A biweekly roundtable by the former editorial team of The Dissolve examining how classic films inspire and inform modern movies. Episodes take a deep dive into a classic film and its legacy in the first half, then compare and contrast that film with a modern successor in the second. Hosted and produced by Genevieve Koski, Keith Phipps, Tasha Robinson and Scott Tobias. Part of the Filmspotting family of podcasts and the Panoply Network.
Part two of this week's double feature pairs the new "Kong: Skull Island" with 1933's medium-defining "King Kong."
This week's double feature pairs the new "Kong: Skull Island" with 1933's medium-defining "King Kong."
In part two of their Dark Knight double feature, The Next Picture Show considers the character's long history in the movies and how that history contributes to the pleasures of the new "Lego Batman Movie."
In part one of a Dark Knight double feature, The Next Picture Show re-evaluates Tim Burton's 1989 "Batman" before getting to the new box office hit "The Lego Batman Movie."
In part two of their melancholy-musical double feature, NPS leaves Cherbourg behind for a trip to Damien Chazelle's LA LA LAND.
In part two of this week's double feature, NPS turns to a discussion of Andrea Arnold's "American Honey."
The Next Picture Show roundtable dives into Gus Van Sant's "My Own Private Idaho" (1991) in part one of their "Idaho"/"American Honey" double feature.
For part one of their Kubo/Dark Crystal double feature, NPS talk Laika's latest technical marvel.
In part one of their Kubo/Dark Crystal double feature, NPS discuss Jim Henson's dark fairy tale from 1982.
Our GHOSTBUSTERS discussion turns its attention to Paul Feig's new remake, which was made with obvious affection for (and cameos from) the 1984 version, and replicates certain character types and plot points.
The strange controversy over Paul Feig's gender-reversed GHOSTBUSTERS has us looking back at the original 1984 GHOSTBUSTERS to see what about it has inspired such strong feeling.
Nicholas Winding Refn’s new THE NEON DEMON inspired us to look back at another tale of female rivalry that plays out in lurid colors and more than a little violence: Dario Argento’s classic 1977 horror movie SUSPIRIA. (Part 2 of 2)
Nicholas Winding Refn’s new THE NEON DEMON inspired us to look back at another tale of female rivalry that plays out in lurid colors and more than a little violence: Dario Argento’s classic 1977 horror movie SUSPIRIA.
Our look into the mockumentary's trajectory from THIS IS SPINAL TAP through the new POPSTAR: NEVER STOP NEVER STOPPING delves into the comedic complexities of The Lonely Island's supremely silly update of the Spinal Tap formula.
Inspired by the new Lonely Island feature mockumentary POPSTAR: NEVER STOP NEVER STOPPING, we look back at the grandaddy of mock-rock-docs: Rob Reiner's THIS IS SPINAL TAP, which helped set the template for modern comedy in more ways than one.
This week's pairing brings us into the twisted world of L.A. noir, courtesy of two period pieces that follow byzantine plots to the depths of human depravity. Inspired by Shane Black's new THE NICE GUYS, we're revisiting Curtis Hanson's L.A. CONFIDENTIAL.
We return again to the Marvel Cinematic Universe to see how the armor-plated seed planted in IRON MAN has blossomed into the sprawling new CAPTAIN AMERICA: CIVIL WAR. We discuss how the newer movie carries its added weight, and compare how the two films -
This week, The Next Picture Show is going full-on superhero. Inspired by the Marvel Cinematic Universe's latest offering, CAPTAIN AMERICA: CIVIL WAR, we look back at the movie that serves as the Big Bang for the MCU: 2008's IRON MAN. This half of the disc
In this half of our ASSAULT ON PRECINCT 13/GREEN ROOM discussion, we bring Jeremy Saulnier's chill-inducing new thriller into the picture, and consider the many ways in which it reflects John Carpenter's earlier work. The two films have a lot to say about
As John Carpenter fans, we were excited to see director Jeremy Saulnier citing Carpenter's ASSAULT ON PRECINCT 13 as a specific influence on his excellent new film GREEN ROOM. Watching the two movies together, it’s hard to miss the connections: Both fea
Our CLOSE ENCOUNTERS/MIDNIGHT SPECIAL discussion turns toward the newer film, and the ways it reflects its Spielbergian inspiration – and the many more ways it diverts from the earlier film. We'll talk over how the two films explore spirituality and mys
Director Jeff Nichols cited the 1977 Steven Spielberg classic CLOSE ENCOUNTERS OF THE THIRD KIND as one of his primary inspirations for the new MIDNIGHT SPECIAL. But while the two films work toward a similar ending, they don't necessarily work toward the
Our PSYCHO/10 CLOVERFIELD LANE discussion brings the newer film into the picture, grappling with how the Dan Trachtenberg-directed/JJ Abrams-produced psuedo-sequel echoes Hitchcock's film both deliberately and accidentally. We'll talk over how the two fil
Two women skip town in a hurry and find themselves in an isolated place, overseen by a gentle-toned but temperamental host: You might think us mad to compare PSYCHO and 10 CLOVERFIELD LANE, but we all go a little mad sometimes. There's more than just the
Our MASH - WHISKEY TANGO FOXTROT discussion digs deeper into the two films' many contrasts, finding unexpected connections in the films' depictions of the military, women, and downtime. We also get into the two films' very different strains of black humor
Attention. Attention: This week’s movie pairing looks at the communities that spring up in the middle of war, and the odd ways people try to push back against the insanity that surrounds them. Inspired by the new Tina Fey wartime dramedy WHISKEY TANGO F
Our THE WICKER MAN - THE WITCH conversation goes deeper into the two films' shared qualities, including their portrayals of religion and women, and their canny use of (very different types of) music. We'll also get deeper into the question of "is it horro
The buzzy new horror film THE WITCH inspired us to look at another period piece about good, evil, self-righteousness, and murder: Robin Hardy's 1973 cult classic THE WICKER MAN. (No, not the Nicolas Cage one—though it does come up.) In this half of the
Our cinematic matchup of Coen brothers past and present continues as we dive deeper into the connections between 1991's BARTON FINK and the new HAIL, CAESAR! In this half of the discussion, we get into the films' shared lineage as "movies about movies," a
This week's pairing seems like an obvious one: Two Coen Brothers films about Hollywood, set at the same fictional studio, during roughly the same time period–what do you need, a roadmap? But Joel and Ethan Coen's 1991 breakout BARTON FINK has very diffe
The second half of our JOHN CARTER/THE MARTIAN comparison looks at the various ways Ridley Scott's film succeeded where Andrew Stanton's failed: its humor, its production design, its approach to adaptation, and its overall simplicity. Plus, Your Next Pict
This week, we look back to one of last year's biggest blockbusters — and an Oscar frontrunner — for inspiration, and turn up an interesting, misbegotten cinematic comparison point. Ridley Scott's THE MARTIAN is critically and commercially successful i
Our discussion of "old marrieds" past and present reveals that Andrew Haigh's new 45 YEARS covers a lot of the same ground as Mike Nichols' WHO'S AFRAID OF VIRGINIA WOOLF — it just does it a lot more quietly. We talk over how the two films relate and di
The release of Andrew Haigh's beautiful 45 YEARS got us thinking about another film about the toxic dynamic between a long-married couple: Mike Nichols' 1966 film debut WHO'S AFRAID OF VIRGINIA WOOLF? In this half, we discuss how Nichols brought Edward Al
Our conversation linking the very first STAR WARS film with the new sequel (or is it a reboot? a remake?) THE FORCE AWAKENS delves into the myriad ways the two films are connected, and how the cultural impact of A NEW HOPE plays out in the new film. And i
J.J. Abrams' record-breaking smash THE FORCE AWAKENS consciously reaches back to the very first entry in the STAR WARS universe, 1977's A NEW HOPE, for inspiration, plot points, and design — and offers us an opportunity to look back at how George Lucas
Our conversation about the links between Werner Herzog's 1972 cult classic AGUIRRE, THE WRATH OF GOD and Alejandro González Iñárritu's new THE REVENANT delves into the way the two films handle the themes of imperialism and madness, and how each is info
BIRDMAN director Alejandro González Iñárritu is back with THE REVENANT, a half-revenge thriller/half-survival adventure that recalls in many ways the work of cinema’s most intrepid adventurer, Werner Herzog – particularly AGUIRRE, THE WRATH OF GOD.
Our conversation on Pixar's trajectory from 1995 to today delves into the company's most recent offering, discussing how THE GOOD DINOSAUR fits in with the rest of Pixar's output, including TOY STORY, as well as the modern computer-animated-feature landsc
The second Pixar film of 2015, THE GOOD DINOSAUR, inspires us to look back at the revered animation company's auspicious beginning: 1995's TOY STORY, the first computer-animated feature film. In the first half of this Pixar-spanning discussion, we discuss
Our conversation on the many connections between BATTLE ROYALE and THE HUNGER GAMES series continues with the Forum discussion focusing on the films' respective styles, their different approaches to violence and teen angst, and their influence on the YA f
With the final installment of the blockbuster YA series THE HUNGER GAMES hitting theaters, we look back to the material many accused HUNGER GAMES author Suzanne Collins of ripping off: 2000's BATTLE ROYALE, a hyper-violent Japanese film adaptation of a hy
The Next Picture Show's discussion of All The President's Men and Spotlight continues with the group Forum discussion. In this half, Scott Tobias, Tasha Robinson, and Keith Phipps talk about the films' respective approaches to journalism, the cities of Wa
Welcome to The Next Picture Show, a movie of the week podcast devoted to a classic film that has shaped our take on a new release. With director Tom McCarthy's SPOTLIGHT getting lots of acclaim for its treatment of the Boston Globe's investigation into th