella!”

Tennessee Williams' Pulitzer Prize-winning play A Streetcar Named Desire took Broadway by storm in 1947. Four years later, director Elia Kazan decided to adapt the play for the big screen, bringing together many members of the original Broadway cast like Marlon Brando, Kim Hunter, and Karl Malden. After a tumultuous pre-production filled with casting conflicts and clashes over censorship, Kazan was finally able to begin filming on location in New Orleans in 1950. The end result was a critical and commercial smash, earning 12 Oscar nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Kazan’s A Streetcar Named Desire.

Here's a hint at what we talk about:

In this episode, we dive deep into Marlon Brando's electrifying performance as Stanley Kowalski and how it paved the way for method acting in film. We also discuss how Elia Kazan's stage experience enabled him to open up the world of the play through evocative cinematography and set design. Additionally, we analyze Vivien Leigh's complex portrayal of Blanche DuBois and debate whether the film adaptation fully captures the darkness of Tennessee Williams' original story.

Here are a few other points in our discussion:

• Our initial reactions to revisiting this classic film
• The jazzy, atmospheric score by Alex North
• Memorable scenes like Brando screaming "Stella!" and the final scene
• Differences between the film and Williams' original play
• The talented supporting cast like Kim Hunter and Karl Malden

We have a great time unpacking this landmark dramatic film, so tune in to hear our thoughts. The Next Reel – when the movie ends, our conversation begins!

Film Sundries

• Watch this on Apple or Amazon, or find other places at JustWatch
  • or check out our new Watch page to get links for all the films we’ve discussed on our shows!
• Script Options
• Theatrical trailer
• Original Material
• 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.

Join the conversation with movie lovers from around the world in our Discord community!

Here’s where you can find us around the internet:

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

• You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.
• Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.
• Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.
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“Criss cross.”

In 1951, Alfred Hitchcock was at a low point in his career after the disappointing critical reception of his previous two films, Under Capricorn and Stage Fright. Desperate for a hit, he wanted to adapt the 1950 Patricia Highsmith novel Strangers on a Train about a chance encounter that leads to a murder pact between two very different men. He bought the rights and enlisted screenwriter Raymond Chandler to adapt the book for the screen. Though Chandler delivered a script, Hitchcock ultimately rejected it in favor of a rewrite by Czenzi Ormonde and an uncredited Barbara Keon. With his leads locked in – Farley Granger as tennis pro Guy Haines and Robert Walker as the villainous Bruno Antony – Hitchcock began production on what would become another tension-filled thriller. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Strangers on a Train.

Here's a hint at what we talk about:

In this episode, we dive deep into the fantastic performances by Robert Walker as the creepy and charismatic Bruno and Farley Granger as the morally conflicted Guy. We also discuss the homoerotic undertones in the film and how Hitchcock used them to toy with ideas about sexuality and identity. Though we find a few plot holes, overall we both agree this is one of our favorite Hitchcock films thanks to its psychological tension, unique visual style, and fun fairground climax.

One of the standout elements of Strangers on a Train is the striking black-and-white cinematography by Robert Burks. In his first collaboration with Hitchcock, Burks brought an experimental flair that heightens the psychological tension. The use of shadows, unique camera angles, stylized lighting, and innovative techniques like the curved lens shot of Miriam's murder create an atmosphere of dread and danger. Burks' innovative work garnered him an Oscar nomination and built the foundation for a longtime partnership with Hitchcock.

Strangers on a Train is a taut, psychologically complex thriller brought to life by Hitchcock’s masterful direction. 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!

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.

Join the conversation with movie lovers from around the world in our Discord community!

Here’s where you can find us around the internet:

• The Web
• Letterboxd
• Facebook
• Instagram
• Threads
• X
• YouTube
• Flickchart
• Pinterest
• Pete 
• Andy

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

• You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.
• Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.
• Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.
• Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.
• Or sign up for AUDIBLE.

• Watch this on Apple or Amazon, or find other places at JustWatch
• Script Options
• Theatrical trailer
• Original Material
• Letterboxd