What the corpus says about 22 Jump Street (2014)

You are a clerk at Video Culture, a video store. A customer just finished 22 Jump Street (2014) 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 22 Jump Street (2014) 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 · The Future of ‘Star Wars,’ Marvel, Pixar, and Disney’s Movie Monopoly. Plus: Our Summer Movie Awards and Paul Downs Colaizzo on ‘Brittany Runs a Marathon’ | The Big Picture · 1:10:17 · Paul Downs Colaizzo (0.90)] Brittany Runs a Marathon ↔ 22 Jump Street · people · Walking out of 22 Jump Street he wondered if Jillian Bell might someday be Brittany. · "I remember walking out of 22 Jump Street, just sort of like flippantly thinking, I wonder if that'll be Britney someday."
[The Big Picture · The Future of ‘Star Wars,’ Marvel, Pixar, and Disney’s Movie Monopoly. Plus: Our Summer Movie Awards and Paul Downs Colaizzo on ‘Brittany Runs a Marathon’ | The Big Picture · 1:01:08 · Paul Downs Colaizzo (0.90)] Mike Nichols ⇒ Brittany Runs a Marathon (the maker said so: on the show, Colaizzo describing his own influences) · lineage · Colaizzo studied theater-to-film directors Nichols, Kazan, May and Mamet. · "Well, like Mike Nichols did that, Ellie? Kazan, um, Elaine May, you know, works as a director, as a writer, and, and, you know, I could feel that David Mammoth, same thing."
[The Big Picture · The Future of ‘Star Wars,’ Marvel, Pixar, and Disney’s Movie Monopoly. Plus: Our Summer Movie Awards and Paul Downs Colaizzo on ‘Brittany Runs a Marathon’ | The Big Picture · 1:09:42 · Paul Downs Colaizzo (0.90)] Brittany Runs a Marathon ↔ Thornton Wilder · theme · He cites a Wilder line, film is the story of them and theater the story of us, and tries to do the story of us on film. · "film is the story of them and theater is the story of us."
[The Big Picture · The Future of ‘Star Wars,’ Marvel, Pixar, and Disney’s Movie Monopoly. Plus: Our Summer Movie Awards and Paul Downs Colaizzo on ‘Brittany Runs a Marathon’ | The Big Picture · 1:25:28 · Sean Fennessey (0.80)] Brittany Runs a Marathon ↔ Carnal Knowledge · craft · Carnal Knowledge starts one way and ends another, which is what Sean meant about the Nichols shift; it is also shot theatrically. · "Wait, it starts one way and it ends another way. That is fantastic."
[speaker] Paul Downs Colaizzo · latest sketch, The Big Picture · The Future of ‘Star Wars,’ Marvel, Pixar, and Disney’s Movie Monopoly. Plus: Our Summer Movie Awards and Paul Downs Colaizzo on ‘Brittany Runs a Marathon’ | The Big Picture · A playwright who came late to movies and became a convert through love and vulnerability; he prizes character, theater structure and Mike Nichols-style tonal shifts. Is a sucker for the idea of the story of us rather than them, and for theatrical, subtext-rich filmmaking such as Carnal Knowledge. Dislikes flattened, broadly offensive treatments of his protagonist. · stances: Writing and directing are separate jobs; A comedy can quietly turn into a drama; Wanted Amazon for The Big Sick-style theatrical and home life
[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 22 Jump Street (2014); name it the way the line names it. Don't recommend 22 Jump Street (2014) 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.