Filmspotting

Albert Brooks's ahead-of-its-time mockumentary.

The ballad of Walter and Phyllis (and Walter and Barton).

Skreeeee-eeeeeongk!

The many faces of Orson Welles.

The basketball film that changed the game.

The 1996 meta-horror movie understands the rules.

Sorkin's follow-up to "The Social Network" goes astray.

What an excellent day for an exorcism.

There’s a clown under the bed.

The bomb under the table.

A new way to Austen.

It's not because you're a nerd.

Does it get easier?

The Mattel Corp. follows up Barbie with not-Barbie.

Can a movie really change your life?

With the fall film festival season (mostly) in the rearview and release dates set through the end of the year, Adam and Josh hold a Fall Movie Preview Draft that sees them largely ignoring obvious picks like Avengers: Doomsday and Dune: Part Three in favor of battling over some of the most intriguing indies still to come. Plus, a review of Aaron Sorkin's The Social Reckoning and Massacre Theatre. This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code FILMSPOT26 to take 15% off. (Timecodes will not be precise with ads.) Intro (00:00:00-00:02:25) ‘26 Fall Preview Draft (00:02:26-0:25:19) Filmspotting Family (0:25:20-00:31:25) Preview Draft, cont. (00:31:26-1:02:41) The Social Reckoning (1:02:42-01:30:58) Massacre Theatre (01:30:59-01:36:46) Credits / New Releases (01:36:47-01:44:01) Notes: -Yes, for some reason James Caan appeared on a Fall Preview cast list for “Cliff Booth” along with his son. No, it didn’t occur to…

Primetime is a far-from-straightforward take on a true story, using the mid-aughts TV phenomenon To Catch a Predator and especially its host, Chris Hansen, for a darkly comic exploration of the morally murky place where ambition and justice overlap. It’s a tonal high wire act that gets a lot of mileage out of Lance Oppenheim’s expressively stylized direction and strong performances from Robert Pattinson, Merritt Wever, and Skyler Gisondo, but whether that all adds up to a satisfying film is up for debate this week. Then we bring 1957’s Sweet Smell of Success back in for Connections to discuss how it and Primetime both navigate protagonists who punch down from their moral high ground, and the bygone media environments that enable them, all while maintaining a sense of humor. Then, for anyone looking for a fuller picture of To Catch a Predator’s rise and fall, we offer a Your Next Picture Show for David Osit’s 2025 documentary Predators. Please share your thoughts about Sweet Smell of Success, Primetime, or…

Hasta la vista, baby.

Mike Flanagan’s limited series adaptation of the King classic.

Saving Hollywood (Again)

Iñárritu and Cruise’s ambitious new film.

Alexander Mackendrick’s blisteringly cynical 1957 film.

He'll be your wing man anytime.

Don’t have a baby in the Evil Dead cabin.

Teenage sex and death in the suburbs.

Way before Rudy, there was Speedy.

How many drivers does a buggy have?

Deals with the devil.

Avenge the fallen.

Zero Divided by Zero (Dark Thirty)

Truth in performance.

Kind of a big deal.

William Friedkin’s 1977 cult favorite.

Get off the train with me.

Pitch Perfect: Bollywood

God is in the details.

It’s a strange world.

Alexander Ullom's It Ends is a daring little piece of microbudget drama about four friends at transition points in their lives, who find themselves in a place where life and death no longer hold any meaning. Whether it’s a film about despair, about the afterlife, about the human condition, or all of the above, is up for discussion this week, as well as how It Ends fits into this current moment in independent horror cinema. After that, we bring Andrei Tarkovsky’s Solaris back in for Connections to discuss these two films’ respective existential journeys, the baggage their characters are bringing with them, and how each movie uses its genre premise to explore a big central metaphor. Then for Your Next Picture Show, we take a quick look at how Steven Soderbergh’s 2002 version of Solaris compares to Tarkovsky’s. Please share your thoughts about Solaris, It Ends, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773)…

This is the girl.

Pop, lock, laughing stock.

Sex and danger.

Looney Tunes resurrected.

In space, no one can hear you philosophize.

Play the hits.

A Cold War comedy from the makers of "Game Night."

Burning down the house.

Alien or Blade Runner?

Like tears in rain.

The universal human desire to not get eaten.

Anthony Mackie and Ben Kingsley take a payday in the Saudi-set epic.