The Next Reel Film Podcast

"If it’s a revolution, it’s confusion. Where there’s confusion, a man who knows what he wants stands a good chance of getting it." Sergio Leone really wanted to produce his next film after his western opus Once Upon a Time in the West, but unfortunately, no one would have it. They wanted him in the director’s chair. His reticence, paired with his delay in taking the reins, perhaps reflect in the output of his film Duck, You Sucker!, aka A Fistful of Dynamite, aka Once Upon a Time… The Revolution. It’s messier than his other films. It feels a bit more disorganized. And it feels a bit more political, which is strange coming from a filmmaker saying he doesn’t want to be political in his films. Join us – Pete Wright and Andy Nelson – as we continue celebrating Leone’s Once Upon a Time trilogy with his 1971 film, Duck, You Sucker!. We talk about why this film feels so different from his others and parse out what works here and what doesn’t. We look at the cast – notably Rod Steiger and James Coburn – and chat about their bad accents and what else they’re bringing to the table. (We also dig into the casting process to look at how they each got their roles.) We look at Ennio Morricone’s score and argue about whether it works or not. And we talk about the shifting tones within the film and debate if it works the way it’s constructed. It’s a frustrating yet enjoyable film and certainly is one that gives us a lot of fodder for conversation. Check out the movie 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • Netflix • HuluOriginal 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

"You don’t sell the dream of a lifetime." Sergio Leone didn’t want to return to westerns after his Man With No Name trilogy – he already felt like made his western epic and wanted to move on to something else. When Paramount offered him a three picture deal with a big budget AND Henry Fonda though, he couldn’t pass it up and he found himself returning to the well once again. But would it work as well as his previous films did? Join us – Pete Wright and Andy Nelson – as we continue our celebration of films and series from 1968 by digging into Leone’s Once Upon a Time trilogy, starting it off in 1968 with his western masterpiece Once Upon a Time in the West. We talk about why Leone decided to get back into westerns and how he and collaborators Bernardo Bertolucci and Dario Argento infused the project with elements from countless of their favorite westerns. We look at the patience of Leone’s storytelling and why it works so well here. We discuss the key actors – Henry Fonda, Charles Bronson, Claudia Cardinale and Jason Robards – and look at what they each bring to the table. We chat about Ennio Morricone and his themes for each of the principal characters and the luxury of having pre-recorded score to play on set. And we look at some of the marvelous locations they film in and why they work so well to create this western world. It’s a strong entry into the western genre and into Leone’s oeuvre, and is a film we have a great time 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • Netflix • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkArt of the TitleFlickchartLetterboxdSupport 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

"Choke on ‘em! Choke on ‘em!" When George Romero set out to make his final film in his original zombie trilogy, he had to cut his script back quite a bit to fit the budget he was given. While he said he still told the story he set out to tell, it leaves you wondering what elements of his story might have fallen by the wayside. Join us – Pete Wright and Andy Nelson – as we wrap up our the 50th anniversary celebration series on Romero’s Dead trilogy with his 1985 film Day of the Dead. We talk about some of the elements that date this film, notably John Harrison’s score, and how they affect the film. We discuss some of the big acting in several of the key roles and if they work for us or not. We look at the various performers and what they bring to the table. We chat about the locations used and why they work for us. And we dig into Tom Savini’s horribly awesome effects and what we think of them (not to mention telling the infamous story of the pig intestines). It’s definitely a gory film that isn’t for everybody, but it’s great to revisit with the others in the trilogy. We have a great time talking about it, so check it out then tune in to this week’s show! Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxdWampum Underground Commerce CenterSupport 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

"They’re after the place. They don’t know why, they just remember – remember that they want to be in here." It took George A. Romero 10 years to get back to the world of zombies that he’d created in 1968, and largely that was because he wasn’t that interested to return initially. It took a tour of a new local shopping mall and a call from Dario Argento to push him in the right direction. With his interest renewed, Romero and team went on to make one of the seminal zombie films – one that dealt with themes of the time and was riddled with fantastic makeup effects created by Tom Savini. Join us – Pete Wright and Andy Nelson – as we continue our Dead trilogy series with Romero’s 1978 film Dawn of the Dead. We look at the themes Romero is tackling in this film and how those, paired with the story, allow for a wonderfully unique, funny and campy horror film. We talk about Savini and some of the amazing effects he achieved here. We discuss how the film came to be and why the word ‘living’ was not in the title. And we touch on the library tracks that fill the film and how Argento’s international cuts replaced much of it with score provided by Goblin. It’s a wild ride of a film and we have a great time talking about it. Definitely give it a watch – but be forewarned that the gore factor is high with this one. After that, check out 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: Amazon• [Hulu][hulu] • YouTubeScript 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

"Kill the brain and you kill the ghoul." Zombies are commonplace nowadays, but in the mid 60s, they were more connected to voodoo stories. It wasn’t until George A. Romero’s Night of the Living Dead in 1968 when zombies as we know them today became firmly established. But how well does the film hold up when watching through today’s zombie-filled goggles? Join us – Pete Wright and Andy Nelson – as we continue celebrating 50th anniversaries of films and franchises by kicking off a series looking at Romero’s original Dead trilogy, starting with this film. We talk about why zombies are such interesting creatures to use when looking at various elements of society for thematic statements. We look at the low budget nature with which Romero and his team used to craft this story and what that means to the overall film. We talk about some of the performers, notably Duane Jones, and what they brought to the table. We look at the various interpretations people make with this film and how the film was not made with those intentions, but how art is for the people and people take away from it anything they feel is valuable. And we walk through the struggles this film has had with copyright and what that has meant to this film and its releases. It’s a fun film and one that essentially birthed the modern zombie film. We have 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • Hulu • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkArt of the TitleFlickchartLetterboxdCDC Zombie Preparedness WebsiteSupport 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

"Don’t come near, honey. Molten gold wouldn’t suit your skin."Creating a movie from a comic book has obviously become a huge way to make money at the box office these days, but back in the late 60s, it seemed a bit riskier. Dino de Laurentiis wanted to make a film out of the incredibly popular Italian comic “Diabolik”, but the first try was bad and not worth finishing. It took a bit for people to really connect with the vision. So he dumped it and started again. Luckily, his second go-around – this time with director Mario Bava – worked. Join us – Pete Wright and Andy Nelson – as we wrap up our series celebrating 50th anniversaries of 1968 crime films with Bava’s Danger: Diabolik.We talk about the crazy tone the film gives off and how it feels so much a part of its period while incredibly unique. We look at the over-the-top nature of the performances and how they work in the film, starting with John Phillip Law as the title character. We chat about the phenomenal production design and lively camera work, and how well the film works visually. We debate the quality of Ennio Morricone’s music and wonder if we’ll ever get the theme song out of our heads. And we wonder what other Bava films we need to see to really feel like we get what he’s going for in his body of work.It’s a fun film that at least one of us liked, and is a film that feels like it’ll be an enjoyable one for repeat viewings. We have a great time chatting about it so check it out then tune in! And join our conversation with movie lovers from around the world on The Next Reel’s Discord channel! The Next Reel – when the movie ends, our conversation begins!Film SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: Amazon • YouTubeOriginal theatrical trailerOriginal poster artworkDiabolik: Volume 1FlickchartLetterboxdSupport 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 believe in live and let live."Frank Sinatra and his rat pack are found in specific types of films, so seeing him in this dark, realistic detective story seems like a bit of surprise. When you think back to his performances in films like From Here to Eternity and The Manchurian Candidate, however, it’s easier to see how Sinatra might fit in a film like Gordon Douglas’ 1968 The Detective. But how well does it hold up today? Join us – Pete Wright and Andy Nelson - as we continue celebrating 50th anniversaries and 1968 crime films with Douglas’ The Detective.We talk about what an exciting surprise of a film this is and how it’s completely not what either of us were expecting. We look at some of the issues this film deals with – homosexuality, police brutality, corruption – and discuss what works and what doesn’t about some of them. We chat about the use of flashbacks and how they work in this film. We celebrate the fantastic cast, notably Sinatra, Lee Remick, Jacqueline Bisset, and Robert Duvall. We touch on how this film plays into the end of Sinatra’s marriage with Mia Farrow. We praise the fantastically bluesy score by Jerry Goldsmith. And we touch on the wonderful camerawork all throughout the film.It’s a surprising film that’s well worth looking at. 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 SundriesWatch this film: iTunes • Amazon • YouTubeOriginal theatrical trailerOriginal poster artworkThe Detective by Roderick ThorpFlickchartLetterboxdSupport 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

"Well, well, well, what have we got here? Buffalo Bill with the fancy hat!"Don Siegel and Clint Eastwood worked with each other on five films, but before they first started, neither of them had heard of the other. Luckily, with a little homework, they both realized they enjoyed each other’s work and agreed to sign on to do Coogan’s Bluff together. Unfortunately for us, the film doesn’t hold up very well since it was first released 50 years ago. But are there still elements worth looking at? Join us – Pete Wright and Andy Nelson – as we continue our Crime Films from 1968 series with Siegel’s Coogan’s Bluff.We talk about why this film doesn’t hold up nearly as well as Targets, Peter Bogdanovich’s film we discussed last week, and acknowledge it as a film of its time but not much more than that. We look at what Eastwood is bringing to the table as this country mouse coming to the big city and if it has any merit. We discuss several points of the script and look at why the screenplay falls flat and doesn’t bring anything new to the table in the world of cop action films. We chat about the camerawork and editing and look at several moments that stand out in largely mediocre work. And we look at how well the film did and ponder its controversial violence when compared to the violence in Targets.It’s a rough film for us but one that certainly has its fans (largely because of Eastwood and/or Siegel). We still have a great time talking about it on this week’s show. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.Don’t forget to join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesThank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreelWatch this film: iTunes • Amazon • YouTubeScript 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

"My kind of horror isn’t horror anymore."One of Roger Corman’s claims to fame is that he’s never lost money on a movie, and one of the reasons that holds true is because he never spends much money on any of them. For beginning filmmakers looking to learn their craft and hopefully make it big, this is something they work with. Like many great filmmakers who got their start with Corman (another of his claims to fame), Peter Bogdanovich worked as a writer before being given a chance to write and direct his own feature for Corman, and right out of the gate, he proved himself a director worth discussing. Join us – Pete Wright and Andy Nelson – as we kick off our 1968 crime film series with Bogdanovich’s film Targets.We talk about how effective and affecting this film still is 50 years after its release, and how shocking it is that it actually (and sadly) feels more relevant today. We look at the crazy way the film came to be – including Boris Karloff’s role in it. We chat about the powerful performance by Tim O’Kelly and look at why it’s so off-putting. We discuss the way the two stories are intercut and why it worked for us. And we look at some of the key crew members, including cinematographer László Kovács and the woman wearing many hats, Polly Platt.It’s a powerful film that does a good job of disguising its low budget, and certainly provides for a great conversation on the show this week. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.Film SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • YouTubeScript 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

"Ape never kills ape." Twentieth Century Fox had found great success with their Planet of the Apes franchise, but they also were learning that a continuous run of sequels would bring less and less money back in. So by the time they got to the fifth entry in the series, the budget was a pittance compared to that of the first film. This time, however, it really feels like the cheap end of a franchise. Join us – Pete Wright and Andy Nelson – as we wrap up our Apes series with J. Lee Thompson’s 1973 film, Battle for the Planet of the Apes. We talk about the problems we have with this film and look at the likely source of our issues to be the screenwriters – John William Corrigan and Joyce Hooper Corrigan. We talk about Roddy McDowall returning to his role as Caesar and struggle with some of the ways his character is depicted. We discuss the concept of a battle for a planet, and compare that with what we get here – largely something that doesn’t feel that epic. We look at the budget cutbacks Thompson and his team continued to deal with in these films. We discuss the differences between the theatrical and extended cuts. And we look at logic problems found in the script all through the project and wonder what would’ve made it stronger. It’s a disappointing ending for the franchise… until it kicks in again decades later. Still, for what we have here, it’s pretty rough. Still, we have a good time talking about it, so check it out (or not) and tune in! The Next Reel – when the movie ends, our conversation begins. Film SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxdThe Film Board Presents: Dawn of the Planet of the ApesSupport 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