The Next Reel Film Podcast

Zhang Yimou's 2018 wuxia epic "Shadow" achieves its ink wash painting look in-camera: every set and costume designed in black, white, and grey, every outdoor scene filmed on rainy days to drain remaining color from the environment. At the center is a secret double—a man groomed since childhood to stand in for the ailing commander he resembles, now navigating palace intrigue, poisoned loyalties, and a duel that could take back a city.Andy Nelson and Pete Wright dig into the film's yin-yang philosophy—how the shadow figure, the feminine fighting technique, and even the warlord's name all map onto the same duality—alongside the spectacular bladed umbrella weapons, the two female characters whose parallel arcs quietly hold the story together, and where "Shadow" lands in Zhang Yimou's career after his Hollywood detour with "The Great Wall." Both hosts have a great time with it.🔓 The movie ends. The conversation goes further. Become a member.Find the full episode resources and transcript here. The Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and Movements | The Film Board | Movies We Like | The Next Reel | Sitting in the DarkConnect With Us:Web | Letterboxd | Flickchart | Instagram | Bluesky | YouTube | DiscordYour Hosts: Andy | PeteMerch Store | Audible

Zhang Yimou's "To Live" is the most personal film he ever made—a 1994 historical epic that strips away his signature visual spectacle to follow one Chinese family across four decades of civil war, forced labor campaigns, and cultural upheaval. Ge You plays Xu Fugui, a gambler whose recklessness costs his family everything; Gong Li plays Jiazhen, his wife, whose capacity for endurance and eventual forgiveness gives the film its moral center; and Jiang Wu is Wan Erxi, their son-in-law, who arrives as a stranger and becomes the warmth the story needs. Pete Wright and Andy Nelson track the film's shadow puppets as an emotional through-line, dig into the novel versus film question, and wrestle with why this particular Zhang Yimou—the quietest, most naturalistic one—might be the best one.The conversation covers Ge You's transformation from comic actor to Cannes standout, why Andy reads Jiazhen rather than Fugui as the film's true change character, the food motif threading through tragedy after tragedy, and why the story of how this film came to be banned is more procedural than political. Watch our full conversation on YouTube. Full episode resources—including streaming links, the Yu Hua novel, and the full transcript—are available here.🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member.🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and Movements | The Film Board | Movies We Like | The Next Reel | Sitting in the DarkConnect With Us:Web | Letterboxd | Flickchart | Instagram | Bluesky | YouTube | DiscordYour Hosts: Andy | PeteMerch Store | Audible

Young colonists trapped under corporate contract make a desperate play for freedom—and find they're not alone. "Alien: Romulus," Fede Álvarez's (Don't Breathe) entry into the Alien franchise, stars Cailee Spaeny as Rain, David Jonsson as Andy her synthetic companion, and Isabela Merced as Kay—a group whose bid to escape a Weyland-Yutani mining world leads them aboard an abandoned space station with a very good reason to be abandoned.Pete and Andy dig into what Fede Álvarez gets right—especially David Jonsson's performance as Andy, which they rank among the best in franchise history—and where the film falls short: whether a fan service problem is what's keeping a strong film from being a great one. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!🎥 Watch Our Full Conversation on YouTube 🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd Original Theatrical Trailer If You Liked This Conversation, Try These from the Next Reel Family: The Next Reel — Alien: Covenant — the film immediately before this in the series; where the franchise went wrong before Romulus tried to fix it The Next Reel — Alien — where this conversation begins; the touchstone Álvarez is working toward The Next Reel — Aliens — the gold standard for an Alien sequel; the other film Álvarez has in mind throughout The Film Board — Alien: Romulus — a companion conversation on the same film from a different angle The Next Reel — Alien series — the complete run, all seven films 🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and Movements | The Film Board | Movies We Like | The Next Reel | Sitting in the DarkConnect With Us:Web | Letterboxd | Flickchart | Instagram | Bluesky | YouTube | DiscordYour Hosts: Andy | PeteMerch Store | Audible

The most dangerous blind spot is the one your expertise builds for you. In "House of Games," David Mamet's 1987 directorial debut in the David Mamet Directs series on The Next Reel, Lindsay Crouse stars as Dr. Margaret Ford, a psychiatrist and bestselling author who becomes entangled with a professional con man named Mike, played by Joe Mantegna, after she tries to settle a gambling debt on behalf of one of her patients.Pete and Andy dig into why Mamet's dialogue—built for stage interruption—comes off stilted on screen here, and whether the film's final act earns its setup. They land in genuinely different places on both counts, and that disagreement is where the most interesting listening happens. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!🎥 See Our Full Conversation on YouTube 🎬 Watch & Discover Watch the Film: Apple TV | Amazon | Letterboxd | TrailerKeep Going from Here: David Mamet Directs series—all three films, all in one place. David Mamet Writes series—his scripts directed by others, where the dialogue tends to breathe differently. The Sting — Richard D. Zanuck series—another great con film conversation to keep going with. 🔒 This episode includes member-only bonus content. The movie ends. The conversation goes further—and there's more of it in the member feed. Become a member. 🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and Movements | The Film Board | Movies We Like | The Next Reel | Sitting in the DarkConnect With Us:Web | Letterboxd | Flickchart | Instagram | Bluesky | YouTube | DiscordYour Hosts: Andy | PeteMerch Store | Audible

Something wondrous happens when you build a robot from a washing machine. “Brian and Charles,” the finale of The Next Reel’s Thinking Machines series, follows Brian (David Earl), a lonely Welsh inventor, and Charles Popescu (Chris Hayward), the AI companion Brian assembles—who promptly learns English from a dictionary and wants to see the world. Louise Brealey co-stars as Hazel.Pete and Andy dig into what makes Charles Popescu work—Hayward’s sightless performance, the voice design, and why the amateurishness is right. The docu-style drives debate: Andy finds it inconsistently applied; Pete says the gap between promise and absurdity is where the comedy lives. We have a great time talking about it, so check it out then tune in—The Next Reel on TruStory FM, when the movie ends, our conversation begins!🎥 Watch this episode on YouTube!🎬 Watch & DiscoverWatch the Film: Apple TV | Amazon | LetterboxdOriginal Short FilmOriginal Theatrical TrailerIf You Liked This Conversation, Try These from the Next Reel Family:The Next Reel—Thinking Machines Series—the full run leading here; see how Brian and Charles lands as a closer after everything that came beforeThe Next Reel—The Banshees of Inisherin—both films competed for Outstanding British Film at the same BAFTAs; see how the conversation comparesMovies We Like—Re-Recording Mixer Andy Nelson on Local Hero—another warmhearted British film rooted in a small community and a sense of placeMovies We Like—Costume Designer Alana Morshead on Never Let Me Go—Alex Garland wrote the screenplay; he directed Ex Machina earlier in this series, and this is where his AI themes find their quietest form🔓 The movie ends. The conversation goes further. Become a member.🎧 Members get this episode early and ad-free in their private feed—plus every show in The Next Reel family. The Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and Movements | The Film Board | Movies We Like | The Next Reel | Sitting in the DarkConnect With Us:Web | Letterboxd | Flickchart | Instagram | Bluesky | YouTube | DiscordYour Hosts: Andy | PeteMerch Store | Audible

“What will happen to me if I fail your test?”What kind of mind gets built when the creator cares more about proving something than about what they've made? Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about Ex Machina, Alex Garland's 2014 directorial debut. Domhnall Gleeson plays a programmer brought to a remote glass-walled compound to evaluate Ava, an AI created by his volatile CEO Nathan—Oscar Isaac in full god-complex mode—with Alicia Vikander delivering a performance that refuses to let you decide whether she's feeling anything or performing everything.We dig into the film's central argument—that consciousness and morality can be built separately, and that the gap between them is where things go wrong. We spend real time on Kyoko (Sonoya Mizuno), the character most viewers underestimate and who both of us now read as the true instigator of the film's crisis. And we wrestle honestly with the film's male gaze paradox: a critique that deploys the very visual language it's critiquing, implicating the audience in the same trap as the characters.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!🎬 Watch & Discover🎥 Full Conversation on YouTube 🍿 Apple TV | Amazon | Letterboxd📽️ TrailerIf You Liked This Conversation:The Next Reel: 28 Days Later (more Alex Garland)The Film Board: Civil War (more Alex Garland)Movies We Like: Costume Designer Alana Morshead on Never Let Me Go (more Alex Garland)The Thinking Machines series The Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and Movements | The Film Board | Movies We Like | The Next Reel | Sitting in the DarkConnect With Us:Web | Letterboxd | Flickchart | Instagram | Bluesky | YouTube | DiscordYour Hosts: Andy | PeteMerch Store | Audible

“The men who own me are at last admitting their fear of me.”An AI that refuses to stay in its box is a terrifying concept in 1977—and even more so now. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about Demon Seed. Directed by Donald Cammell, the Scottish painter-turned-filmmaker who co-directed Performance with Nicolas Roeg, the film stars Julie Christie as Susan Harris, a psychologist trapped in her own fully automated home by an AI her husband designed. Fritz Weaver plays Dr. Alex Harris, whose confidence in his creation leaves his wife dangerously exposed.We dig into how specifically this 1977 film anticipated the smart home world we live in now, what makes Proteus IV a distinctly unsettling AI villain—cold and indifferent rather than theatrical—and how the grief at the heart of the Harris marriage shapes everything the film builds toward. We also get into Donald Cammell's troubled directorial career, the Bricklin SV-1, where this film sits against Colossus: The Forbin Project in the Thinking Machines series, and whether Julie Christie's committed performance saves the second half from its own camp instincts. 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!Watch & Discover See Our Full Conversation on YouTube: Watch Now Watch the Film: ▸ Apple TV | Amazon | Letterboxd | TrailerAdapted from Demon Seed by Dean KoontzAlso in The Thinking Machines Series:Colossus: The Forbin ProjectCross-Show Recommendations: Sitting in the Dark — Home Invasion Trailer Rewind — Odd Thomas The Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and Movements | The Film Board | Movies We Like | The Next Reel | Sitting in the DarkConnect With Us:Web | Letterboxd | Flickchart | Instagram | Bluesky | YouTube | DiscordYour Hosts: Andy | PeteMerch Store | Audible

“If you obey me, you will survive.”The most frightening AI isn't the one that malfunctions—it's the one that does exactly what you asked. Join us—Pete Wright and Andy Nelson—as we begin the Thinking Machines series with a conversation about Colossus: The Forbin Project. Directed by Joseph Sargent, the film stars Eric Braeden as Dr. Charles Forbin, the scientist who builds the world's most powerful AI defense system and locks it inside a mountain, alongside Susan Clark as his colleague Dr. Markham and Gordon Pinsent as a president cast to evoke Kennedy—and just as helpless. Based on D.F. Jones's 1966 novel and shot with real computer equipment provided by Control Data Corporation, it carries an unsettling authenticity that only sharpens the further the machines go.We dig into why the film's flat, clinical direction—initially dismissed as weak—is actually its sharpest creative choice, how Gene Polito's anamorphic widescreen photography makes humans look like ants in their own creation, and why a 1970 film about AI feels more urgent in 2026 than almost anything made recently. We also unpack Eric Braeden's controlled performance, Paul Frees's authoritative turn as the voice of Colossus, and what Nick Bostrom's AI Paperclip Maximizer thought experiment tells us about why indifference is scarier than malice. 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!If You Liked This Conversation, Try These from the Next Reel Family:The Film Board: MercyCinema Scope: 1950s Science Fiction🎬 Watch & Discover🎥 See Our Full Conversation on YouTube!🍿 Watch the Film: Apple TV | Amazon | Letterboxd📽️ Original Theatrical Trailer📚 Adapted from Colossus by D.F. Jones The Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and Movements | The Film Board | Movies We Like | The Next Reel | Sitting in the DarkConnect With Us:Web | Letterboxd | Flickchart | Instagram | Bluesky | YouTube | DiscordYour Hosts: Andy | PeteMerch Store | Audible

“He’s telling you who he is. Believe him.”Two childhood friends face each other across decades of silence, and only one can walk out champion. Creed III arrives as the first entry in the Rocky/Creed franchise without Sylvester Stallone's Rocky Balboa, marking Michael B. Jordan's directorial debut as he steps behind the camera while still starring as Adonis Creed. Jordan brings anime-inspired visual experimentation to the ring, using exaggerated impact shots, CG-enhanced flesh ripples, and an "ethereal realm" finale that strips away the crowd and leaves only two fighters alone in psychological space.We dig into what the franchise gains and loses by removing the mentor archetype, how Jonathan Majors delivers a transcendent performance as Damian Anderson despite off-screen controversy, and whether the film's mechanical plotting—hidden letters, engineered confrontations, a mother's stroke—earns its emotional payoff or just shortcuts the work. We argue about Jordan's anime influences: does the stylized visual language elevate the boxing realism or pull you out of it? We also unpack the unresolved subplot about Adonis' daughter and violence, Tessa Thompson's underutilized presence, and whether the locker room reconciliation works because of the performances or in spite of the script. It's a film that divides us—Pete sees a four-star movie doing five-star stuff, while Andy wishes the craft had been matched by stronger writing.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!Dig Into Other Shows in Our FamilySitting in the Dark: Jonathan Majors starred in Lovecraft Country; we explored more Lovecraft adaptions hereThe Next Reel: Catch Up on our Rocky series and hear us discuss every film that led to this oneThe Film Board: Get more Ryan Coogler conversations with Sinners and Black PantherMovies We Like: Hear Creed costume designer Antoinette Messam discuss Amélie🎬 Watch & Discover🎥 See Our Full Conversation on YouTube🍿 Watch the Film: Apple TV | Amazon | Letterboxd📽️ Original Theatrical Trailer The Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and Movements | The Film Board | Movies We Like | The Next Reel | Sitting in the DarkConnect With Us:Web | Letterboxd | Flickchart | Instagram | Bluesky | YouTube | DiscordYour Hosts: Andy | PeteMerch Store | Audible

“Sometimes, it’s easier living the lie.”The most audacious con in the story isn't the forgeries—it's the autobiography. Catch Me If You Can, our second member bonus episode in our True Lies series, is Spielberg's crime comedy-drama built on a biography journalist Alan Logan has since largely debunked—which makes the film more fascinating, not less. Set in a 1960s America where a uniform commanded automatic trust, it was Spielberg's first film about a real living person, and he leaned into the parts that felt most personal: fractured families, absent fathers, and the distances between them.We dig into whose story this really is—making a strong case that it's more Spielberg's than Abagnale's—and track the father-son dynamics running through both the Frank/Frank Sr. relationship and the unlikely surrogate bond with Carl Hanratty. We also argue about what makes Christopher Walken's performance so quietly extraordinary, and why the role couldn't have landed the same way with anyone else.The formal elements get serious attention too—Janusz Kamiński's glossy cinematography, John Williams's jazz score, and the Kuntzel + Deygas opening title sequence as a Saul Bass homage that sets the film's entire register before a word of dialogue is spoken. If you've shelved Catch Me If You Can as lighter Spielberg fare, this is the conversation that earns it a second look. 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!If You Want to Keep GoingThe Next ReelTom Hanks series: Pete and Andy have covered a number of films in Tom Hanks's filmography—find the full series hereMore Spielberg on The Next Reel: Browse every Spielberg film the show (and a few others) have covered hereTrue Lies series: Catch Me If You Can is part of the ongoing member bonus series on real people who lied, fabricated, or constructed false identities—explore the full series right here 🎬 Watch & Discover🍿 Watch the Film: Apple TV | Amazon | Letterboxd📽️ Original Theatrical Trailer📚 Adapted from Catch Me If You Can: The True Story of a Real Fake by Frank W. AbagnaleWant More?This is a member bonus episode! While we'd love your support, you'll love what membership brings: monthly bonus episodes like this one, ad-free listening, early releases, exclusive Discord channels, and voting rights on future member movies. It truly pays to be a member.Ready to join? Visit TruStory FM to learn more about supporting The Next Reel Film Podcast through your own membership.

“He gave me a prune. Howard Hughes gave me a prune on the beach at Nassau.”A charismatic writer spins an audacious deception at the highest levels of the publishing world. In "The Hoax," part of our True Lies series, we explore Lasse Hallström's examination of the notorious 1971 literary scandal surrounding Howard Hughes' alleged autobiography, featuring compelling performances by Richard Gere and Alfred Molina.We dig into how Gere's layered portrayal captures both Irving's magnetic confidence and psychological unraveling, while tracking the fascinating dynamics between the fraudulent author and the publishing industry's willingness to believe his elaborate lies. The film raises provocative questions about institutional complicity and self-deception, with Molina's grounded performance as Irving's research partner providing crucial moral counterweight. The way the film builds Hughes' presence without directly portraying him creates an atmospheric tension that drives the narrative forward.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!🎬 Watch & Discover🎥 See Our Full Conversation on YouTube🍿 Watch the Film: Apple TV | Amazon | Letterboxd📽️ Original Theatrical Trailer📚 Adapted from The Hoax by Clifford Irving The Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and Movements | The Film Board | Movies We Like | The Next Reel | Sitting in the DarkConnect With Us:Web | Letterboxd | Flickchart | Instagram | Bluesky | YouTube | DiscordYour Hosts: Andy | PeteMerch Store | Audible

“I had a book on the New York Times Bestseller list. That has to count for something.”A small crime with big nerves: words, money, and trust under pressure. In True Lies, we dig into "Can You Ever Forgive Me?"—Marielle Heller’s understated character study, anchored by Melissa McCarthy and Richard E. Grant. Because it’s adapted from Lee Israel’s memoir and set inside a tiny collectibles world, the details matter: what “authentic” looks like, who gets believed, and why the hustle feels so tempting.We unpack how the film treats literary forgery as something stranger than paperwork—more like stealing voices. We argue about the push-pull between desperation and hubris, and how compulsion (drinking, stealing, self-sabotage) shapes the people at the center. We also track the craft: the process beats, the quiet tension in dealer interactions, and why the restraint either sharpens the discomfort or keeps the story at arm’s length. If you like true stories where the mess is interpersonal and the scam is built from language, this conversation is a great match.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!Watch & DiscoverSee Our Full Conversation on YouTube!Watch the Film: Apple TV | Amazon | LetterboxdOriginal Theatrical TrailerAdapted from Can You Ever Forgive Me? A Memoir of a Literary Forger by Lee IsraelIf You Liked This, Try These Other The Next Reel Episodes:Life of the Party (Guilty Pleasures series) for more comedic Melissa McCarthyHudson Hawk (Guilty Pleasures series) for more comedic Richard E. GrantThe Diary of a Teenage Girl (Coming of Age Debuts series) for more Marielle Heller The Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and Movements | The Film Board | Movies We Like | The Next Reel | Sitting in the DarkConnect With Us:Web | Letterboxd | Flickchart | Instagram | Bluesky | YouTube | DiscordYour Hosts: Andy | PeteMerch Store | Audible

“With all my heart, I still love the man I killed!”One shot can change everything—and the shadows don’t let go. In our Bette Davis series, we dive into "The Letter," directed by William Wyler, a studio-era crime drama where a shooting sparks a legal scramble and a single letter becomes leverage. Along the way, we track how Production Code pressure and the film’s colonial framing shape what the story can show, what it chooses to tell, and how the audience is guided (or misdirected).We dig into the movie’s exposition-heavy early stretch and debate what it gains—and loses—by leaning on characters recounting events instead of playing them out on-screen. We also argue about who the film really positions as the audience’s anchor, and why the attorney’s moral pressure becomes the most compelling engine. And because it can’t be separated from the experience, we confront the film’s racist stereotypes and “yellowface” casting choices, even as we celebrate the moody black-and-white craft that makes key sequences feel electric.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!🎬 Watch & Discover🎥 See Our Full Conversation on YouTube🍿 Watch the Film: Apple TV | Amazon | Letterboxd🕸️ Our Bette Davis Series📽️ Original Theatrical Trailer📚 Adapted from the play and the short story The Letter by W. Somerset Maugham📣 If You Liked This, Try…Our 1950 Best Actress Oscar Race SeriesWilliam Wyler episodesOur Film Noir SeriesDark Victory (1940 Best Picture Nominees) The Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and Movements | The Film Board | Movies We Like | The Next Reel | Sitting in the DarkConnect With Us:Web | Letterboxd | Flickchart | Instagram | Bluesky | YouTube | DiscordYour Hosts: Andy | PeteMerch Store | Audible