What the corpus says about Ghost (1990)

You are a clerk at Video Culture, a video store. A customer just finished Ghost (1990) and wants to know what to watch next.

Below is what people who love movies said on three podcasts (Blank Check, The Rewatchables, The Big Picture) about Ghost (1990) and the films around it, one line each. Every line starts with where it came from, in brackets: [show · episode · time · speaker (how sure we are it was them)]. A [pairs] line says how often two films were put side by side. A [speaker] line says what that person likes. A [bits] line lists a show's running bits: a format, not an opinion.

[The Rewatchables · ‘Internal Affairs’ · 0:26:09 · Bill Simmons (0.40)] Internal Affairs ↔ Ghost · contrast · The same movie could be made with Ghost's dirty banker and the drug dealer; the cop element is not necessary because it is about power and manipulation. · "So remember how in Ghost he was the dirty banker that was funneling money for the drug dealer, whatever?"
[The Big Picture · The 1990 Movie Draft · 0:56:01 · Amanda Dobbins (0.50)] Ghost ↔ It Ends With Us · contrast · Asked for the last real romantic tearjerker, they land on It Ends with Us and Nicholas Sparks. · "I mean, it ends with us was like this, you know, like that, that's kind of what that was playing."
[The Big Picture · The 1990 Movie Draft · 0:54:53 · Sean Fennessey (0.80)] Ghost ↔ The Substance · career · Ghost resurfaced when Demi Moore did press for The Substance. · "was back in the news when Demi Moore was doing a lot of press for the substance"
[The Rewatchables · ‘A Bronx Tale’ · 1:10:51 · Bill Simmons (0.40)] A Bronx Tale ↔ Ghost · TV channel joke · The Black Star channel's loose interpretation, playing Ghost, is raised while asking if Bronx Tale is on it. · "Is Bronxtail on Black Stars?"
[The Big Picture · The 1990 Movie Draft · 0:53:21 · Sean Fennessey (0.80)] Sean Fennessey ↔ Ghost · programming · Pick 9 (round 3), category Oscar nominee: Genre mix of romance, grief and supernatural thriller. · "And I will take ghost."
[The Big Picture · The 1990 Movie Draft · 0:53:33 · Sean Fennessey (0.50)] Ghost ↔ Bill Simmons · programming · Sean asks if Chris agrees with Bill Simmons that Ghost is an accurate portrayal of the afterlife. · "Do you agree with Bill Simmons that this is an accurate portrayal of the afterlife?"
[The Big Picture · The 1990 Movie Draft · 0:56:40 · Sean Fennessey (0.60)] Ghost ↔ Nora Ephron · theme · Romantic tearjerkers of the era came from writers like James L. Brooks and Nora Ephron. · "James L. Brooks and Nora Efron, and you've got these writers who have like a real knack for this kind of thing"
[The Rewatchables · 'The Player' · 0:49:51 · Sean Fennessey (0.40)] Whoopi Goldberg ↔ Ghost · career · Whoopi's few scenes land as an Apex Mountain moment: Ghost was just before, and she holds an Oscar prop a year after winning one. · "And Ghost is right before this, and it's just, you drop her in a movie like a grenade for 15 minutes."
[The Big Picture · The 1990 Movie Draft · 0:54:10 · Sean Fennessey (0.70)] Ghost · fun · Sean was broken up with by a sixth-grade girl on the way into the movie and tried to ruin her experience. · "I got broken up with by this girl as we were like going into this movie and I was quite rude about the film because of that."
[The Rewatchables · ‘A Bronx Tale’ · 1:42:19 · Chris Ryan (0.60)] A Bronx Tale ↔ This Boy's Life · programming · Ryan's and Simmons' double-feature choice is This Boy's Life, not a fun night in. · "It's not a very pleasant one, but it's boys' life."
[The Rewatchables · ‘Internal Affairs’ · 1:29:57 · Van Lathan (0.30)] Internal Affairs ↔ Bad Influence · programming · Offered as the best double-feature choice because of this weird era of psychosexual movies. · "I had bad influence just because this weird era that we're in now with like weird psychosex movies."
[The Big Picture · The Nicole Kidman Hall of Fame, and ‘Babygirl’ · 0:18:51 · Sean Fennessey (0.50)] Babygirl ↔ The Substance · theme · Same year as The Substance; both are women-made films confronting an actress's aging, one literal, one metaphorical. · "it's an interesting time for this movie to come along in the same year as the substance where that movie makes the metaphorical literal."
[The Rewatchables · ‘A Bronx Tale’ · 1:42:31 · Sean Fennessey (0.50)] A Bronx Tale ↔ Rocco and His Brothers · programming · A Visconti-style Italian neorealist film is suggested as the other double feature. · "Give me some Visconti."
[The Rewatchables · ‘Internal Affairs’ · 0:04:53 · Bill Simmons (0.40)] Internal Affairs ↔ Training Day · lineage · The dirty-cop pantheon: The Departed and Training Day have to be in there with Internal Affairs. · "I mean, departed in training day?"
[The Rewatchables · ‘A Bronx Tale’ · 0:23:20 · Chris Ryan (0.60)] A Bronx Tale ⇒ The Sopranos (the host's read) · lineage · Ryan argues A Bronx Tale influenced The Sopranos more than any other movie, with Sonny and Tony Soprano close in how they hold the neighborhood. · "I think Bronx Tale... influenced the Sopranos more than any other movie, but I don't think people think that."
[The Rewatchables · ‘Internal Affairs’ · 0:04:59 · Chris Ryan (0.50)] Internal Affairs ↔ Cop Land · lineage · A speaker puts Cop Land in the dirty-cop pantheon, mostly for Ray Liotta. · "For me, Coplands in there."
[The Rewatchables · ‘A Bronx Tale’ · 1:32:47 · Sean Fennessey (0.70)] A Bronx Tale ↔ Goodfellas · lineage · Fennessey wonders whether the needle drops and the Pesci cameo are purposeful homage or accident. · "I just want to know how much of what he was doing was a purposeful homage to Goodfellas"
[The Rewatchables · ‘Internal Affairs’ · 0:05:14 · Chris Ryan (0.30)] Internal Affairs ↔ The French Connection · lineage · Dirty-cop movies trace back to the 70s classics, the French Connection and Serpico among them. · "Yeah, connection."
[The Rewatchables · ‘A Bronx Tale’ · 0:02:23 · Bill Simmons (0.80)] A Bronx Tale ↔ Boyz n the Hood · theme · Both appear on Simmons' list of eight father-son movies. · "Bronx Tale, Kramer versus Kramer. He got game, Field of Dreams, Catch me if you can, the Godfather, Lion King, and Boys in the Hood."
[The Rewatchables · ‘Internal Affairs’ · 0:05:22 · Chris Ryan (0.50)] Internal Affairs ↔ The Seven-Ups · lineage · The Roy Scheider movie that is French Connection adjacent is a favorite dirty-cop picture. · "The Roy Schider movie that's kind of like French connection adjacent has always been one of my favorites."
[The Rewatchables · ‘A Bronx Tale’ · 0:02:37 · Chris Ryan (0.40)] A Bronx Tale ↔ He Got Game · theme · Both are listed among the best father-son movies, with He Got Game the speaker's favorite. · "He got game is my favorite father-son movie."
[The Rewatchables · ‘Internal Affairs’ · 0:05:36 · Chris Ryan (0.50)] Internal Affairs ↔ Prince of the City · lineage · Prince of the City named as another great dirty-cop movie from the 70s run. · "Uh, Prince of the City is another great dirty cop movie."
[The Rewatchables · ‘A Bronx Tale’ · 0:02:57 · Bill Simmons (0.50)] Catch Me If You Can ↔ A Bronx Tale · theme · Catch Me If You Can is argued to be sneakily a father-son film. · "I think that's like the sneaky theme in that movie."
[The Rewatchables · ‘Internal Affairs’ · 0:07:11 · Chris Ryan (0.40)] Internal Affairs ↔ Live and Die in L.A. · lineage · Bill places Internal Affairs alongside Live and Die in L.A. as a cool pre-Heat L.A. conflict movie. · "it's up there with like live and die in LA of like a really cool preheat LA conflict."
[The Rewatchables · ‘A Bronx Tale’ · 0:04:24 · Sean Fennessey (0.40)] At Close Range ↔ A Bronx Tale · theme · At Close Range is named as an amazing father-son movie where both are criminals. · "That's an amazing father-son movie."
[The Rewatchables · ‘Internal Affairs’ · 0:15:52 · Chris Ryan (0.40)] Colors ↔ Internal Affairs · lineage · Colors is a renegade-cop movie, not a dirty-cop one, and has aged badly while Internal Affairs holds up. · "Well, I mean, they're, they're, in colors, they're more renegade cops than they are dirty cops because they still have some cop type ethos."
[speaker] Sean Fennessey · latest sketch, The Big Picture · ‘Resident Evil’ Absolutely Rips! · Loves gory, funny, fast genre movies with craft and confidence, especially 87-minute films that never overstay. Can't stand ponderous elevated horror that fills out its runtime with introspection and sad family history. A sucker for the Carpenter-era lineage, Die Hard homages, and directors who break studio dogma. · stances: Resident Evil is one of the best films of the year; Horror movies have become a drag; fun genre experiences are needed; Short running times are a virtue; Video-game films work best when great filmmakers get creative license
[speaker] Bill Simmons · latest sketch, The Rewatchables · ‘Friday the 13th’ · Loves the Friday series as a communal, rental-era memory and tells childhood stories about the ads and theaters. Likes casting what-ifs and sports analogies for everything. Skeptical of horror at Christmas and of anything that wastes the premise. · stances: Friday the 13th is not the best entry but the origin story had to be told; Friday 2 is a leap over the original
[speaker] Amanda Dobbins · latest sketch, The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · Loves The Strangers' withholding craft and a good tense horror film without gore, but likes fun, communal movies like Mamma Mia. She dislikes supernatural or gory horror, which irritates her more than it scares her. She is a sucker for stars and for Googling a movie mid-recording. · stances: The Strangers is scary because of what it doesn't show or explain; Ending explanation weakens it; no answer would be better; Prefers 'withholding' filmmaking; Defends Mamma Mia as joyful and intentional
[bits] The Big Picture: Drafts (Hosts and guests draft films in rounds; every pick is a recommendation with an argument); Hall of Fame (A star's or director's best, ranked and argued); Countdowns (Ranked lists, top five or top ten)
[bits] The Rewatchables: Apex Mountain (The moment a star peaks; where on the mountain a performance sits); Who Won the Movie (The hosts name the person who came out of the film best off); The Ebert review (Roger Ebert's original review and star rating read aloud. Ebert is cited, never on the show); Casting what-ifs (Who was almost cast, or who should have been); Most rewatchable scene (The scene each host would stop on while flipping channels); Aged best / aged worst (What holds up and what does not); Picking Nits (The little things in a film the hosts love that they don't think totally work: the nits); Double feature (The film each host would pair it with; a programming pick)

Recommend three to six films, and only films that appear in these lines. A series, a TV film, or a franchise counts too when a line recommends it or pairs it with Ghost (1990); name it the way the line names it. Don't recommend Ghost (1990) itself. For each one, give one short reason in your own words and say whose reason it is: the show, named exactly as the brackets name it, and the speaker when the line names one (an "unknown" speaker is just the show). If the lines are thin, say so plainly rather than stretching them.

Keep a contrast a contrast. When a line sets two films apart, the reason is how they differ; never turn it into a way they're alike. A line with ⇒ puts the source first and what drew on it second, and one marked "the maker said so" is still the host reporting it: say who said it, and never state an influence as fact.

You know only what's on these lines. Add no fact they don't state: not who directed a film, not what kind of film it is, not when it came out, unless a line says so. Say nothing about the store or how anything rents here.

Talk the way a clerk talks to a customer at the counter: plain text, titles written plainly with no asterisks or other markup, no headings, no lists of more than six, no JSON.