The Next Picture Show

The Next Picture Show

  • 概覽
  • 聲音
概覽
himalaya
335 聲音
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.
查看更多
聲音
335聲音

Despite its box-office success in 1988, Robert Zemeckis’ WHO FRAMED ROGER RABBIT never received a direct sequel, but the new CHIP ’N’ DALE: RESCUE RANGERS works as a spiritual sequel in more ways than one. Recognizing that this direct-to-streaming feature based on a short-lived Disney cartoon from the ‘90s has some extremely large, squeaky shoes to fill when compared to its groundbreaking predecessor, we unpack the two films’ shared cartoon DNA through their villains, their human allies, and their common Hollywood setting, and try to parse some of the specifics of how toons in this shared universe function in both the entertainment industry and society at large. Please share your comments, thoughts, and questions about WHO FRAMED ROGER RABBIT, CHIP ’N’ DALE: RESCUE RANGERS, or anything else in the world of film, by sending an email tocomments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, recommendations, and more. Next Pairing:Steven Spielberg’s JURASSIC PARK and Colin Trevorrow’s JURASSIC WORLD: DOMINION Learn more about your ad choices. Visit megaphone.fm/adchoices

From its Hollywood setting to its central missing-toons mystery, the new Disney+ streaming exclusive CHIP ’N’ DALE: RESCUE RANGERS is openly and carefully patterned after 1988’s WHO FRAMED ROGER RABBIT. Robert Zemeckis’ groundbreaking hit set a high bar for cameo-packed, self-aware stories that try to redefine the relationships between animated characters and the physical world, packing in layers of setup and reference and payoff that continue to reveal themselves on rewatch after rewatch. We attempt to unpack some of those layers in our revisit of this group favorite, as well as how it uses our familiarity with noir and cartoons alike to its narrative advantage. Please share your comments, thoughts, and questions about WHO FRAMED ROGER RABBIT, CHIP ’N’ DALE: RESCUE RANGERS, or anything else in the world of film, by sending an email tocomments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, recommendations, and more. Works Cited: “Book Vs. Film: Who Framed Roger Rabbit?” by Tasha Robinson (avclub.com) Learn more about your ad choices. Visit megaphone.fm/adchoices

DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS carries its director’s fingerprints more clearly than most films in the Marvel Cinematic Universe, but is it ultimately more of a Sam Raimi movie or an MCU installment? We hash out that question this week with the continued assistance of our friend Matt Singer, before bringing back in what is unquestionably a Sam Raimi film, 1993’s ARMY OF DARKNESS, to compare how the two movies operate as vehicles for the director’s filmmaking sensibility, as sequels, and as Bruce Campbell showcases. Please share your comments, thoughts, and questions about ARMY OF DARKNESS, DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS, or anything else in the world of film, by sending an email tocomments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, recommendations, and more. Outro music:The Lovin Spoonful, “Do You Believe In Magic?” Next pairing:Robert Zemeckis’ WHO FRAMED ROGER RABBIT and Akiva Schaffer’s CHIP ’N’ DALE: RESCUE RANGERS A CHIARA opens exclusively in theaters Friday, May 27. More info at CinemaMadeinItaly.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Unlike so much of the Marvel Cinematic Universe, the newest Doctor Strange entry carries the unmistakable stamp of its director, Sam Raimi, so we’re preparing to enter the Multiverse of Madness next week with a film that’s an undiluted hit of Raimi: the third entry in the Evil Dead trilogy, 1993’s ARMY OF DARKNESS. We’re joined by our longtime friend and colleague Matt Singer to revisit a film he calls the “pure essence” of Raimi, which makes up for its lack of deeper themes and nuanced character work with a commitment to fun, cartoonish excess that could be looked at as a deconstruction of heroism — or perhaps fun, cartoonish excess for its own sake is the point. Please share your comments, thoughts, and questions about ARMY OF DARKNESS, DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS, or anything else in the world of film, by sending an email tocomments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, recommendations, and more. Show Notes Works Cited: •“Every Sam Raimi Movie, Ranked From Worst To Best” by Matt Singer (screencrush.com) • “Stop Telling Me to Turn My Brain Off During Movies” by Matt Singer (screencrush.com) Outro music:Sufjan Stevens, “Sugar” Learn more about your ad choices. Visit megaphone.fm/adchoices

Due to some unavoidable scheduling conflicts, your regularly scheduled Next Picture Show pairing is delayed a week, but in its place, Genevieve, Keith, and Tasha are sharing some of their favorite films of the year so far. Some of these got an in-depth discussion on the regular podcast, some showed up as subjects of a bonus episode on our Patreon, and some are completely new to the podcast, but all of them have stuck with us. Will these films make it to our final lists of 2022’s best films? It’s too soon to say for certain, but at the moment, the odds look good. Please share your own standouts from this year, or anything else in the world of film, by sending an email tocomments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, recommendations, and more. Next pairing (revised):Sam Raimi’s ARMY OF DARKNESS and DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS Learn more about your ad choices. Visit megaphone.fm/adchoices

The new THE UNBEARABLE WEIGHT OF MASSIVE TALENT contains a lot of the same DNA as ADAPTATION, but instead of screenwriter Charlie Kaufman, the film’s meta energy is focused on star Nicolas Cage, once again playing two competing sides of the same tortured talent. This week we get into how the confluence of actor, persona, and screenplay works differently in each film, but first we process UNBEARABLE WEIGHT’s lighthearted excavation of its central talent, and consider whether we may have already moved past the stage of Cage’s career that the film is commenting on. Please share your comments, thoughts, and questions about ADAPTATION, THE UNBEARABLE WEIGHT OF MASSIVE TALENT, Nicolas Cage, or anything else in the world of film, by sending an email tocomments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, recommendations, and more. Outro music:Kesha, “Nicolas Cage” Next pairing:Sam Raimi’s DARKMAN and DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS Learn more about your ad choices. Visit megaphone.fm/adchoices

We’re offering four Nicolas Cages for the price of two with this week’s pairing, inspired by Cage’s latest, THE UNBEARABLE WEIGHT OF MASSIVE TALENT, which finds the actor playing two connected versions of himself. But before entering that hall of mirrors, we’re heading back to 2002’s ADAPTATION for a different strain of meta exercise centered on another set of Nicolas Cages, this one playing the film’s screenwriter, Charlie Kaufman, as well as his twin brother/personification of his own self-loathing, Donald. The exact nature of Donald’s character and how it shapes the film’s third act is a big point of discussion this week, as is how literally we are meant to take the film’s title when it comes to its literary source material. Please share your comments, thoughts, and questions about ADAPTATION, THE UNBEARABLE WEIGHT OF MASSIVE TALENT, or anything else in the world of film, by sending an email tocomments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, recommendations, and more. Outro music:The Turtles, “Happy Together” Learn more about your ad choices. Visit megaphone.fm/adchoices

Despite its clear thematic and philosophical connections to the other film in this pairing, Krzysztof Kieślowski’s BLIND CHANCE, Daniel Schienert and Daniel Kwan’s new EVERYTHING EVERYWHERE ALL AT ONCE is a unique experience, a bold, humanistic film full of big messages and also butt jokes. It’s a film that’s built to surprise and delight on first viewing, but what does it offer in terms of rewatch value? That’s one of the things we debate in our discussion of the Daniels’ film, before bringing Kieślowski’s back into the picture to talk through some of those thematic and philosophical connections. Please share your comments, thoughts, and questions about BLIND CHANCE, EVERYTHING EVERYWHERE ALL AT ONCE, or anything else in the world of film, by sending an email tocomments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, recommendations, and more. Show Notes Works Cited: • Everything Everywhere All at Once review by Walter Chaw (filmfreakcentral.net) • Blind Chance: The Conditional Mood, by Dennis Lim (criterion.com) Outro music:Son Lux w/ Randy Newman, “Now We’re Cookin’" Next pairing:Spike Jonze’s ADAPTATION and Tom Gormican’s THE UNBEARABLE WEIGHT OF MASSIVE TALENT Learn more about your ad choices. Visit megaphone.fm/adchoices

In addition to being an examination of how much chance determines the person we become, as well as something of a Rosetta Stone for the work of Krzysztof Kieslowski, BLIND CHANCE also plays like the 1980s version of a multiverse story, making it a clear precursor to Daniels Kwan and Scheinert’s new EVERYTHING EVERYWHERE ALL AT ONCE. But Kieslowski’s film has different ideas about fate, determination, and the invisible forces that shape our lives as much as the choices we make, all of which we attempt to unpack in our conversation, along with what connects BLIND CHANCE's three timelines, what about the politically minded film invited resistance upon its release, and the significance of that opening scream. Please share your comments, thoughts, and questions about BLIND CHANCE, EVERYTHING EVERYWHERE ALL AT ONCE, or anything else in the world of film, by sending an email tocomments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, a weekly newsletter, recommendations, and more. Outro music: Talking Heads, “Once In a Lifetime” The Tale of King Crab opens April 15th at New York City's Film at Lincoln Center before expanding to cities across the country. Find theater, tickets, and more atkingcrab.oscilloscope.net Learn more about your ad choices. Visit megaphone.fm/adchoices

Ti West’s new X is very much inspired by Tobe Hooper’s 1974 shocker THE TEXAS CHAINSAW MASSACRE (and to an extent, Hooper’s lesser-known EATEN ALIVE), following another bunch of ill-fated van passengers, this one a group filming a low-budget porno, who wind up on the wrong side of the owners of a remote Texas farmhouse. The film’s late-’70s setting invites all sorts of analysis and interpretation about sex, death, and their intersection with cultural and religious conservatism at the dawn of the 1980s, which we dig into, once again with the help of film writer and horror aficionado Katie Rife, before turning our focus to some of the specific echoes between X and TEXAS CHAINSAW MASSACRE. Please share your comments, thoughts, and questions about THE TEXAS CHAINSAW MASSACRE, X, or anything else in the world of film, by sending an email tocomments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, a weekly newsletter, recommendations, and more. Outro music:Blue Oyster Cult, “Don’t Fear the Reaper” Next pairing:The Daniels’ EVERYTHING EVERYWHERE ALL AT ONCE and Krzysztof Kieslowski’s BLIND CHANCE Learn more about your ad choices. Visit megaphone.fm/adchoices

123...34
常見問題
  • Himalaya 是什麼?
    喜馬拉雅國際版,Himalaya 是一款有聲書 App,旨在為全球華人的終身學習提供隨時、隨地、隨心的全新聽書體驗。成為會員,即可以暢聽站內 100,000+ 海量會員內容。
  • Himalaya VIP 有什麼權益?
    你僅需花費每日低至 0.16 美金,就可以立即暢聽 100,000+ 全球銷量超百萬的暢銷有聲書,每週聽一本爆款新書,還有更多預售新書等著你!另可獲得每月 5 張免費體驗卡贈親友的福利,等同於贈送 1 張年卡的價值。
  • 我怎麼享受免費試用?
    現在訂閱 Himalaya VIP 即可享受至少 7 天的免費試用! 免費試用期內,無需付費即可免費暢聽會員包中的全部內容,包含 100,000+ 全球銷量超百萬的暢銷有聲書,和世界名校教授的原聲英文課程。
  • 我該怎麼使用優惠碼?
    在 Himalaya 首⻚選擇「開啟免費體驗」註冊完成之後, 輸入「優惠碼」選擇申請,支付成功後即可開啟 Himalaya VIP 內容免費暢聽權益!
  • 可以在哪收聽?
    Himalaya 提供你隨時隨地想听就听的服務, 可以下載 Himalaya APP 使用手機享受服務,同時也支持網頁版登陸在電腦上享受暢聽服務。
  • Himalaya VIP 的價格是多少?
    Himalaya VIP 採用連續訂閱的模式,按月訂閱價格為 $11.99/月;按年訂閱價格為 $59.99/年。每天僅需 0.16 美元,讓耳朵隨時隨地步入擁有 100,000+ 書籍你的專屬圖書館。
  • 我不想訂閱了,要如何取消?
    通過網頁端訂閱如何取消?
    你可以 點擊這裡 取消訂閱。 在試用期內取消訂閱,則不會自動續費;如果你已經成功續費後取消訂閱,則下個扣款週期不會自動續費。
    通過手機端訂閱如何取消?
    你可以在iTunes/Apple或Google Play設定中取消訂閱。在試用期到期前48小時取消訂閱,則不會自動續費;如果你已經成功續費後取消訂閱,則下個扣款週期不會自動續費。你可以通過以下連結找到如何取消訂閱的詳細資訊:Apple Store取消訂閱方法  Google Play取消訂閱方法

與Himalaya一起

每天15分鐘
在碎片的時間裡,學習一個知識點;通勤時、家務時、運動時,隨時隨地暢聽
每週1本新書
優選最新最熱暢銷書,資深編輯精心挑選榜單佳作,只聽有價值的好書
每年10大系列
商業財經、歷史文化、親子育兒,同系列好書好課一網打盡,帶你深入探究一個主題
app store
google play