The Next Reel Film Podcast

"I feel what’s to happen all happened before." Anyone who watched 2013’s Saving Mr. Banks knows what a difficult time Walt Disney had getting the rights to P.L. Travers’ “Mary Poppins” novels so he could make the cinematic adaptation. It’s quite a story, but what you don’t get from watching that film is the incredible experience of watching Mary Poppins itself. Sure, at a cursory glance, it’s a very episodic film with seemingly disconnected sequences of the titular character as she nannies the Banks children, Jane and Michael. But digging deeper, there’s quite a bit more there. What it seemed ol’ Uncle Walt did was make a film that had something to say to just about everybody. Join us – Pete Wright and Andy Nelson – as we kick off our Musicals From the 60s series with Robert Stevenson’s 1964 hit Mary Poppins. We talk about the magic of this film and how our interpretations have evolved as we’ve grown up with it. We look at the casting which is practically perfect in every way, starting right at the top with Julie Andrews and Dick Van Dyke and going all the way down to Elsa Lanchester as Katie Nana (and beyond). We touch on the fabulous effects scattered all through the film, how Disney was always pushing the envelope with cinematic tricks and how his goal was to fool people constantly where just when they think they figure out how they did it, he does something else to mislead. We chat about the many incredible songs and why they work so well, as well as touching on some of our favorites. Specifically, we look at “Supercalifragilisticexpialodocious” in our Deep Scene Dive and why this silly song about a nonsense word has lasting impact through to the climax. And we ponder the possibilities of an Aliens/_Mary Poppins_ mashup as we struggle to add the movie to our Flickchart. We have an absolutely delightful time with this film. It’s one for all ages (except for some grumpy Amazon reviewers). Definitely check it out, then tune in! The Next Reel – when the movie ends, our conversation begins! Film Sundries We hope you'll consider supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreel — Thank you! Watch this film: iTunes • Amazon • Google Play • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkOriginal MaterialFlickchartLetterboxdTake a tour of the Mary Poppins Disneyland Ride that Never WasSupport 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

"Do you know what I hate about the Americans? Everything. Especially cowboys." With the surprise success of the fourth entry into the “Die Hard” franchise, it was inevitable that the studio would push for yet another film. It took six years, but eventually, they got it made. The script that was developed for the fifth film was the first one developed from an original idea in the franchise and was written by the scribe behind the theatrical adaptation of The A-Team. The director was brought on after making the adaptation of the video game Max Payne. It seems an odd pairing, but clearly, the producers felt they saw something on this team that they felt would bring something new to this franchise. Join us – Pete Wright and Andy Nelson – as we conclude our Die Hard series with John Moore’s 2013 film A Good Day to Die Hard. We talk about Moore’s history, as well as that of writer Skip Woods, and try to figure out why they were the team brought on to make this film. We look at all of the elements that don’t work for us in this film but largely struggle most with the fact that they make McClane really unlikeable. We chat about Jai Courtney and why we really like him as McClane’s son, even if he wasn’t given a good script to really make his mark with. We also talk about Sebastian Koch, Mary Elizabeth Winstead, Yuliya Snigir, Rasha Bukvic and more as we look at what they bring to the table. We rank our favorite Yippee Ki-Yays and our franchise villains. And we dig into what works and what doesn’t in big action sequences like the car chase. It’s a mess of a film that ruins so much of what’s great in the franchise, even while the filmmakers clearly still throw in references and callbacks as often as they can. We may not have liked it, but we have a great time talking about it. Check it out if you must, but tune in regardless! The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreelWatch this film: iTunes • Amazon • YouTube • NetflixScript TranscriptOriginal teaser trailerOriginal 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’re a Timex watch in a digital age." Making a sequel is always a challenge, but making the fourth film in a franchise after a twelve-year hiatus seems like a recipe for disaster. Luckily, the team behind Live Free or Die Hard found a director who was a huge fan of the franchise and worked hard with his team to not just make a great film but to really make a sequel to the original film that was better than the others. Some people disagree but the box office shows that Len Wiseman’s take on the franchise was quite the success. Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with Wiseman’s 2007 film Live Free or Die Hard. We talk about why we enjoy this film so much and why we think some people had real issues with Wiseman’s direction (even if we didn’t). We chat about how well Bruce Willis works as John McClane in this installment and why his turn as the older, non-tech savvy cop struggling with how his life has shaped up works so well for the film. We touch on the other actors in the film – Justin Long, Timothy Olyphant, Cliff Curtis, Mary Elizabeth Olmstead and more – and talk about what they bring to the table. We revel in the amount of practical effects and stuntwork this team puts forth, really wowing us with the lengths they would go to so they could make the film that much cooler. We look at the semi-vs-F35 sequence and ponder the absurdities of the action in context of the franchise. We look at the brilliant parkour stunts done by Cyril Raffaelli and dig a bit into the history of it. And we look at the variety of “Yippie-ki-yays” in the series and rank ‘em. It’s a fun film with a lot going for it, and certainly stands out as the best film since the first one. 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.   Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreelWatch this film: iTunes • Amazon • Netflix • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artwork“A Farewell to Arms” by John Carlin (WIRED Magazine, May 1, 1997FlickchartLetterboxdSupport 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 let you all down, didn’t we?"The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Toby Oliver joins us to talk about one of his favorite films, Christopher Nolan’s 2017 film Dunkirk.We talk about Nolan’s decision to shoot on IMAX 65mm largely and how this affected the overall tone of the film and informed some of their decisions as to how it was shot. We chat about the nature of the story told across three separate time windows and how the structure gave us a fascinating perspective on how to look at this war story. We discuss the use of mostly new faces for the cast, barring a few key roles, and how that works effectively in a story with no real protagonist. We touch on Hans Zimmer and his tonal score and why it, paired with the incessant use of a ticking sound, is such a key part of the film. And we talk about Nolan’s insistence on using practical effects and why it likely helped inform the performances throughout the film by having real elements to which to react.It’s a fascinating and powerful war film that feels very different and will be one to stand the test of time. We have a great time talking about it with Toby Oliver, as well as touching on his career. 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! — https://patreon.com/thenextreelWatch this film: iTunes • Amazon • YouTube • Google PlayScreenplayOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxdDunkirk — interview with overall visual effects supervisor Andrew Jackson — artofvfx.comTobyOliver.comInstagramFacebookSupport 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

"Simon says." When Jonathan Hensleigh’s spec script ‘Simon Says’ was bought by Twentieth Century Fox to be turned into a Die Hard sequel, he was thrilled. After all, his deal with Warner Bros. to turn it into a Lethal Weapon sequel had collapsed. What it meant, though, is finding a way to rework half of the script to make it fit something that would happen in John McClane’s world. For the most part, things work well, and with John McTiernan returning to the franchise, it’s a solid entry. But could it have been better? Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with McTiernan’s 1995 film Die Hard With a Vengeance. We talk about the incredible strengths the script and film have right out of the gate but how things slip quite a bit in the second half, even if it’s still a lot of fun. We discuss the buddy relationship brought forth this time with Bruce Willis and Samuel L. Jackson and why it works. We debate some dated elements of the script regarding arguments about race and quips about homosexuality. We look at the incredible stunt work paired with patient camera and editing to bring the maniacal drive through Central Park to the screen. We ponder how well the alternate ending could’ve worked because at least it brings back the riddle elements to the close. And we chat about some of the frustrating music Michael Kamen wrote for the film, sounding like bad 90s Eric Serra score. It’s a fun film that has its faults but also has an incredibly strong first half. We have a great time talking about it on the show this week, so tune in then check it out! The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreelWatch this film: iTunes • Amazon • YouTubeScript TranscriptOriginal theatrical trailerFan trailer recutDie Hard With a Vengeance Alternate EndingOriginal 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

"We are just up to our neck in terrorists again, John!" Joel Silver was never a producer to shy away from giving the audience more of what they wanted. For the sequel to his 1988 action hit Die Hard, he tapped into director Renny Harlin and together, they pushed for more action, more humor, more stunts and… more of everything else the audiences got in the first film. But does that make a good sequel? Join us – Pete Wright and Andy Nelson – as we continue our Die Hard series with Harlin’s 1990 film Die Hard 2. We talk about the overall tone of the movie, what works with it and what doesn’t, and what may be forgivable in context of this being an over-the-top action film. We chat about how McClane is largely more unlikeable in this film and blame the writers with taking him down this road. We discuss the nature of terrorist films as summer entertainment – something John McTiernan had issue with when making the first film – and ponder if this film really kicked off a trend that made this kind of violence more okay for summer popcorn fare. We laugh at some of the more nonsensical plot elements scattered throughout this film and debate where the line is for one’s suspension of disbelief in a movie like this. And we praise Michael Kamen’s use of music throughout, even when he has to bring John Sibelius’ ‘Finlandia’ in for the parade of planes. It’s a film that is full of problems that may or may not bother you – we certainly don’t come to any consensus here – but it’s still a fun entry into the Die Hard franchise. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreelWatch this film: iTunes • Amazon • NetflixScript TranscriptOriginal theatrical trailerOriginal theatrical teaserOriginal poster artwork58 Minutes by Walter WagerFlickchartLetterboxdSponsored — Audible RecommendationFinlandia by Jean SibeliusThe Wait (Andy’s short film)Still Waiting: The Making of ‘The Wait’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

"Now I have a machine gun. Ho-ho-ho." ‘Tis the holiday season, and what better way to kick it off than with everybody’s favorite Christmas action classic, Die Hard. John McTiernan had done Predator beforehand and proved he was the perfect person to helm this action thriller. But would an adaptation from a book about terrorism make for entertaining summer fare? Join us – Pete Wright and Andy Nelson – as we kick off our Die Hard series with McTiernan’s 1988 blockbuster Die Hard. We talk about the adaptation from the original novel and why the terrorism elements were dropped in favor of the robbery elements. We also talk about why Frank Sinatra was the first person the studio went to when offering actors the chance to play John McClane. We look at what the film did for Bruce Willis’ career and why he was such a gamble to helm an action thriller that now seems like such a no-brainer. We discuss Jan de Bont’s cinematography and Michael Kamen’s score, not to mention the wonderful effects work that Thaine Morris put together. And we chat about the legacy the film has had and how it made pitching similar action films so easy (it’s Die Hard on a (fill in the blank)). We love this movie which we definitely think is a Christmas movie. It’s one of our favorites and we’re thrilled to get a chance to talk about it. Put the movie on with the age-appropriate family for the holiday (definitely not the three-year-olds) then tune in to the show! The Next Reel – when the movie ends, our conversation begins. Film SundriesWatch this film: iTunes • Amazon • NetflixScriptOriginal theatrical trailerOriginal poster artworkArt of the TitleNothing Lasts Forever by Roderick ThorpFlickchartLetterboxdDie Hard — Music Video — GuyzNiteSupport 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 a survivor, as you should know by now." Stieg Larsson had plans to write an entire series of Millennium novels, but unfortunately died having only written three of them. Because of this, they’re often referred to as the Millennium trilogy. Sure, they have the same characters largely and are centered around the Millennium magazine, but it’s not really a trilogy per se. That being said, when making the three films, it didn’t stop the team from shooting them all back to back to keep the story as cohesive as possible. While it’s great having the three Swedish films feel so much of a whole, it is a challenge seeing this as a trilogy. It doesn’t help that the third film, Daniel Alfredson’s 2009 The Girl Who Kicked the Hornets’ Nest, starts to feel a bit like the storytellers are stretching credulity a bit. Join us – Pete Wright and Andy Nelson – as we wrap up our series on the Millennium ‘trilogy’ with Alfredson’s film. We talk about the basic struggles we have with the film, even if we still largely enjoy it. We look at the struggles all trilogies seem to face and how that often is expounded when they shoot them back to back. We talk about the cast and how well they do, most notably the women throughout. We look at the courtroom scene and Dr. Teleborian’s takedown, discussing the camerawork and performances and how that scene stands out as quite effective. And we come back around to talking about Noomi Rapace and Michael Nyqvist and how great they are in their roles. While we have issues with this film, it’s still one we enjoy and would return to. It’s a series of films that’s dark but definitely worth checking out. So check it out! Then tune in. The Next Reel – when the movie ends, our conversation begins. Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreelWatch this film: iTunes • Amazon • NetflixSwedish trailerUS trailerOriginal poster artworkThe Girl Who Kicked the Hornet’s Nest — ComixologyThe Girl Who Kicked the Hornet’s Nest by Stieg LarssonFlickchartLetterboxdSupport 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

"Hello, Papa." Stieg Larsson’s second novel in the Millennium trilogy, “The Girl Who Played With Fire,” saw the continuation of the story of Lisbeth Salander and Mikael Blomqvist while they try to stop a sex trafficking ring in Sweden. The whole trilogy of books was a massive success, but the film version was given half the budget of the first film for some reason, while also being paired with a different director. Perhaps the producers knew the book wasn’t quite as good as the first one? Perhaps they figured they could spend less because people would be seeing it anyway? Whatever the reasons, it seems a bit like the ugly red-headed stepchild. But director Daniel Alfredson still put together an effective film, even if it feels a bit average at times. Join us – Pete Wright and Andy Nelson – as we continue our series on the Millennium trilogy with Alfredson’s 2009 take on The Girl Who Played With Fire. We talk about the overall feel of the film and try to gauge why it doesn’t feel as fresh or original as the first film. We discuss the inevitable effects that a much lower budget has on those making the film and ponder if that affected Alfredson. We debate about Alfredson as a director and wonder what he’s bringing to the table. We are still thrilled with Noomi Rapace and Michael Nyqvist as Lisbeth and Mikael, even if there are elements about them that can be more frustrating here. We look at Peter Mokrosinski’s cinematography and look at where it works and where it doesn’t. And we look at the script and how the adaptation works, questioning whether some of the poorer elements were thrust on the filmmakers by Larsson’s source material. On the whole, we enjoy the film but not on the level of the first entry. Still, it allows for a great conversation, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.  Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! — https://patreon.com/thenextreelWatch this film: iTunes • Amazon • NetflixOriginal theatrical trailerUS Red Band trailerThe Girl Who Played with Fire by Stieg LarssonFlickchartLetterboxdSupport 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

As part of our ongoing series on the people behind the sites and services that serve the film-loving community, today we’re talking to Paul Dergarabedian, the senior media analyst for comScore. You may not be familiar with comScore but you’re likely familiar with reports on how well any particular movie did on any given weekend. comScore is the company that gathers all of that information from the movie theatres, organizes the statistics into useful information, and gets it back to the studios so they know how well their movies did. Paul works as the frontman for the company and is often seen as the face of the numbers in interviews far and wide. Paul joins us to talk about the exciting world of film statistics, how he got started in the business and his love for film. 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