The Next Reel Film Podcast

"You can’t trust a man’s life to your little notes and pictures.”Christopher Nolan’s second film, Memento from 2001, caught a lot of attention on its release because of the clever screenplay structure where the story unfolds both forward and backward in time, in a way creating an experience much like our protagonist Leonard Shelby (wonderfully played by Guy Pearce), a man suffering from anterior grade memory loss. Some people said Memento was too clever for its own good or that it was all style with little substance. Others found it to be incredibly creative with a unique story exploring the psychology of our character. No matter how you approach it, Memento is a film worth looking at in greater depth. Join us – Pete Wright and Andy Nelson – as we kick off our very abbreviated twist endings series called ‘Spoiled. Rotten?’, in which we debate if a film is ruined if you already know the twist. Pete’s selection is Nolan’s 2001 film Memento.Here’s a hint at what we talk about.What do we think of twist endings? In the world of twist endings, what are some that work for us and some that don’t? Do we find Memento to be an effective example, even if the twist ending actually happens at the midway point of the chronological story? Guy Pearce is always wonderful, but it’s so great seeing Carrie-Anne Moss and Joe Pantoliano together again right on the heels of their success with The Matrix. How much do we actually understand the story and what are our opinions about what really happened with Leonard, Sammy, and the mysterious John G? Nolan started working with Wally Pfister here for his cinematographer. What do we think of the look? David Julyan composed music for a few films for Nolan before he switched to working with Hans Zimmer. Do we like the music? And how much do we love this film, as compared to so many who clearly hate it?It’s a strong entry into our catalogue and one we’re glad to have discussed. It’s twists hold up and we have a great time talking about them. 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 — visit TruStory FM.Watch this film: JustWatchScript TranscriptOriginal theatrical trailerOriginal poster 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 is definitely how people die.”With Sword of Trust, writer/director Lynn Shelton continued her exploration of low budget, independent comedies while stepping a bit outside her comfort zone by filming a story in Alabama instead of the Pacific Northwest. It gave her another opportunity to work with her partner at the time Marc Maron. In the film, she skewers conspiracy theorists and clearly is having fun with it. But how does her improvisational style work as the film builds to its third act? Join us – Pete Wright and Andy Nelson – as we conclude our Lynn Shelton series with her 2019 comedy Sword of Trust.Here’s a hint at what we talk about.We love the comedy as it relates to making fun of the belief systems that support some of these nutty conspiracy theories. Unfortunately, Shelton and her co-writer Mike O’Brien rely too heavily on the improv style, which doesn’t allow for a satisfactory third act. Marc Maron is great as the cantankerous pawn shop owner. We buy his emotion in the dramatic story involving his former girlfriend. But he comes across as a bit lost in that third act as well. Jon Bass, Michaela Watkins, and Jillian Bell are great as the rest of the team rounding out Maron’s group as they try to sell an antique Civil War sword, but even they fall prey to some of the struggles of improv performing in the film. It’s great to see Shelton filming in another area of the country, but does the indie budget and her lack of knowledge of the area keep them from really getting the Southern locations to stand out? Sadly, Shelton passed away in 2020 from a rare form of blood cancer, but her films will live on and even if we didn’t love all of these, we fell under her spell as a director and certainly want to explore more of her output.Largely, we like Sword of Trust quite a bit, but that third act does bog things down. Still, we’d absolutely watch it again. It’s a very fun and funny movie. It’s worth checking out, then tune in to this week’s show! 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 — visit TruStory FM.Watch this film: JustWatchScript TranscriptOriginal theatrical trailerOriginal poster 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

“How could you possibly know that it’s me that you want?”Outside In comes after a big box office failure from writer/director Lynn Shelton with her film Laggies. That film never found its audience and lost a lot of money, so it makes sense that Shelton returned to her ‘even more indie’ roots, teaming up with Mark and Jay Duplass again to make this film with a lower, indie-sized budget. Outside In features Edie Falco as a high school teacher who worked for years to help free a former student, played by Jay Duplass, from prison after being wrongfully convicted in a murder case. She and Duplass have a complicated and messy emotional affair, all while he tries to figure out post-prison life and she tries to sort out her failing marriage and her relationship with her daughter. It’s a touching, powerful film that resonates well with us, and is a strong turn for Shelton to try her hand at a straight-up drama. Join us – Pete Wright and Andy Nelson – as we continue our Lynn Shelton series with her 2017 film Outside In.Here’s a hint at what we talk about.Who’s our favorite Duplass brother? And why haven’t we seen as much of Jay? Does Shelton direct a straightforward drama better than when she directs comedy? Edie Falco, Jay Duplass, and Kaitlyn Dever are so great to watch, particularly Falco who works so well here. Why didn’t she get more attention? Why didn’t the film get more attention overall? Does this small town in the Pacific Northwest stand out as compared to her other PacNorth locations? The script that Duplass and Shelton co-wrote works effectively because it conveys a lot with little bits of info. And Shelton’s penchant for messy people and forgiveness continues in this film!We both really loved this film. In Shelton’s career, it’s a standout. 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 — visit TruStory FM.Watch this film: JustWatchScript TranscriptOriginal theatrical trailerOriginal poster 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

Laggies was Lynn Shelton’s chance to step up and make a film for a bit more money than she’s had before. She’s not working with the Duplass brothers. She’s directing an original script that she didn’t write. So how does it fare compared to her earlier work? Join us – Pete Wright and Andy Nelson – as we hit the midpoint of our Lynn Shelton series with her 2014 film Laggies, starring Keira Knightley, Sam Rockwell, Chloë Grace Moretz, Ellie Kemper, Mark Webber, and Kaitlyn Dever.Here’s a hint at what we talk about.What’s with the title? According to Andrea Seigel, the screenwriter, a laggie is an adult slacker and is a common term. Shelton and the producers all went along with it before learning it really meant nothing. But hey – that’s how words get started, right? Sam Rockwell and Keira Knightley are fantastic in their roles, and the script has some laughs, but why does everything feel so expected? It’s frustrating that Megan, Knightley’s character, seems to be struggling with her group of friends and her boyfriend, but we don’t like any of them from the start which makes for story problems. Shelton definitely seems to have a thing for human faults and forgiveness. We’ve seen it in all the films in this series so far, but why does it work better sometimes than at others? Do they do much to capture the Seattle area in Laggies? And how did Shelton do with stepping out of her indie comfort zone to make this bigger budget film?It’s a film that strikes a chord for many people but wasn’t something we connected to that much. Regardless, the main characters are a delight and there are some really strong moments. 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 — visit TruStory FM.Watch this film: JustWatchScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxdOur Lynn Shelton SeriesHumpdayYour Sister’s SisterLaggies (You’re here!)Outside In (coming soon)Sword of Trust (coming soon)Support 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 have great taste in life and terrible taste in men.”Once Lynn Shelton and her producers had locked in plans to make Your Sister’s Sister, they cast Mark Duplass, Emily Blunt and Rachel Weisz in the three lead roles. They worked on the script and concepts over eight months and then they had to push the production back. When they did this, they lost Weisz due to scheduling conflicts she had with Deep Blue Sea. With only two days before they started shooting, Shelton cast Rosemary DeWitt to replace Weisz whom she had met when directing an episode of “Mad Men.” DeWitt connected right away with the project and the loose production style, and they got the film made. Join us – Pete Wright and Andy Nelson – as we continue our Lynn Shelton series with her 2012 film Your Sister’s Sister.We talk about the nonsensical confusion the title creates for us, because it feels like there should be three sisters, but how it really doesn’t matter because it’s a cool and memorable title. Just don’t think about it too much. We chat about the great central performances by Duplass, Blunt, and DeWitt and debate if the story is too dramatic for the subject or if it works. We look at the idea of Shelton’s films as comedies and debate the genre label for them, deciding they’re more comedic dramas. We discuss our struggle with the dramatic open and how it never feels like an element that’s dealt with in the film. And we chat about the gorgeous filming location in the Seattle area and the San Juan Islands. It’s a solid story with great actors, even if it has some story elements we struggled with. Regardless, it’s a film worth watching and discussing. 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 — visit TruStory FM.Watch this film: JustWatchOriginal theatrical trailerOriginal poster 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 guess that the way I like to think of myself and the way I actually am are, um, maybe more different than I’d like them to be.”Lynn Shelton sadly passed away about a year ago at the age of 54, but left a mark on the independent film scene with the personal stories she created. Her third theatrical feature film, Humpday, got a lot of attention when it premiered at Sundance, and that gave Shelton the boost she needed to get more of her storytelling out into the world. Join us – Pete Wright and Andy Nelson – as we kick off our Lynn Shelton series with her 2009 indie hit Humpday.We talk about the mumblecore film movement, what these types of films consist of, and why perhaps so many involved (and critics as well) aren’t a fan of the moniker. We look at Shelton and her personal storytelling here, and perhaps why this story idea was an easy one to latch on to and one to make to get noticed. We chat about the characters in the film and why elements of them work so well for us but why others don’t. We discuss the concept of friendship and manliness and what Shelton and the story are saying about that. We touch on our frustrations with how the film ends. And we revel in a few scenes that really stand out, including one character moment that we really don’t like. It’s an interesting film that has a lot to say, even if there are issues we have with the film itself. Regardless, it’s a film worth checking out, so see what you think 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 — visit TruStory FM.Watch this film: JustWatchScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxdDan Savage’s Hump Film FestivalSupport 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

"What the hell were those tentacles even attached to?”Frank Darabont wanted to adapt Stephen King’s novella “The Mist” as his directorial debut, but obviously that didn’t happen. It took him 13 years and three feature films, not to mention all the TV writing he was involved in, before he’d finally get around to adapting the story and making the film. What’s great about it is that he went dark with the story and took the original story even further than King took it. It worked for some people but not that well for others who found it far too bleak. Still, it’s found its audience and is generally considered one of the strongest horror adaptations of Kings’ work. Join us – Pete Wright and Andy Nelson – as we wrap up our Stephen King à la Darabont series, with his 2007 film The Mist.We talk about the bleak nature of the story and how well it works for us in context of what King was doing with it. We look at the color version versus the director’s preferred black-and-white version and why we both prefer the black-and-white as well. We chat about the performances, notably Thomas Jane and Marcia Gay Harden (not to mention all the Darabont regulars) and why they work so well in their respective roles. We discuss the Lord of the Flies aspect to the humans in the story and why it fits so perfectly in this world. We chat about the creatures and why we find them so perfectly terrifying. We touch on the music and why the haunting voice of Lisa Gerrard works so well in context of this story. We debate the ending and why it works so well for us while certainly not as well for others – and how it can be interpreted in different ways. And if you’re tuning in to hear us talk about how cool it is that Darabont is such a fan of Drew Struzan’s poster art that he builds it into his lead character’s occupation, you’ll be disappointed. We completely forget to bring it up! So we’ll just mention it here.It’s a fantastically freaky film and we both love it. We had a great time talking about it on the show this week, 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 — visit TruStory FM.Watch this film: JustWatchScript TranscriptOriginal theatrical trailerOriginal poster 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

"I’m tired of people being ugly to each other.”When Stephen King published “The Green Mile,” it was quite a novelty as he chose to release it in six serialized segments, each releasing a month apart. It was inevitable that it would get adapted as a film, as so many other of King’s works, but perhaps because of its popularity, its subject matter, and because of Frank Darabont’s connection to King after making The Shawshank Redemption, it came as no surprise that Darabont was adapting and directing it as his next film. Join us – Pete Wright and Andy Nelson – as we talk about the next film in our Stephen King à la Darabont series, his 1999 film adaptation The Green Mile.We talk about the episodic nature the film has, perhaps because of its original serialized format, and how that affects our viewing of it. We look at the flashback structure with Old Paul in the nursing home at the start and finish and debate if it helps or hurts the film. We also talk about the mean orderly in the nursing home in the novel and why perhaps the film would’ve worked better if that character was kept. We discuss the magical negro nature of the film and why it can be harmful to the interpretations of the film today. We look at all of the performances but notably Michael Clarke Duncan and how well he works as John Coffey. We touch on the cinematography, production design, music, and editing and why they all work well in this long story. And we ponder what it’s saying about death sentences, if anything.It’s a good film, despite the problems it has with the magical negro element, but doesn’t approach the level of Shawshank for us. Still, it’s worth watching, 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 — visit TruStory FM.Watch this film: JustWatchScript TranscriptOriginal theatrical trailerOriginal poster artworkThe Green Mile: The Complete Serial Novel by Stephen KingFlickchartLetterboxdI Really Like You • Carly Raw JepsenSupport 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

"Put your trust in the Lord. Your ass belongs to me. Welcome to Shawshank!”Frank Darabont may not have been Stephen King’s first Dollar Baby, but he certainly was one of the earliest. And according to King himself, Darabont’s short film The Woman in the Room is his favorite of the bunch. The story Darabont really wanted to adapt of King’s, however, was “Rita Hayworth & Shawshank Redemption.” It wouldn’t be until much later in his career, after he’d already established himself as a screenwriter of horror properties, that he’d be able to return to King and lock in the rights. Join us – Andy Nelson and Pete Wright – as we kick off our Stephen King à la Darabont series – with guests Tom & Tony Bancroft from the Bancroft Brothers Animation Podcast – to talk about his 1994 film The Shawshank Redemption.We talk about our first experiences with the film and why it’s stuck with us over time. We chat about Tim Robbins and Morgan Freeman and all the other potentials that could have played those parts. We look at the nature of Robbins’ character Andy Dufresne and how he embodies the type of protagonist that doesn’t necessarily follow his own character arc but changes those around him over the course of the film. We also argue how he still does have some strong moments of change himself, and how often the film is used as a parable in Christian circles. We touch on the greatness of the cinematography and music. And we marvel that the film didn’t get much award or box office love, considering how much we all love it.It’s a marvelous film and a great way to kick off this series. We have a great time talking about it with Tom and Tony, 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 — visit TruStory FM.Watch this film: JustWatchScript TranscriptOriginal theatrical trailerOriginal poster artworkDifferent Seasons by Stephen King (1982)FlickchartLetterboxdThe Bancroft Brothers Animation PodcastBancroft Bros.’ Podcast With Pete DocterPencilish Animation StudioMerMayTom on TikTokTony on InstagramTom on InstagramSupport 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

"God gave me the talent to pose for pictures.”For Mary Harron’s third feature film, she went back to the biopic well. For this film, she focused on the rise of pornographic images told through the lens of the life of Bettie Page, one of the top pin-up models of the time. Having a woman direct the film helps ensure the male gaze won’t dominate in a film about this subject, but that doesn’t mean the film works as well as it should. Join us – Pete Wright and Andy Nelson – as we wrap up our short Mary Harron series with her 2005 film The Notorious Bettie Page.We talk about the biopic structure of the film and why it feels like Harron and co-writer Guinevere Turner struggled to find the core of the story they wanted to tell. We chat about Gretchen Mol and how perfect she is in the role, and why she’s really the only reason to watch the film. We discuss the nature of the porn industry as depicted in the story and the different elements of it, and how the film never feels like it’s feminist enough or taking a stand. It always feels safe. We look at the shift between black and white and color and why it never feels fully thought out. And we chat about Page herself and how she was such an icon that still influences pop culture.It’s a Hallmark-feeling biopic, albeit with nudity, and one we struggled with, even though it does have a wonderful central performance. Regardless, we had a great time talking about it so 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 — visit TruStory FM.Watch this film: JustWatchScript TranscriptOriginal theatrical trailerOriginal poster 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