What the corpus says about Lost in Translation (2003)

You are a clerk at Video Culture, a video store. A customer just finished Lost in Translation (2003) 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 Lost in Translation (2003) 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 — Patreon · March Madness 2021 Recap - Round 2 · 0:30:32 · Griffin Newman (0.40)] Her ↔ Lost in Translation · theme · A Spike Jonze episode would involve the he-said-she-said around Coppola's Lost in Translation. · "he said, she said quality of her with lost in translation"
[The Big Picture · Top Five Gen X Director Debuts, the Fate of ‘Black Widow,’ and a Potential Oscars Disaster · 1:08:46 · Brian Koppelman (0.80)] The Virgin Suicides ↔ Lost in Translation · verdict · Brian calls Lost in Translation as good as a movie can be and says Virgin Suicides is perfectly executed but just misses. · "lost in translation for me is, you know, just as good as a movie can be"
[The Rewatchables · ‘What About Bob?’ · 1:00:34 · Bill Simmons (0.70)] What About Bob? ↔ Lost in Translation · industry · Murray's one nomination came for Lost in Translation; the group disputes who beat him. · "Who beat him for Lost in Translation?"
[The Rewatchables · ‘Weird Science’ · 0:14:39 · Bill Simmons (0.50)] Weird Science ↔ Her · lineage · Weird Science did years earlier what Her does: making a fake hot woman because you cannot meet a real one. · "Like, that was the movie 15 years or so later, whatever that was that weird science was doing."
[The Big Picture · Top Five Gen X Director Debuts, the Fate of ‘Black Widow,’ and a Potential Oscars Disaster · 1:07:22 · Sean Fennessey (0.90)] Lick the Stars ⇒ The Virgin Suicides (the host's read) · craft · Coppola's short Lick the Stars shows her honing the approach she took to the novel. · "you can see in her short film that she's basically like honing the approach"
[The Rewatchables · ‘What About Bob?’ · 0:46:51 · Sean Fennessey (0.90)] What About Bob? ↔ Pacific Heights · lineage · Sean calls What About Bob? a logical successor to Pacific Heights, part of the late-80s/early-90s 'from hell' subgenre where a transactional acquaintance won't leave your life. · "Think of this movie as a logical successor to Pacific Heights. It is it is the same thing."
[The Rewatchables · ‘Weird Science’ · 0:15:07 · Bill Simmons (0.55)] Weird Science ↔ Her · theme · Derek Thompson's male-loneliness podcast ties the 1985 premise to today: kids who cannot meet anybody would not leave the house. · "Derek Thompson just did a podcast for us about male loneliness"
[The Rewatchables · ‘What About Bob?’ · 1:12:11 · Van Lathan (0.60)] What About Bob? ↔ In Treatment · lineage · A 10-episode remake would be hard; In Treatment is the nearest show, tracking patients over years. · "I mean, in treatment was the show and treatment was kind of sort of like this."
[The Rewatchables · ‘What About Bob?’ · 1:13:09 · Bill Simmons (0.60)] What About Bob? ↔ Meet the Fockers · lineage · Bill's sequel idea: Analyze That, Meet the Fockers. · "Analyze that, meet the Fokkers."
[Blank Check · An Angel at My Table · 1:34:07 · unknown (0.30)] What About Bob? ↔ Frank Grimes · theme · Dreyfuss's therapist is likened to Frank Grimes, the lone person who sees the intolerable guy for what he is. · "He's the only one who understands that this person is intolerable."
[The Rewatchables · ‘What About Bob?’ · 0:17:15 · Sean Fennessey (0.90)] What About Bob? ↔ Analyze This · theme · Both are silly-seeming comedies staffed by hugely accomplished crews, which makes them better. · "a ton of people that are incredibly accomplished working on a movie that seems really silly and it makes the movie that much better."
[The Rewatchables · ‘What About Bob?’ · 1:09:39 · Van Lathan (0.60)] What About Bob? ↔ The Bourne Identity · theme · Bob's pretending to be someone else to track the doctor is likened to Jason Bourne or Ethan Hunt spycraft. · "Jason Bourne, like CIA detective skills to go in there and pretend to be somebody else, Ethan Hutt skills"
[The Rewatchables · ‘What About Bob?’ · 1:16:00 · Bill Simmons (0.70)] What About Bob? ↔ The Good Son · theme · Bill says the lake house is one thing, but the house in The Good Son was probably made up; leads to Culkin evil-kid horror. · "Here's here's where this game ends when you see the house from the good house from the good son."
[The Rewatchables · ‘What About Bob?’ · 0:35:13 · Sean Fennessey (0.70)] Michael Ballhaus ↔ What About Bob? · craft · Sean says Ballhaus shoots the scene of Siggy scaring Bob like a horror scene, with two heads in the frame, one in back and one in front. · "that's Michael Bauhaus. He's shooting that scene like it's a horror scene, you know, like the 2 heads in the frame, like one in the back and one in the front."
[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] 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] Griffin Newman · latest sketch, Blank Check · The Last Temptation of Christ · Calls Last Temptation his college-era favorite Scorsese; loves Scorsese's smaller 80s and the film's closing transcendence and Gabriel score. Cannot stand fundamentalist outrage at it. A sucker for casting trivia and Tom Cruise-silliness. · stances: Hot take: Last Temptation structurally mirrors New York, New York as a better version; Outrage over the film is stupid; it is respectful to Jesus; Scorsese's smaller 80s work beats his later baroque phases
[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 Lost in Translation (2003); name it the way the line names it. Don't recommend Lost in Translation (2003) 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.