What the corpus says about Something Wild (1986)

You are a clerk at Video Culture, a video store. A customer just finished Something Wild (1986) 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 Something Wild (1986) 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.

[Blank Check · Starman · 1:22:19 · David Sims (0.35)] Starman ↔ Something Wild · craft · The people met along the road each get a world of their own, as in Jonathan Demme's Something Wild. · "I, the thing about it happened when Eddie was thinking about some Jonathan Demi. Something wild? Yes."
[The Rewatchables · ‘Misery’ · 1:20:00 · Brian Koppelman (0.75)] Misery ↔ Something Wild · contrast · Double-feature: Something Wild flips Misery, with Liotta as the crazed one chasing. · "He's the crazed person stalking and chasing after the person, something wild."
[The Rewatchables · ‘Misery’ · 0:14:44 · Bill Simmons (0.60)] Stand by Me ↔ Misery · programming · Reiner's run: Stand By Me leads to When Harry Met Sally, Misery, A Few Good Men. · "It leads to, um, stand by me."
[Blank Check · Starman · 1:20:41 · Griffin Newman (0.40)] An American Werewolf in London ⇒ Starman (the host's read) · lineage · The transformation sequence is indebted to American Werewolf's practical, show-it-all body effects. · "Yes, which is very like American werewolf in London, where the body is stretching out."
[The Rewatchables · ‘Misery’ · 0:15:13 · Bill Simmons (0.70)] Misery ↔ A Few Good Men · programming · Misery sits in Reiner's incredible trio, all now Rewatchables. · "But when Harry Met Ali, Misery, Few Good Men, is really the best of all of these different great actors, right?"
[Blank Check · Starman · 1:27:07 · Griffin Newman (0.40)] It Happened One Night ⇒ Starman (the host's read) · lineage · The hay-bale love scene in an empty train car is called a likely conscious homage to It Happened One Night. · "So it's a, maybe it's an homage."
[The Rewatchables · ‘Misery’ · 0:51:47 · Bill Simmons (0.65)] Misery ↔ The Silence of the Lambs · programming · Annie Wilkes and Hannibal Lecter came back to back, two great thriller characters in 12 months. · "Annie Wilkes and Hannibal Lecter, back to back ears."
[Blank Check · Starman · 2:08:52 · Griffin Newman (0.40)] Starman ⇒ Starman (the host's read) · lineage · The 1986 show is set 15 years later, about his son, with a recast Starman. · "is set 15 years in the future because it's about his son."
[The Rewatchables · ‘Misery’ · 0:57:17 · Bill Simmons (0.70)] Forgetting Sarah Marshall ⇒ Misery (the host's read) · programming · Dracula the Musical award is borrowed from Sarah Marshall; given to the Misery books. · "We relate, so in, in, uh, forgetting Sarah Marshall."
[Blank Check · Starman · 2:13:16 · Griffin Newman (0.40)] Starman ⇒ Sean Levy (the host's read) · lineage · Levy announced a 2016 remake with Michael Douglas on board. · "I learned from Wikipedia that in 2016, Sean Levy was planning to direct and produce a remake of Starman."
[The Rewatchables · ‘Misery’ · 0:59:07 · Bill Simmons (0.70)] Pulp Fiction ⇒ Misery (the host's read) · programming · Butch's Girlfriend Award for weak link of the film is borrowed from Pulp Fiction. · "The Butch's girlfriend Award, Butch's girlfriend from Pulp Fiction."
[Blank Check · Starman · 2:11:38 · Griffin Newman (0.40)] Starman ⇒ John from Cincinnati (the host's read) · theme · A mysterious odd visitor who solves everyone's problems and parrots dialogue; John from Cincinnati owes a lot to Starman. · "He comes and visits, and he's mysterious, and he's weird, and he solves everybody's problem."
[The Rewatchables · ‘Misery’ · 1:19:39 · Bill Simmons (0.70)] Misery ↔ Stand by Me · programming · Simmons' double feature is Stand By Me and Misery. · "I would do standby me in misery."
[Blank Check · Starman · 1:19:49 · David Sims (0.50)] Starman ↔ Annette · craft · The baby in the transformation sequence recalls the unsettling baby in Annette. · "There were some real baby Annette vibes in that transformation sequence."
[The Rewatchables · ‘Misery’ · 1:19:44 · Brian Koppelman (0.60)] Misery ↔ The Dead Zone · programming · Koppelman's double feature is Dead Zone and Misery. · "Dead zone and misery."
[Blank Check · Starman · 1:22:06 · Griffin Newman (0.40)] Two for the Road ⇒ Starman (the host's read) · craft · Carpenter reportedly wanted to make something like Two for the Road. · "I want to make like 2 for the road."
[The Big Picture · The 1990 Movie Draft · 0:57:27 · Sean Fennessey (0.85)] Sean Fennessey ↔ Misery · programming · Pick 10 (round 4), category action/horror/thriller: Best of the bunch; Stephen King, Kathy Bates, Goldman, Reiner. · "I'll take misery."
[Blank Check · Starman · 1:22:08 · Griffin Newman (0.40)] It Happened One Night ⇒ Starman (the host's read) · craft · Carpenter wanted a road movie of two people in a car getting to know each other, in the mold of It Happened One Night. · "I want to make it happens one night."
[speaker] Brian Koppelman · latest sketch, The Rewatchables · ‘Margin Call’ · Loves craft: Chandor's economy, not speaking down, and actors like Tucci and Hoffman. Sucker for heightened workplace dialogue and one-night structures. · stances: Margin Call is among the 10 best of 15 years; Hanks does not play sleaze; Conflict structure over a night is the point
[speaker] David Sims · latest sketch, Blank Check · The Last Temptation of Christ · Prepares history: novel, casting, budgets, box office. Reveres the film and thinks it reads as a normal ground-level story. A sucker for Hollywood deal backstory and box office game. · stances: Praises Keitel and Dafoe casting; Respects Scorsese's persistence and Corman discipline; The film is now well regarded though not 'canonical Marty'
[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] Blank Check: The box office game (Guessing the film's opening weekend and what it was up against); The sung theme ("Blank Check with Griffin and David", sung; the transcriber garbles it)
[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 Something Wild (1986); name it the way the line names it. Don't recommend Something Wild (1986) 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.