The Next Reel Film Podcast

“Shall we play a game?”The technology felt real, the threat felt real, and in 1983, so did the fear. Join us—Pete Wright and Andy Nelson—as we continue the Thinking Machines series with a conversation about "WarGames." Director John Badham's film stars Matthew Broderick as David Lightman, a teenage hacker who stumbles into something far bigger than the video game he was looking for, alongside Ally Sheedy as his classmate Jennifer and Dabney Coleman as the NORAD engineer convinced he'd solved the problem by removing humans from the equation entirely. It arrived when home computers were new, hacking wasn't yet illegal, and Cold War nuclear anxiety was at its peak.We dig into whether Joshua, or WOPR—the military supercomputer at the heart of it all—is actually the film's most complete character, what Badham's tonal rescue job after a mid-production director change accomplished, and why the real-world shockwaves from this film—Reagan's Camp David screening, the laws that followed, the hacker convention named after it—are as remarkable as anything in the story. The film is a genuinely fantastic ride; what makes this conversation fun is asking whether it's anything more than that. 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 "WarGames": Apple TV | Amazon | Letterboxd 📽️ TrailerWant 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.

“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. JonesSupport The Next Reel Family of Film Shows:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next ReelSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Audible

“ I guess when you’re really good at escapes, you figure you can get away with anything.”“The Escape Artist” is Caleb Deschanel’s feature directorial debut—and a rare, nearly forgotten American fable about a teenage escape artist who picks the wrong pocket and ends up entangled in a corrupt mayor’s family drama. Join us—Pete Wright and Andy Nelson—as we return to our Magicians series with a conversation about “The Escape Artist.” Griffin O’Neal plays the boy at the center, performing real sleight of hand and lockpicking trained by Ricky Jay in largely single takes—a tactile authenticity that holds the film together when the story can’t. Raúl Juliá plays the volatile son of the corrupt mayor, and both hosts agree his performance is one of the best reasons to seek this film out.We argue about whose arc actually drives the film—Danny’s quiet grief journey, or Stu’s simmering rage at a father who won’t get out of the way. We track what Deschanel’s extraordinary visual instincts bring to the director’s role and where they fall short. We talk about O’Neal’s troubled real-life backstory with dad Ryan O’Neal and how it shadows the film, the history of the Dead End Kids, and a cast full of final screen appearances. 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 Next Reel: Related Series: Magicians | Melissa MathisonCaleb Deschanel as Cinematographer: Being There | The Black Stallion | The NaturalThe Film Board: Magicians: Now You See Me | Now You See Me 2🎬 Watch & Discover🎥 See Our Full Conversation on YouTube🍿 Watch the Film: Apple TV | Amazon | Letterboxd📽️ Original Theatrical Trailer📚 Adapted from The Escape Artist by David WagonerSupport The Next Reel Family of Film Shows:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next ReelSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: 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 TrailerSupport The Next Reel Family of Film Shows:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next ReelSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Audible

“Sadly, people don’t buy lady art.”A painter's work becomes the center of a husband's fraudulent claim. We close out the True Lies series with Big Eyes, Tim Burton's biographical drama about artist Margaret Keane, whose distinctive big-eyed waif paintings were claimed by her controlling husband Walter throughout the 1950s and 60s. The story unfolds against mid-century gender dynamics, when women artists faced skepticism in the commercial art world and wives' agency within marriages was culturally constrained—context that shapes Margaret's complicity in the fraud.We argue about Burton's surprisingly bland visual approach and whether his restraint serves or undermines the material. We debate Christoph Waltz's theatrical performance choices—does he fit this grounded domestic coercion story, or is he miscast? We praise Amy Adams for carrying the film with emotional clarity even when the movie around her wavers between genuinely threatening sequences (lit matches through the keyhole) and predictable courtroom comedy. We track how the film works better as Margaret's survivor narrative than as a typical fraud story, and we explore alternative casting scenarios that might have changed the tone entirely.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 TrailerSupport The Next Reel Family of Film Shows:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next ReelSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: 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.

“We’re gonna put television on trial.”A celebrated academic steps into a television booth and discovers how easy it is to compromise. We continue the True Lies series with "Quiz Show," Robert Redford's examination of the 1950s scandal when NBC's Twenty-One was exposed for feeding contestants answers. The film captures a moment when quiz shows were pitched as inspiring educational programming while sponsors and executives rigged outcomes behind the scenes. Charles Van Doren came from an intellectual family, making his involvement particularly devastating when a lawyer begins investigating the fraud.We dig into why this is the first film in the series where we genuinely sympathize with the protagonist—Van Doren's descent feels natural rather than desperate, enabled by institutional pressure rather than need. We track the emotional core through four father-son scenes between Charles and Mark Van Doren, examining Paul Scofield's devastating wordless moments. We argue about whether the film lets Van Doren off too easily or whether that discomfort is the point, and we explore how the executives at the top are the real villains, comfortable with lying while lower-level employees take the fall. The iconic isolation booth shot with its dolly-zoom effect becomes a visual metaphor for moral pressure closing in.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: Amazon | Letterboxd📽️ Original Theatrical Trailer📚 Adapted from Remembering America: A Voice from the Sixties by Richard N. GoodwinSupport The Next Reel Family of Film Shows:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next ReelSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Audible

“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 IrvingSupport The Next Reel Family of Film Shows:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next ReelSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Audible

“Did I do something wrong? Are you mad at me?”Trust is the whole engine—until the details start to wobble. In the True Lies series, we dig into "Shattered Glass," Billy Ray’s newsroom drama about journalism under pressure and the fragile machinery of verification. Along the way, we talk about why the film’s structure can feel like it drops viewers into the “third act,” and how that choice shapes who the audience instinctively follows.We unpack what the movie shows about fact-checking workflows, where trust can quietly replace proof, and why that’s so unnerving to watch. We argue about Hayden Christensen’s performance choices (charming, off-putting, sometimes read as whiny) and why Peter Sarsgaard becomes the film’s steady source of tension. We also get into the online-vs-print friction the story carries, plus a subtle directing idea about shifting camera stability that may be working on viewers even if they don’t notice it. If you like movies where process becomes suspense, this conversation makes the craft and the discomfort click. 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 Vanity Fair article “Shattered Glass” by Buzz BissingerSupport The Next Reel Family of Film Shows:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next ReelSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: 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 Support The Next Reel Family of Film Shows:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Shows:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next ReelSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Audible