#439: They Mostly Come at Night, Pt. 1 — Aliens

Jeremy Saulnier’s REBEL RIDGE puts a distinctly 2020s spin on the one-man army formula established in the era-defining ‘80s action hit FIRST BLOOD, resulting in a film with more nuance, less firepower, and equal amounts of ass-kicking. We parse that equation a bit more in-depth in our spoiler-light discussion of REBEL RIDGE, before bringing back FIRST BLOOD to see how the decades between the two films shape their respective ideas about escalation of force, small-town policing, and genre politics. And for Your Next Picture Show, we offer a quick-hit ranking of Saulnier’s filmography to date. Please share your comments, thoughts, and questions about FIRST BLOOD, REBEL RIDGE, and anything else in the world of film by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Azazel Jacobs’ HIS THREE DAUGHTERS and Tamara Jenkins’ THE SAVAGES  Learn more about your ad choices. Visit megaphone.fm/adchoices

Genre specialist Jeremy Saulnier’s latest banger, REBEL RIDGE, owes an obvious debt to the film that kicked off Sylvester Stallone’s second long-running franchise, 1982’s FIRST BLOOD, but the two films are of very different eras with very different core concerns about policing in America. So this week we’re focusing on the shadow of Vietnam that falls over the Pacific Northwest in the form of John Rambo, digging into the deeper themes that lie beneath the proverbial pissing contest between FIRST BLOOD’s ticking time bomb of a protagonist and the antagonistic police chief who foolishly sets him off. And in Feedback we revisit our ALIENS discussion with a deep reference and some head-cannon fodder from our listeners. Please share your comments, thoughts, and questions about FIRST BLOOD, REBEL RIDGE, and anything else in the world of film by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

Fede Álvarez’s ALIEN: ROMULUS is at its core an act of homage to the larger franchise, but is that a feature, a bug, or both? That’s a question we attempt to reconcile in our discussion of Álvarez’s acid-blood-soaked film, before comparing how this late-stage sequel compares with the franchise’s original sequel, James Cameron’s ALIENS, in iterating on the corporate meddling of Weyland-Yutani, the evolving nature of artificial humans, and comedy as characterization. And for Your Next Picture Show, we pivot hard away from this franchise-driven pairing for a recommendation of Spanish filmmaker Víctor Erice’s first feature in over three decades, CLOSE YOUR EYES. Please share your comments, thoughts, and questions about ALIENS, ALIEN: ROMULUS, and anything else in the world of film and/or xenomorphs, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Jeremy Saulnier’s REBEL RIDGE and Ted Kotcheff’s FIRST BLOOD Learn more about your ad choices. Visit megaphone.fm/adchoices

Fede Álverez’s ALIEN: ROMULUS is so reference-packed that an argument could be made for pairing it with just about any ALIEN film, but since we’ve already discussed the 1979 original, and because the Next Picture Show bylaws state that if an opportunity to discuss ALIENS arises we must take it, we’re digging into the first of the many sequels this franchise has spawned. Thanks to writer-director James Cameron’s economy of storytelling, there are so many iconic moments, characters, and lines to discuss that we barely scratch the surface this week, though, rest assured, ROMULUS will provide us with many more avenues into the film’s greater legacy and mythology next week. And then we keep the franchise fever going in Feedback with a listener prompt about the feeling of being “done” with a once-beloved film series.  Please share your comments, thoughts, and questions about ALIENS, ALIEN: ROMULUS, and anything else in the world of film and/or xenomorphs, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

Is it a bit unfair to compare M. Night Shyamalan’s new grip-it-and-rip-it thriller TRAP to Fritz Lang’s 1931 cinematic landmark M? Sure, but that’s the name of the game here on The Next Picture Show, and for all of TRAP’s faults — which we try not to take too much glee in enumerating in this discussion — it does work, however awkwardly, as an extrapolation of the ideas and narrative techniques first established in Lang’s film. From its interest in exploring the mind of a serial killer to its depiction of law-enforcement overreach, there’s plenty in TRAP that feels like it’s echoing M, though whether Shyamalan does so with enough purpose to suggest a larger thematic statement like M’s is another question entirely. Please share your comments, thoughts, and questions about M, TRAP, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Fede Álvarez’s ALIEN: ROMULUS and James Cameron’s ALIENS. Learn more about your ad choices. Visit megaphone.fm/adchoices

The new TRAP, like so many M. Night Shyamalan movies, openly courts comparisons to the work of Alfred Hitchcock, but its focus on the large-scale manhunt for a serial killer combined with its psychological interest in said killer has roots even further back in film history. So this week we reach all the way back to Fritz Lang’s first talkie, 1931’s M, to see how it frames the search for a compulsive child murderer decades before the term “serial killer” existed, and sort through the film’s many distinctive and influential elements, from its pessimistic view of law and order to its iconic whistling motif. Then in Feedback, a listener prompt gets us feeling nostalgic for some of our favorite and/or formative theatrical experiences. Please share your comments, thoughts, and questions about M, TRAP, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

No show this week, but NPS co-host Genevieve Koski announces the next pairing, inspired by M. Night Shyamalan's "Trap." Learn more about your ad choices. Visit megaphone.fm/adchoices

Osgood Perkins’ new LONGLEGS shares some clear narrative and thematic DNA with THE SILENCE OF THE LAMBS, but it’s much more bizarre and divisive in its approach to horror-adjacent serial killer storytelling than Jonathan Demme’s crowd-pleasing, Oscar-sweeping hit. We’re joined again this week by critic and author Charles Bramesco to talk through the varying degrees to which we vibed with Perkins’ style and Nicolas Cage’s central performance, before bringing LONGLEGS’ predecessor back into the conversation to compare the points of overlap and distinction between these two films about newbie female FBI agents, unconventional serial killers, and the traumatic backstories that drive them both. And in Your Next Picture Show we take stock of Oz Perkins’ small but already idiosyncratic directorial filmography to date.  Please share your comments, thoughts, and questions about THE SILENCE OF THE LAMBS, LONGLEGS,  or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

There’s no doubt that director Osgood Perkins had Jonathan Demme’s THE SILENCE OF THE LAMBS in mind when he made the new LONGLEGS, but there are as many fascinating contrasts as there are comparisons between these two films about inexperienced female FBI agents and seasoned serial killers. But before getting into those next episode, this week we’re joined by critic and author Charles Bramesco for an in-depth revisitation of SILENCE OF THE LAMBS that digs into how the “Demme Touch” elevated a potentially lurid procedural to an Oscar-sweeping sensation, why its artful exploration of trauma inspired a legion of imitators, and how its sidestepping of trans identity plays in an era that’s much more attuned to that conversation. And in Feedback, a listener deconstructs a couple of our recent pairings and reconstructs them as inversions of the same story.  Please share your comments, thoughts, and questions about THE SILENCE OF THE LAMBS, LONGLEGS,  or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pulitzer-winning playwright Annie Baker’s filmmaking debut JANET PLANET is sort of a dual coming-of-age story, centering a young girl’s fascination with her single mother who is still figuring out her own place in the world. But it also resists broad statements and neat conclusions, giving us space to unpack our own interpretations of the emotional depths that lie beneath the film’s quiet exterior. Then we bring Lukas Moodysson’s TOGETHER back into the discussion to compare its non-judgmental eye toward low-impact parenting, especially in the face of adult drama, and greater interest in the human drive for connection to those of JANET PLANET. And in Your Next Picture Show we share our runner-up contender for this week’s pairing.  Please share your comments, thoughts, and questions about TOGETHER, JANET PLANET,  or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Oz Perkins’ LONGLEGS and Jonathan Demme’s SILENCE OF THE LAMBS Learn more about your ad choices. Visit megaphone.fm/adchoices