What the corpus says about Body Heat (1981)

You are a clerk at Video Culture, a video store. A customer just finished Body Heat (1981) 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 Body Heat (1981) 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 · ‘The War of the Roses’ · 1:32:05 · Mallory Rubin (0.45)] The War of the Roses ↔ Body Heat · programming · Triple-feature pitch: Roses with Body Heat and Fatal Attraction. · "I do think we should be pairing this with both body heat and fatal attraction."
[The Big Picture · ‘Nightmare Alley’ and Our Favorite Films Noir, · 1:02:43 · Patton Oswalt (0.75)] The Last Seduction ↔ Body Heat · lineage · 90s-era erotic-thriller noirs push the femme fatale to an extreme; Bound completes the trio. · "Oh, yeah, with last seduction in body heat."
[The Rewatchables · ‘Father of the Bride’ · 0:13:18 · Bill Simmons (0.90)] The Man with Two Brains ↔ Body Heat · same actress, sexiness as a trait · Kathleen Turner's sexiness is exploited as a trait in both films, an all-time hot performance. · "between that and body heat, all time hot performance by an actress where it's just like the sexiness of the actress is actually a trait they're exploiting in the movie."
[Blank Check · Raiders of the Lost Ark · 0:52:49 · unknown (0.40)] Lawrence Kasdan ↔ Body Heat · career · Surprise that the Raiders writer also did the sexy Body Heat. · "Raiders was written by the guy who did Mumford."
[The Rewatchables · ‘The War of the Roses’ · 0:09:33 · Bill Simmons (0.60)] Kathleen Turner ↔ Body Heat · career · Turner came off Body Heat throwing everything at 119 mph and kept that up all decade. · "she comes in coming off body heat throwing like 119 miles an hour and basically kept that going for the entire decade."
[Blank Check · Raiders of the Lost Ark · 0:53:13 · unknown (0.30)] Body Heat ↔ George Lucas · industry · Lucas is said to have produced Body Heat and removed his name so his brand would not undercut its sexiness. · "Lucas produced body heat, but had his name removed from it because he thought that people would be turned off of the movie being sexy with his name attached."
[The Rewatchables · ‘The War of the Roses’ · 1:32:10 · Mallory Rubin (0.45)] The War of the Roses ↔ Fatal Attraction · programming · Pair an erotic-thriller double with Roses for a full day of 80s marriage trouble. · "I think that should be like we get an erotic thriller with both of them and then we watch this"
[The Rewatchables · ‘The War of the Roses’ · 1:32:18 · unknown (0.30)] The War of the Roses ↔ Romancing the Stone · programming · The speakers pair Roses with Romancing the Stone for the other end of the Douglas/Turner spectrum. · "I was going to say romance in the stone just to get the other end of the spectrum."
[The Rewatchables · ‘The War of the Roses’ · 1:32:43 · unknown (0.30)] The War of the Roses ↔ Mr. & Mrs. Smith · programming · Mr. & Mrs. Smith is the lighter double feature since the couple also wreck the house but it works out. · "Because they tear up the house in the same way, but then it kind of works out, at least in the movie."
[The Rewatchables · ‘The War of the Roses’ · 0:56:37 · unknown (0.30)] The War of the Roses ⇒ Game of Thrones (the host's read) · lineage · The actual historical Wars of the Roses was a big inspiration for Game of Thrones. · "Big inspiration for Game of Thrones."
[The Rewatchables · ‘The War of the Roses’ · 1:37:30 · Craig Horlbeck (0.50)] The War of the Roses ↔ Gone Girl · lineage · Roses is described as a prequel to Gone Girl; it could have pivoted to Turner killing Douglas and going on the run. · "This movie's kind of a prequel to Gone Girl."
[The Big Picture · The 10 Best Horror Movies of the Decade | The Big Picture · 1:14:24 · unknown (Alexander or Karaszewski) (0.40)] The War of the Roses ⇒ Problem Child (the maker said so: the writer's own account on the show) · lineage · They had pitched Problem Child to be a grown-up dark comedy like The War of the Roses. · "talked about the War of the Roses"
[The Rewatchables · ‘The War of the Roses’ · 0:02:41 · unknown (0.30)] The War of the Roses ↔ Kramer vs. Kramer · theme · Roses may be the more on-point childhood divorce movie than Kramer, and the two anchor any divorce-movie pantheon. · "But this might actually be the more on point childhood divorce movie for me."
[The Rewatchables · ‘The War of the Roses’ · 0:04:18 · unknown (0.30)] Irreconcilable Differences ↔ The War of the Roses · theme · Irreconcilable Differences is in one speaker's divorce top four, and it is currently unfindable. · "for me, it's irreconcilable differences would be in my top four, which you can't find."
[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] Mallory Rubin · latest sketch, The Rewatchables · ‘Friday Night Lights’ · Devoted to the Friday Night Lights show and cares most about its marriage, character work and Texas setting. Loves a high school football film, small-town Texas and Billy Bob; a sucker for Kyle Chandler, Tammy and Eric. Can't stand the film leaving Sharon unused. · stances: The TV show can't be matched, but that does not slight the film; Coach Taylor's speeches beat Coach Gaines's; The film needed a Gaines marriage sex scene; The reboot must stay in Texas; Cruise would make a deranged, mesmerizing Gaines
[speaker] Patton Oswalt · latest sketch, Blank Check — Patreon · The Killing · Watches The Killing repeatedly, loves noir and character actors, Timothy Carey stories, Matthau in Pelham 123, Albert Brooks and Adam Sandler's dramatic work, Shudder and the Corman-style ecosystem. Hates the method and the auteur theory. · stances: The method and the auteur theory both get in the way of the work; The Killing's characters are small-time crooks who aren't smart enough; Titles do real work, the killing is a double meaning; Genre outsiders like Shudder directors will be the next filmmakers
[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 Body Heat (1981); name it the way the line names it. Don't recommend Body Heat (1981) 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.