The Next Reel Film Podcast

“Goodbye, Snowball.”With several short films under her belt, Lynne Ramsay got her first feature film made and released in 1999. The film tells the tale of a young boy growing up in a poor neighborhood during a period in Scotland when the binmen were on strike, leaving thousands of pounds of garbage lying in the streets, yards, and roads. Growing up a child in Glasgow, Scotland, in the 70s, it makes sense that Ramsay would start with what she knows. What she created was a realistic depiction of childhood at this time that feels authentic and honest. Join us – Pete Wright and Andy Nelson – as we continue our Coming of Age Debuts series with Ramsay’s third film, 1999’s Ratcatcher.Here’s some of what we discuss in our Ratcatcher conversation.We set the conversation up with some history about Glasgow in the 70s, just to get a better sense of these strikes and how it affected people. We also talk about the housing issues there at the time.The children performing in this film, notably young William Eadie, are outstanding. They never strike a false note and make use feel as if we’re growing up in this period with them. And what’s great about the parents’ performances is that they feel like extensions of these kids. We see them as nothing more than big kids who really have no way out of this cycle they’re in.There are themes of guilt, friendship, sexual development, freedom, and escape. How are these various themes depicted in the film? What’s Ramsay trying to say?And what about the animals? Rats, mice, cats, dogs. We share our thoughts on them.It’s a strong film right out of the gate for Ramsay. We have a great conversation about her and the film so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“It’s not unusual to move every three months.”The story of Tamara Jenkins’ Slums of Beverly Hills feels very lived in with authentic characters and situations. It makes sense that there’s a semi-autobiographical element to her film. How well does it hold up over two decades after its release? Join us – Pete Wright and Andy Nelson – as we continue our Coming of Age Debuts series with Jenkins’ 1998 film Slums of Beverly Hills.What do we think of Slums of Beverly Hills?Jenkins has only made three feature films unfortunately, but we’ve liked what we’ve seen. (In full disclosure, Andy worked on The Savages so might be biased.) She’s talked about how challenging our system is for women directors, which may speak to her low output.The struggles of Vivian in this film, perfectly played by Natasha Lyonne, carry the story. As she literally comes of age (we start the film with her dad getting her her first bra), we feel her struggles to adapt to her changing body. And living with her dad and two brothers makes her life frustrating.Speaking of her family, Alan Arkin, David Krumholtz, and Eli Marienthal are perfect. They feel like a real family. When Marisa Tomei enters as their crazy cousin Rita, it just fits.Rita and Vivian have a great cousin relationship involving things like talking in gibberish and lessons in vibrators. Oh, and plenty of breast talk too. Jenkins rides a strong line of comedy with the dramatic moments, and it all works.We love the concept of the film riding along the fringes of Beverly Hills. It’s a period piece that always feels authentic. We have a great time with this one, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“Like a rose in the gutter...”Mira Nair got her start with documentary projects, so it makes sense that her first feature, Salaam Bombay!, is a gritty and realistic depiction of life on the streets for a kid in the slums of Bombay. It also feels logical that Nair would use real street kids as her cast to imbue the story with a more authentic sense. Should she have just made a documentary though? Or does the film work as is? Join us – Pete Wright and Andy Nelson – as we kick off our Coming of Age Debuts series with Nair’s 1988 film Salaam Bombay!.The title Salaam Bombay! may feel more appropriate for a Bollywood musical, but the film stands out regardless.While it has a documentary feel, the film works well to introduce us to the world of Krishna and the people in it. We feel it’s fictional but it does have a sense that it could actually happen. But does Nair push too much to advocate for change with the end of the film? Pete thinks so and doesn’t like it but Andy feels it works exceptionally well.The child performers were actual street kids and they bring incredible authenticity to the film. The adults feel a part of the world as well, and as dark as this world is, there is a sense of community that develops.There’s also a sense that this is a vicious cycle and these kids will never break free. It’s difficult, particularly seeing the adults and realizing it’s the next step for the kids. Whether it’s a pimp, a drug dealer, a brothel madame, or just a business owner who exploits the children for cheap labor, it’s an inevitability in this world. It’s the opposite of the fantastical escape in Slumdog Millionaire.So does this fit as a coming of age film? If the kid seems to be stuck in this place, does he come of age? We disagree a bit on this point.Regardless, we both find it to be a strong film with amazing child performances. It’s a film that should be seen by more people just to walk in the shoes of this community. We have a great conversation about it so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Theatrical trailerPoster artworkFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“I’m curious, Rose. I’m very curious.”Coming of age stories come in all shapes and sizes. The adaptation of Calder Willingham’s 1972 semi-autobiographical novel ‘Rambling Rose’ into Martha Coolidge’s 1991 film of the same name was one that captured a slice of life of a teenager and his family growing up in the South during the Great Depression. His coming of age largely happens when the new housekeeper moves in and piques his sexual awareness. Join us – Pete Wright and Andy Nelson – as we wrap up our John Heard series with Coolidge’s 1991 film Rambling Rose.Does Rambling Rose work for us?This is an interesting film because there’s a lot about it to discuss. But does that mean we liked it? Pete really didn’t while Andy liked it but with reservations. Neither of us were as captured as critics were at the time, so why is that?We go back and forth on the characters here. Andy likes Robert Duvall. Pete doesn’t. We both love Diane Ladd. Laura Dern and Lukas Haas are great but what do we think of their characters? And that doctor? Is he stupidly evil or is there more to him?Of course there’s the whole sexual exploration dealt with between an underage teen and a 19-year-old. Does that feel problematic? Or is it dealt with in a believable way? But what about how they handled it during the production?John Heard’s in this, but only in the framing device. Do we even like the framing device for this film? Would it have worked without it? How about Martha Coolidge’s direction? And how the heck did Renny Harlin and Mario Kasar get involved?It’s an interesting film. Not one of our favorites, though even we disagree on whether it works or not. But it’s worth watching and discussing for sure, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“You want there to be a connection. That doesn’t mean there is one.”Penny Marshall came on to Awakenings after Steven Spielberg stepped off the project apparently. Perhaps that’s why it feels a bit different for a Marshall film. But how well does this pseudo-true story work as it recounts Dr. Oliver Sacks’ experiments on patients with encephalitis lethargica in 1969? Join us – Pete Wright and Andy Nelson – as we continue our John Heard series with Marshall’s 1990 film Awakenings.Is Awakenings more than just Marshall’s bid at an Oscar?We think it’s more, but it sure feels like Oscar bait. But again... couldn’t it just be Marshall’s desire to tell an interesting story and step outside her comedy box? Same goes for Robin Williams. He delivers the goods here as an introverted doctor who would rather work with worms than people. And of course Robert De Niro gives a performance where you’re convinced he’s afflicted with the disease the character of Dr. Sayer is trying to cure. Even Dr. Oliver Sacks, upon whose studies the film is based, thought De Niro performed accurate to the disease.But did Dr. Sacks have any issues with the film? Turns out he had some issues with Steven Zaillian’s script. So do we. There are times it feels very written. Is that intrinsically bad? Or can it work?As for the rest of the cast, it’s a great group of performers. Too bad Penelope Ann Miller isn’t given more to do.All told, it’s a strong movie with a powerful performances but also a script that feels very written and in the end, something you can see once then not worry about it again. Still, it’s worth talking about so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“This doesn’t just happen. This guy — this doesn’t happen. He doesn’t just come to a meeting and say ‘bugs.’”The script came easily to Gary Ross & Anne Spielberg, but finding the right team and cast to make Big still took some time. By the time the film released in theatres, it was the fourth body-switching comedy to come out in a few years, even though it had been the first to be greenlit. But the script was smart and didn’t truck in dumb jokes, the casting was impeccable, and Penny Marshall found a way to navigate the fantasy and romantic nature of the film, and because of all these things, this film is the body-switching comedy from the late 80s that people still talk about. Join us – Pete Wright and Andy Nelson – as we continue our John Heard series with Marshall’s 1988 film Big.We’re big on BigIt’s hard to argue that Tom Hanks’ career moved to new level with his performance in this film. He’s perfect in this film, playing brilliantly a 13-year-old in a 30-year-old’s body. But a lot of the success comes from Penny Marshall’s comedy smarts when capturing this story by avoiding the easy jokes.It doesn’t hurt that Hanks has Elizabeth Perkins, Robert Loggia, and the man bringing this series together –John Heard – to work with as they all carry their weight. It’s interesting, however, to read the names of the other actors’ names mentioned for the roles. Robert De Niro? Really?And then there’s David Moscow as young Josh and Jared Rushton as Billy, the two kids in the film who create the core childlike center of the film and ground it in youth. It works.We do talk about the troubling aspect of Susan sleeping with a 13-year-old kid – even if she didn’t know he was only 13. How does that hold up? And what was poor Mercedes Ruehl doing the whole time he was gone? There are definitely darker aspects to this film, but again, Marshall smartly focuses on the Josh’s story and makes it work.It’s a wonderful film. We have a great time talking about it and are happy to enter it into our library of shows, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“Why didn’t I meet you first?”After working with John Heard on her 1977 film Between the Lines, writer/director Joan Micklin Silver knew that she wanted to cast him in her next feature Chilly Scenes of Winter. He plays a fairly complex, lovestruck character that dances right on the edge of being a bit too crazy, but he pulls it off with an authenticity that leaves you rooting for him, even when you’re shaking your head at some of his decisions. Join us – Pete Wright and Andy Nelson – as we continue our John Heard series with Micklin Silver’s 1979 film Chilly Scenes of Winter.It may be called Chilly Scenes of Winter, but it’s full of genuine comic moments.The studio heads didn’t get it at all, releasing the film initially as Head Over Heels with an artificially happy ending. No one wanted to see that and the film bombed. It took Micklin Silver three years to get the original version released, and it was a success.Do we like the way the movie plays out in this version? Absolutely. How does John Heard do as this crazy character who rides the line with stalking Laura, the woman he falls in love with? What does the movie say about relationships, particularly when one side is more in love than the other side?How about the idea of being the ‘other’ in a relationship? Talk about the cast – aside from Heard, who is perfect in his role, we have Mary Beth Hurt as Laura, Peter Riegert, Gloria Grahame, Kenneth McMillan, Nora Heflin, and more. It’s a delightful cast and they’re all bringing their A-games here.It’s a challenging but fascinating movie about relationships and finding yourself. 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!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Script TranscriptTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“We are still about telling the truth. We are still about something big here, and not many people can say that, man.”After her success with Hester Street, it seemed fitting that director Joan Micklin Silver would make an ensemble film about a group of journalists at an alternative paper. She’d worked at The Village Voice, so clearly knew that world. Her writers did as well. Join us – Pete Wright and Andy Nelson – as we wrap up our ‘Journalist’ series and kick off our ‘John Heard’ series with Micklin Silver’s 1977 film Between the Lines.There’s a lot going on between the lines in Between the Lines.One of the things we love so much about the film is the ensemble nature of the story. While we feel John Heard’s character Harry is the protagonist, we’re following half a dozen people fairly closely with another half dozen prominent supporting players. While it’s not Altman, there’s a definite feel here that Micklin Silver is opening up a portal to this world and we’re here experiencing it with her.But it is John Heard’s story. He was here with the start of the paper and we follow the story through his inevitable departure after the paper’s essentially eaten up by a corporation coming in and taking over all the ‘little guys.’ That being said, how fair is it to call him the protagonist? Couldn’t more than one be the protagonist?Micklin Silver does a wonderful job of weaving us through the lives of these people, both within the world of the paper and without. We see romances form and fall apart. We see raises get denied. We see dancing. We see interviews. It’s a painting of this world, and we’re right here for it.It’s a marvelous film and absolutely works for us. Definitely check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerPoster artworkFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“I thought you were snapping a few photographs, not reopening the whole case.”We’re not sure how Kathryn Bigelow came to direct the adaptation of Anita Shreve’s book “The Weight of Water” for the big screen, but it feels a bit odd in her body of work. It’s arguably the least masculine film she’s made, and is a mystery told between two time periods, so it feels different for her. But what did we think of it? Join us – Pete Wright and Andy Nelson – as we continue our Journalists series with Bigelow’s 2002 film The Weight of Water.Is there much weight to The Weight of Water?This is a film we really struggle with. For a mystery film, it doesn’t leave much mystery. And the relationship angle feels sloppy. Why did Bigelow take on this project? Was the book any better? We didn’t connect with the two stories and their lack of actual connection. That being said, the actors largely work.It’s just a shame they didn’t either focus on the story of the true murders on Smuttynose Island or the story in present day. Dancing between the two of them just doesn’t work.Regardless, it’s another film checked off our Bigelow filmography, and we’re always happy to do that. So check out the movie if you can track it down and then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Find places to watch this at JustWatchTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“Gentlemen, I give you the holy state of matrimony, modern style! Single lives, twin beds, and triple bromides in the morning!”Dorothy Arzner is a filmmaker we want to look at more closely.It’s surprising and a tad shameful to learn this late in the game about Dorothy Arzner. There had been other female filmmakers in the early days of the Hollywood system, but Arzner was largely the only woman regularly working as a director in the 30s and 40s. Her film Merrily We Go to Hell has some comedy in it but largely is a drama about a young couple who fall in love only to have their marriage affected by alcoholism and infidelity. But what’s so fascinating about it is that the woman sees what her husband’s up to and decides to do it too. It is a modern marriage, after all. Join us – Pete Wright and Andy Nelson – as we continue our Journalists series with Arzner’s 1932 film Merrily We Go to Hell.For a series about journalists, journalism is barely recognized in this film.Okay, so it’s not a perfect film for this series. But our protagonist, played by Frederic March, is a journalist so there’s at least some semblance of a loose connection. What he is is an incredible alcoholic, but Sylvia Sidney, the woman who falls for him, doesn’t see it that way. But do we buy their romance?And what do we think of the modern marriage elements of the story? (It’s not so hard to believe, though, that she’d hook up with Cary Grant, great to see in an early role.)What do we think of the title which gives it more of a comedic feel even though the film is much more of a drama?How do the elements play in the pre-Code days?And what stands out about Arzner’s direction?It’s an entertaining and interesting film – but the story has some elements that don’t completely work for us. Regardless, it opened the door for us to Arzner and we definitely want to see more of her works. So check out the film then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Find places to watch this at JustWatchTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible