You're Missing Out: A National Film Registry Podcast

Mike, Tom, and Kyle close out Season 5 by reflecting on the 1993 class of National Film Registry inductees, handing out superlatives to the standout performances and craftspeople from the season, and formally submitting their Registry picks. Plus, a look ahead to Season 6. Since 1989, the National Film Registry has selected 25 films each year that are deemed "culturally, historically or aesthetically significant". In each episode, Mike Natale (Yahoo!) and Tom Lorenzo (Men's Journal) bring on a special guest to take a look at one of the films from the registry, to get to the heart of why these films matter. 🎬 Watch more episodes: https://www.youtube.com/@YMOPodcast/videos 🎙️ Listen on Apple Podcasts: https://podcasts.apple.com/us/podcast/youre-missing-out-a-national-film-registry-podcast/id1259425519 #NationalFilmRegistry #Season5WrapUp #ClassicHollywood

"Keep your friends close, but your enemies closer" "A rock? These little bears are nuts" That's right, folks. It's a Patrick Cotnoir episode. This time, for his fifth appearance, we're talking The Godfather Part II, and...some Ewok movie. Nobody is really sure which one, honestly. It's been five years of this, guys. You know what you're getting here.

This week, our hosts bridge the gap between Cat People and Lassie Come Home with an informal conversation about animal folklore and animal companions in film. Plus, Mike sits down with Roye Okupe, the creator of Iyanu, the graphic novel and hit animated series on Cartoon Network and HBO Max. We'll be back to our regular format next week!

“He was the most trigger-happy man I had ever met.” – Badlands (1973) This week, we hit the open road with guest Tom Augustine to explore Terrence Malick’s stunning debut, Badlands. Based loosely on the real-life killing spree of Charles Starkweather and Caril Ann Fugate, the film casts Martin Sheen and Sissy Spacek as drifting outsiders caught between detachment and violence, beauty and brutality. With its lyrical narration, haunting imagery, and philosophical detachment, Badlands marked the arrival of a singular voice in American cinema. Tom joins us to discuss Malick’s influence, the film’s unsettling calm, and how it carved a new path for the American New Wave.

This week, we saddle up for a conversation about Shane (1953) with screenwriter, producer, and podcast host Kenny Neibart. A formative Western and a film that helped define American masculinity on screen, Shane gives us plenty to dig into, from its mythic final shot to the complex tension between pacifism and violence. Kenny joins us to unpack the genre tropes, cultural context, and emotional resonance that make Shane a cornerstone of classic cinema, and why its legacy still rides on today.

“The film you have just seen was an improvisation.” – Shadows (1959) This week, returning guest Robert Bellissimo joins us for a conversation on John Cassavetes’ Shadows,, a landmark of American independent cinema. Shot on the streets of New York with a semi-improvised style and a raw, jazz-infused energy, Shadows broke all the rules and opened new possibilities for personal filmmaking in the U.S. We explore how Cassavetes challenged Hollywood norms, foregrounded race and identity in ways ahead of its time, and crafted a film that still feels immediate and alive decades later. Shadows isn’t just a turning point in film history, it’s the spark that lit the indie movement.

“He was some kind of a man. What does it matter what you say about people?” – Touch of Evil (1958) This week, we’re crossing into the shadowy borderlands of noir with special guest Ryan Luis Rodriguez to unpack Orson Welles’ Touch of Evil. From its legendary opening tracking shot to Welles’ haunting turn as the corrupt Hank Quinlan, the film stands as a dark, complex swan song to the classic noir era. Together, we explore the film’s bold visual language, its controversial casting choices, and the fascinating story behind the restored cut that finally honored Welles’ original vision. Touch of Evil isn’t just a masterwork of style—it’s a film that continues to challenge how we think about authority, morality, and the boundaries we draw.