What the corpus says about The Velvet Underground (2021)

You are a clerk at Video Culture, a video store. A customer just finished The Velvet Underground (2021) 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 The Velvet Underground (2021) 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 Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 1:16:41 · Adam Nayman (0.85)] The Velvet Underground ↔ The Beatles: Get Back · contrast · Haynes's film is all shaping and concept while Jackson's Get Back just lets you sit and listen. · "What an interesting double bill development underground dock is with get back."
[The Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 1:16:00 · Amanda Dobbins (0.80)] I'm Not There ↔ The Velvet Underground · people · Both show Haynes's fascination with originating power: where it came from and how pieces assembled into a singular figure or band. · "the thing that it fascinates him is originating power. It's like, where did this come from and how did it come together?"
[The Big Picture · Physical Media Strikes Back · 1:14:15 · Sean Fennessey (0.55)] The Velvet Underground ↔ Killers of the Flower Moon · Apple physical · Velvet Underground is the one Apple movie with a physical release (Criterion). · "Actually, that's the one Apple movie that has a physical release."
[The Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 1:11:55 · Adam Nayman (0.85)] Superstar: The Karen Carpenter Story ⇒ I'm Not There (the host's read) · lineage · Todd Haynes's first film, the Barbie-doll Karen Carpenter story, is the progenitor of I'm Not There's foregrounded cliches. · "a movie that's kind of the spiritual progenitor if I'm not there, which is Superstar, which is the 1st thing Todd Haynes ever made"
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 1:18:30 · Amanda Dobbins (0.40)] Killers of the Flower Moon ↔ Silence · programming · Amanda watched Silence the day before and went straight to Killers. · "I watched silence yesterday and immediately went to sit down with you to watch Killers of the Flower Moon"
[The Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 1:13:32 · Adam Nayman (0.85)] Pat Garrett and Billy the Kid ⇒ I'm Not There (the host's read) · lineage · Haynes styles one segment after Pat Garrett and Billy the Kid and another after Pennebaker, so the film is also different period filmmaking. · "he styles one whole segment after, you know, Pat Garrett and Noie the Kid."
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 0:35:48 · Amanda Dobbins (0.50)] Titanic ⇒ Killers of the Flower Moon (the host's read) · lineage · The car make-out scene is a funny Titanic callback. · "I thought there was a really funny callback to Titanic when they're making out in the car."
[The Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 1:13:58 · Adam Nayman (0.65)] I'm Not There ↔ Inside Llewyn Davis · craft · Adam would rather listen to Llewyn Davis sometimes than Dylan, a different disguised music biopic. · "I actually rather listen to Lewin Davis sometimes in Bob Dylan, which is a whole other kind of disguised music biopic."
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 1:00:16 · Sean Fennessey (0.50)] Killers of the Flower Moon ↔ Kundun · lineage · An American version of the desolate landscapes and haunting spirituality of Kundun, Silence, Last Temptation. · "it is him doing an American version in some ways of what he did in Kundun, in silence, and last temptation of Christ"
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 0:26:35 · Amanda Dobbins (0.50)] Killers of the Flower Moon ↔ The Wolf of Wall Street · theme · Both feature a too-smart-for-his-own-good man doing dumb things who thinks he'll get away with it. · "I thought a lot of Wolf of Wall Street. While doing it because that is a guy who is too smart for his own good, but also doing a lot of really dumb shit."
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 0:59:47 · Sean Fennessey (0.50)] Killers of the Flower Moon ↔ Giant · theme · Its magnitude and oil, family and betrayal themes recall Giant, with Ford, Hawks, Stevens epic scale. · "I did think of giant a few times while watching the movie, which is a movie about oil and families and betrayal."
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 1:00:04 · Sean Fennessey (0.40)] Killers of the Flower Moon ↔ Shane · theme · Sean notes Scorsese often talks about Shane when discussing Westerns. · "Scorsese talks about Shane a lot."
[The Big Picture · ‘Ferrari’ and Top Five Michael Mann Movies · 0:16:14 · Amanda Dobbins (0.40)] Ferrari ↔ Killers of the Flower Moon · craft · Ferrari's quick impressionistic opening flashback recalls the silent-film-style opening of Killers of the Flower Moon. · "it reminded me a bit of the opening sequence of the Killers of the Flower Moon, where it's kind of shot in this old school, like silent film style."
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 0:14:19 · Sean Fennessey (0.60)] Goodfellas ⇒ Killers of the Flower Moon (the host's read) · craft · The opening tracking shot echoes the Copacabana shot before the film rejects that mode. · "It was a very long tracking shot through Leo's arrival, which is, you know, gesturing to Copacabana"
[speaker] Adam Nayman · latest sketch, The Big Picture · The Final Girl Film Canon and ‘Teenage Sex and Death at Camp Miasma’ · Self-described slasher fan who likes a movie that plays with tropes intelligently; admires Miasma's playfulness and sincerity but dislikes its showbiz satire. Soft spot for Texas Chain Saw, wrestling and Toronto sports. Wary of the idea that references alone make a movie smart. · stances: Miasma is academic but playfully so; Better filmmakers deserve less intention-guessing; Don't need to love slashers to love Miasma
[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
[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
[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)

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 The Velvet Underground (2021); name it the way the line names it. Don't recommend The Velvet Underground (2021) 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.