What the corpus says about Les Misérables (2012)

You are a clerk at Video Culture, a video store. A customer just finished Les Misérables (2012) 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 Les Misérables (2012) 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 · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · 0:16:51 · Amanda Dobbins (0.60)] Mamma Mia! ↔ Les Misérables · career · Mamma Mia and Les Mis are Seyfried's core work that Sean had not seen. · "And you have just not seen any of her core work, including, but Mama Mia and Les Misera."
[The Big Picture · Emergency Mailbag: The Oscars Are Streaming and Hollywood Is Fighting Over Trolls | The Big Picture · 0:30:16 · Bobby Wagner (0.60)] Portrait of a Lady on Fire ↔ Les Misérables · industry · France submitted Les Miserables over Portrait, spawning the new international-feature rule. · "we will call the portrait of a lady on fire rule, which clearly indicated that there was some discontent with Les Miserables taking the space for France in that category"
[The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · 0:13:57 · Sean Fennessey (0.70)] Mamma Mia! ↔ Shrek · programming · Reflecting on their movie swaps, Sean ties Shrek, the earlier one-way swap, to Bobby Wagner's last episode. · "Bob's last episode was like a one-way movie swap, which was Shrek."
[The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · 0:52:57 · Amanda Dobbins (0.80)] ABBA ⇒ Mamma Mia! (the host's read) · lineage · The film is aesthetically and spiritually in tune with ABBA's incandescent, inescapable and stupid songs. · "It is a film that is very, like aesthetically and spiritually in tune with its source material, being the, like, incandescent, inescapable, wonderful, and also really stupid songs of ABBA."
[The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · 1:35:44 · Amanda Dobbins (0.60)] Mamma Mia! ⇒ Mamma Mia! Here We Go Again (the host's read) · lineage · The sequel is both prequel and sequel, with Lily James as young Donna in Donna and the Dynamos. · "can I tell you it's both a prequel and a sequel?"
[The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · 0:02:42 · Sean Fennessey (0.60)] The Strangers ↔ Mamma Mia! · theme · Amanda argues the two 2008 films share a theme of knowing thyself and what can't be known; later both end by withholding the answer. · "And I would, I'll argue, has some things in common with Mama Mia."
[The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · 1:22:55 · Sean Fennessey (0.50)] Mamma Mia! ↔ The Rocky Horror Picture Show · theme · The older characters' drag-like performances make Mamma Mia like Rocky Horror for people who go to full-service resorts. · "it's like rocky horror picture show for people who like to go to, like, Cabo to all, like, to, you know, um, full service resorts"
[The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · 1:29:03 · Amanda Dobbins (0.70)] Mamma Mia! ↔ The Strangers · theme · Mamma Mia, by never confirming the father, honors not-knowing the way The Strangers does, which Amanda says gives it more nerve. · "This movie understands that the greatest fear and the greatest power lies in not knowing."
[The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · 0:54:46 · Amanda Dobbins (0.60)] Mamma Mia! ↔ Phyllida Lloyd · craft · A celebrated theater director made poor camera choices; the speaker says it is some of the worst direction they've seen. · "The actual direction of the film is some of the worst I've ever seen."
[The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · 1:11:35 · Sean Fennessey (0.50)] Mamma Mia! ↔ Bergman Island · craft · Bergman Island also uses The Winner Takes It All, which Sean ranks as the second-greatest use of the song. · "I told you at the time, the 2nd greatest use of the winner takes it all ever."
[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] Bobby Wagner · latest sketch, The Big Picture · Best Picture Power Rankings and a ‘Poor Things’ Deep Dive. Plus: Julianne Moore and Todd Haynes! · As the producer in the room he saw The Boy and the Heron in a theater, enjoyed it for the grannies, and offers a second-chances reading of Poor Things. · stances: Poor Things reads as optimistic, about second chances
[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 Les Misérables (2012); name it the way the line names it. Don't recommend Les Misérables (2012) 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.