The Next Reel Film Podcast

TruStory FM
  • 0.0 (0)
  • FILM REVIEWS
  • UPDATED WEEKLY
The Next Reel Film Podcast

A show about movies and how they connect. We love movies. We’ve been talking about them, one movie a week, since 2011. It’s a lot of movies, that’s true, but we’re passionate about origins and performance, directors and actors, themes and genres, and so much more. So join the community, and let’s hear about your favorite movies, too. When the movie ends, our conversation begins.

  1. The Pit and the Pendulum • Member Bonus

    3 DAYS AGO

    The Pit and the Pendulum • Member Bonus

    “To be absolutely blunt about it, Nicholas believes that Elizabeth may have been interred... prematurely.”Roger Corman's Poe Adaptations Take Flight Following the success of House of Usher in 1960, American International Pictures eagerly greenlit another Edgar Allan Poe adaptation with Roger Corman at the helm. Richard Matheson returned to pen the screenplay, significantly expanding Poe's short story about torture during the Spanish Inquisition into a gothic tale of madness and revenge. With Vincent Price signed on to star and Daniel Haller designing the elaborate sets, Corman aimed to outdo their previous success with an even more ambitious production, working with a budget of $300,000. Join us – Pete Wright and Andy Nelson – as we continue the Roger Corman series with a conversation about The Pit and the Pendulum. Swinging Between Horror and Drama The film generates interesting discussion around its adaptation choices, particularly how it expands beyond Poe's original story. While Andy found entertainment value in Vincent Price's increasingly unhinged performance and the gothic atmosphere, Pete felt the film didn't deliver enough on its titular torture devices. Both hosts praise the impressive pendulum mechanism and sprawling dungeon sets, though they note the film saves these elements primarily for the finale. More Than Just Torture Devices The hosts explore Richard Matheson's screenplay contributions across multiple Corman-Poe films, discuss the film's influence on young Stephen King, and analyze how it compares to other adaptations of the period. They also examine the strong box office performance that helped cement AIP's commitment to more Poe films. Key Discussion Points: Barbara Steele's memorable performance as ElizabethThe effective use of color and dream sequencesDebates over the film's marketing using different title variationsThe elaborate castle sets despite the modest budgetJohn Kerr's portrayal of Francis BarnardThe final shot revealing Elizabeth's fateWhile Pete found the film somewhat lacking in delivering on its horror and torture premise, Andy appreciated its atmospheric gothic qualities and Vincent Price's commanding presence. Despite their differing opinions, both agree The Pit and the Pendulum represents an important entry in Corman's Poe cycle that helped establish a formula for future adaptations. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Film Sundries Watch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerOriginal MaterialLetterboxdThis is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes like this that only members can access. You also get access to members-only Discord channels, early ad-free releases for every episode, pre- and post-show chats, and more. Plus, you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

    12 min
  2. A Dandy in Aspic

    4 DAYS AGO

    A Dandy in Aspic

    “You haven't got an ounce of understanding or emotion in your body. You died the moment you were born. And when your heart finally stops beating, it'll be a mere formality.”From Novel to Cold War Spy Thriller Derek Marlowe's first novel caught the attention of producers looking to capitalize on the success of spy thrillers in the 1960s. With Anthony Mann set to direct and Lawrence Harvey to star, they began production in 1967. However, Mann's unexpected death during filming led to Harvey taking over directorial duties for the final portion of the shoot. Furthermore, Frank Sinatra's daily calls to the production demanding his wife Mia Farrow's return added additional tension to the complicated shoot. Join us – Pete Wright and Andy Nelson – as we wrap up the 1968 Crime Films series with a conversation about A Dandy in Aspic. A Double Agent Trapped in Aspic The film follows a Russian double agent ordered to track down and assassinate himself, creating an intriguing premise that never quite reaches its full potential. While the spy thriller elements and Cold War setting provide fertile ground for tension and intrigue, the execution falls short of contemporaries like The Spy Who Came in from the Cold. Additionally, Mia Farrow's character feels superfluous, appearing everywhere without clear purpose to the plot. Other Elements We Discuss Lawrence Harvey's dour performance and directorial contributionThe Cold War atmosphere of London and Berlin locationsQuincy Jones's '60s-era scoreThe creative marionette title sequenceTom Courtney's engaging supporting performanceThe film's peculiar title and its cultural contextThe dangerous AVUS racing circuit featured in the finaleDespite its flaws, A Dandy in Aspic offers an interesting take on the spy genre with solid performances and authentic Cold War locations. Though we found the film somewhat uneven and less engaging than other spy thrillers of the era, its unique premise and historical significance make it worth examining. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Film Sundries Watch this on Apple or Amazon, or find other places at JustWatchWatch it on the webTheatrical trailerOriginal MaterialLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts: Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked! You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

    1h 5m
  3. The Split

    23 JAN

    The Split

    “You're walking out on 85 grand?”MGM's Bold Step into R-Rated Territory In 1968, MGM was looking to break away from their family-friendly reputation and venture into more adult-oriented content. Based on Donald E. Westlake's Parker novel "The Seventh," they brought in Scottish director Gordon Flemyng fresh off his success with Great Catherine. With a stellar ensemble cast led by Jim Brown and a groundbreaking approach to racial representation in crime films, MGM was ready to push boundaries. Join us – Pete Wright and Andy Nelson – as we continue the 1968 Crime Films series with a conversation about The Split. Breaking Down This Historic Heist The Split represents several significant firsts - it was MGM's first R-rated film and featured Jim Brown as one of the first Black leading men in a major studio crime thriller. The film follows McClain (Brown) as he assembles an unlikely crew to rob the LA Coliseum during a playoff game. While the heist itself succeeds, the aftermath leads to betrayal, murder, and an unconventional alliance with a detective (Gene Hackman). The Film's Place in Crime Movie History Innovative team-building sequences showing McLean testing each potential crew memberStrong performances from an all-star cast including Ernest Borgnine, Donald Sutherland, Jack Klugman, Warren Oates, Diahann Carroll, James Whitmore, and Julie HarrisProgressive handling of racial themes without making them the central focusA period-specific heist that could only work in the pre-digital ageQuincy Jones's distinctive musical score setting the 60s moodThe film's unique position as part of the Parker novel adaptation seriesWe both found The Split to be an entertaining and significant entry in the crime film genre, particularly noteworthy for its groundbreaking representation and MGM's willingness to push into edgier territory. The film successfully balances action, character development, and social commentary while delivering a satisfying heist narrative. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Film Sundries Watch this on Apple or Amazon, or find other places at JustWatchThe Cinematic Legacy of Donald E. WestlakeTheatrical trailerOriginal Material and on AudibleLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts: Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked! You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

    1h 1m
  4. The Boston Strangler

    16 JAN

    The Boston Strangler

    “It’s bad enough if he’s guilty, but what if he’s innocent and you push him over the edge?”Setting the Stage for a Controversial True Crime Adaptation In 1966, writer Gerald Frank published his bestselling book about the Boston Strangler case, catching the attention of 20th Century Fox and producer Richard D. Zanuck. Director Richard Fleischer, known for his genre work, was brought on to helm the project. Against initial studio resistance, Tony Curtis lobbied hard for the lead role of Albert DeSalvo, even doing a screen test that convinced Zanuck. The film aimed to tell the story of the infamous Boston Strangler cases while they were still fresh in public memory. Join us – Pete Wright and Andy Nelson – as we continue the 1968 Crime Films series with a conversation about The Boston Strangler. Strangling Expectations: A Deep Dive into The Boston Strangler The film takes a fascinating approach to its subject matter by withholding DeSalvo's appearance until halfway through, building tension through police procedural elements and Henry Fonda's measured performance as John Bottomly. We discuss how Fleischer's innovative use of split-screen techniques helps tell multiple narrative threads simultaneously, while exploring the psychological complexity of the case. Though some period elements feel dated, Tony Curtis delivers a transformative performance that deserved Oscar recognition. Further Investigation into the Film's Impact Richard Fleischer's masterful direction and experimental visual styleThe film's treatment of psychological themes versus historical accuracyStrong supporting performances from George Kennedy and Sally KellermanContemporary critical response, including Roger Ebert's moral objectionsHow the film stands up against modern true crime adaptationsThe evolution of public understanding of the actual caseThe Boston Strangler remains a compelling piece of cinema despite its historical inaccuracies. While the film takes creative liberties with the true story, its innovative visual style and Curtis's remarkable performance make it a standout entry in the 1968 crime film genre. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Film Sundries Watch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerOriginal Material and on AudibleLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts: Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked! You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

    1 hr
  5. Grand Slam

    9 JAN

    Grand Slam

    “All four with clean records. No police force in the world knows them or their work. In their fields, the very best.”Unveiling a Hidden Heist Film Gem from 1967 In 1967, Italian director Giuliano Montaldo brought together an international cast for an ambitious heist film co-production between Italy, Spain, and West Germany. Coming off his success with The Reckless, which was nominated for the Golden Bear prize at the Berlin International Film Festival, Montaldo secured Edward G. Robinson and Janet Leigh as two of his leads. With legendary composer Ennio Morricone providing the score, the production aimed to create a sophisticated entry in the burgeoning heist film genre. Join us – Pete Wright and Andy Nelson – as we continue the Heist Films series with a conversation about Montaldo’s 1967 film Grand Slam. Breaking Down This International Heist Caper The film follows a meticulous plan to rob $10 million in diamonds during Rio's Carnaval, orchestrated by Robinson's retired professor character. We discuss how the film builds tension through its carefully assembled team of specialists and elaborate heist sequence. While the ending has divided audiences over the years, we explore how this twist-filled finale actually enhances the film's themes about crime and betrayal. Key Elements of the Grand Slam Heist • The innovative card catalog system used to assemble the criminal team• Klaus Kinski's intense performance as the ex-military member of the crew• Janet Leigh's role and how her development may have been too much a giveaway, at least through modern eyes• Ennio Morricone's distinctive, Carnaval-influenced score• The technical achievement of the vault robbery sequence• The film's use of international locations, including some clever substitutions (and some bad blue screen) When Plans Come Together Despite being somewhat forgotten today, Grand Slam delivers as both a meticulously crafted heist film and an engaging story with great characters. We both rate it highly, appreciating its technical prowess and storytelling even when some of the twists become predictable. The film deserves more recognition among classic heist films of the 1960s for its innovative approach and international flair. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Film Sundries Watch this on Apple, Amazon, or find other places at JustWatchTheatrical trailerLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts: Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked! You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

    1h 5m
  6. After the Fox

    2 JAN

    After the Fox

    “In films, either you’ve got a face or you don’t got a face. You've got a face. Can I have it, please?”A Comedic Heist Caper from an Unlikely Collaboration In 1966, Peter Sellers sought to work with renowned Italian neorealist director Vittorio De Sica, bringing aboard playwright Neil Simon to pen his first screenplay. Despite De Sica's reported gambling debts motivating his involvement, the collaboration proved challenging. De Sica struggled with Simon's script and Sellers' performance style, while conflicts arose over casting choices, including Sellers' then-wife Britt Ekland. Join us – Pete Wright and Andy Nelson – as we continue the Heist Films series with a conversation about De Sica’s 1966 film After the Fox. Breaking Down This Fox's Complicated Hunt The film weaves together elements of heist capers and Hollywood satire, following master criminal Aldo "The Fox" Vanucci as he poses as an Italian film director to orchestrate a gold heist. While the premise shows promise, the movie struggles to balance its dual identity as both heist film and industry commentary. However, the stellar performances, particularly from Sellers and Victor Mature (playing a delightfully self-aware version of himself), help elevate the material beyond its structural issues. Key Elements of This Unique Crime Comedy • Peter Sellers' multiple disguises and his protective relationship with his sister (played by then-wife Britt Ekland)• Victor Mature's comeback performance lampooning his own image• The film's satirical take on moviemaking and celebrity culture• Burt Bacharach's memorable earworm title song• The clever setup of the heist using a film production as cover• A somewhat disappointing climactic car chase that fails to deliver on the film's early promise While After the Fox may not fully succeed as either a heist film or industry satire, it offers enough charm and laughs to warrant attention. The film's unique blend of crime caper and showbiz satire, combined with Sellers' comedic prowess, makes it an entertaining entry in both his filmography and the heist genre. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Film Sundries Watch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts: Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked! You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

    1h 4m
  7. Death Race 2000 • Member Bonus

    31/12/2024

    Death Race 2000 • Member Bonus

    “A perfect hit! And no pain for the target. Too bad the guy was only 38; just two years older, he'd have been worth three times the points.”Roger Corman's Vision of a Dystopian Future In 1974, Roger Corman learned about Norman Jewison's upcoming film Rollerball and decided to capitalize on its publicity by producing his own futuristic sports film. Based on a short story by Ib Melchior inspired by his experiences at the Indianapolis 500, Corman brought on Paul Bartel to direct what would become a satirical commentary on violence in entertainment and totalitarian control. With a budget of just $300,000, Corman assembled a cast including David Carradine and a pre-Rocky Sylvester Stallone to create this violent vision of America's future. Join us – Pete Wright and Andy Nelson – as we continue the Roger Corman series with a conversation about Bartel’s 1975 film Death Race 2000. Racing Through the Film's Key Points The film's unique blend of dark comedy and social commentary creates an engaging discussion about its place in both exploitation cinema and political satire. We explore how Corman's influence shaped the film's development, particularly his push to emphasize comedy and include gratuitous elements that became his trademark. The movie's transformation from a serious script to a more satirical piece showcases Corman's understanding of what would appeal to audiences. Additional Pit Stops in Our Discussion • The cultural context of car-themed movies in the 1970s and their connection to American car culture• David Carradine's performance as Frankenstein and whether he was the right choice for the role• The film's commentary on media manipulation and fan culture• How the limited budget affected the scale of the cross-country race• The surprising franchise legacy, including multiple sequels and remakes• Tak Fujimoto's cinematography and how it enhanced the racing sequences A Victory Lap Worth Taking Despite its low budget and exploitation elements, Death Race 2000 succeeds as both entertainment and satire. While some critics initially dismissed it, including Roger Ebert who gave it zero stars before later acknowledging its merits, the film has earned its place as a cult classic. Both hosts thoroughly enjoyed the film, with Andy giving it four stars and Pete giving it three stars with a heart on Letterboxd. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Film Sundries Watch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerOriginal MaterialLetterboxdThis is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

    14 min
  8. The League of Gentlemen

    26/12/2024

    The League of Gentlemen

    “This was not intended to be a book-of-the-month club lunch.”A British Heist Film That Set Early Genre Standards In 1958, John Boland published his novel The League of Gentlemen, which quickly caught the attention of British filmmakers. Director Basil Dearden, known for his work with Ealing Studios, saw potential in this story of ex-military men planning an elaborate bank robbery. Working with screenwriter Bryan Forbes, who also took a role in the film, Dearden assembled an impressive cast including Jack Hawkins, Richard Attenborough, and Nigel Patrick. Join us – Pete Wright and Andy Nelson – as we return to our Heist Films series with a conversation about Dearden’s 1960 film The League of Gentlemen. Breaking Down This Military-Precision Heist The film follows a group of former military officers who, feeling cast aside by society (and kicked out of the military), band together to execute a sophisticated bank robbery. As we discuss the film, we explore how it handles character development within its large ensemble cast. While some characters receive more attention than others, the film mostly effectively balances its numerous players. Furthermore, we examine how the film's visual elements, particularly the smoke-filled heist sequence with gas masks, create memorable and striking imagery in black and white. Exploring Themes and Cultural Context Throughout our discussion, we delve into several fascinating aspects of the film: The military hierarchy that naturally reasserts itself among the charactersThe film's commentary on post-war soldiers struggling to find their place in societyThe blend of comedy and crime elements that would influence future heist filmsThe impressive performances, particularly from Jack Hawkins and Richard AttenboroughThe film's innovative use of practical effects, especially during the climactic heist sequenceThe cultural attitudes and gender relations reflected in the filmA Must-Watch Early Heist Film The League of Gentlemen stands as an important early entry in the heist film genre, arriving the same year as the original Ocean's 11. While some character development opportunities may have been missed due to the large cast, the film succeeds in delivering both entertainment and social commentary. We both thoroughly enjoyed this British crime caper, particularly appreciating its technical achievements and ensemble performances. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Film Sundries Watch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerOriginal MaterialLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here. Follow the other podcasts in The Next Reel’s family of film podcasts: Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community! Here’s where you can find us around the internet: The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked! You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

    1h 9m
See All (735)

Trailer

About

A show about movies and how they connect. We love movies. We’ve been talking about them, one movie a week, since 2011. It’s a lot of movies, that’s true, but we’re passionate about origins and performance, directors and actors, themes and genres, and so much more. So join the community, and let’s hear about your favorite movies, too. When the movie ends, our conversation begins.

Information

More From Rash Pixel

You Might Also Like

To listen to explicit episodes, sign in.

Stay up to date with this show

Sign in or sign up to follow shows, save episodes and get the latest updates.
Select a country or region

Africa, Middle East, and India

Asia Pacific

Europe

Latin America and the Caribbean

The United States and Canada