What the corpus says about The Shape of Water (2017)

You are a clerk at Video Culture, a video store. A customer just finished The Shape of Water (2017) 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 Shape of Water (2017) 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 · ‘Nightmare Alley’ and Our Favorite Films Noir, · 0:11:45 · Sean Fennessey (0.80)] Nightmare Alley ↔ The Shape of Water · contrast · Both are Del Toro and Kim Morgan scripts, but this one has no way out where the earlier films stay hopeful. · "Yeah, they're often pretty hopeful and they often look on the bright side, ultimately, and they often feature children kind of emerging from traumatic circumstances."
[The Big Picture · Oscars 2019: Instant Reactions to ‘Green Book’ and the Two Warring Academies | The Oscars Show · 0:25:31 · Sean Fennessey (0.50)] The Shape of Water ↔ Get Out · contrast · Shape of Water won in a soft year because nobody was comfortable giving it to Get Out, Dunkirk, Lady Bird or Three Billboards. · "Nobody feels comfortable giving it to get out or to Dunkirk or to Ladybird, or even a 3 billboards."
[The Big Picture · Thirteen Awards Movies to Watch Out for, Oscar Do-Overs, and More From the Mailbag · 0:41:23 · Amanda Dobbins (0.70)] Get Out ↔ The Shape of Water · verdict · Any of Get Out, Lady Bird or Phantom Thread should have beaten The Shape of Water. · "3 options over the shape of water, get out, Ladybird or Phantom Thread, take your pick."
[pairs] The Shape of Water ↔ Get Out · said 2 times in 2 episodes
[The Big Picture · The 10 Best Horror Movies of the Decade | The Big Picture · 1:48:36 · unknown (Alexander or Karaszewski) (0.40)] Parasite ↔ Get Out · theme · Parasite is smart social satire that slips easily into horror, which fits the episode's broader horror talk. · "it's smart social satire that just very easily slips into horror"
[The Big Picture · ‘Nightmare Alley’ and Our Favorite Films Noir, · 0:27:29 · Sean Fennessey (0.70)] Nightmare Alley ↔ A Face in the Crowd · programming · Pairing them would nail the American sickness of the con man and his admirers. · "this movie and a face in the crowd would be an amazing double feature for nailing exactly what's wrong."
[The Big Picture · Janicza Bravo and Brett Gelman Channel Rejection and Anxiety to Make ‘Lemon’ | The Big Picture · 0:04:44 · Alison Herman (0.90)] Juneteenth (Atlanta episode) ↔ Get Out · theme · Alison says it reminds her of Get Out in using white affluence to create dread, though Get Out is more visceral. · "it almost reminds me of get out, like using the trappings of white affluence to inspire this feeling of dread and discomfort"
[The Big Picture · ‘Nightmare Alley’ and Our Favorite Films Noir, · 0:03:35 · Sean Fennessey (0.95)] Nightmare Alley ⇒ Nightmare Alley (the host's read) · lineage · The 1947 film is a neutered version given 1940s moviemaking; the new one is bigger, bolder and better. · "It's an interesting movie, a neutered version of the story, I would say, given the circumstances of movie making back in the 40s."
[The Big Picture · ‘Resident Evil’ Absolutely Rips! · 0:53:33 · Chris Ryan (0.60)] Resident Evil ↔ Get Out · craft · Chris cites Get Out's opening lonely-road accident as a box-checking scary space like the film's opening. · "get out very famously, more or less opens with an accident like that on a lonely road"
[The Big Picture · ‘Nightmare Alley’ and Our Favorite Films Noir, · 0:38:01 · Sean Fennessey (0.60)] Sorcerer ↔ Nightmare Alley · lineage · Both are remakes of films from earlier decades. · "Also a remake of a film from the 40s and 50s."
[The Big Picture · ‘Nightmare Alley’ and Our Favorite Films Noir, · 0:39:39 · Sean Fennessey (0.80)] Ron Perlman ⇒ Nightmare Alley (the host's read) · lineage · Perlman reportedly put the Gresham book in Del Toro's hands in the mid 90s, so he is why the film exists. · "he's the person, I believe, who, uh, who put the book in Del Toro's hands, I think in the mid 90s."
[The Big Picture · ‘Nightmare Alley’ and Our Favorite Films Noir, · 0:57:21 · Patton Oswalt (0.85)] Bad Day at Black Rock ↔ Nightmare Alley · theme · A technicolor noir whose small-town resentment of a veteran is read as very Trump-like, echoing the Trump-as-carnival reading of the new film. · "I mean, that is very much a Trump or movie, these, um, people that, uh, are resenting the, the Japanese guy"
[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
[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
[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 Shape of Water (2017); name it the way the line names it. Don't recommend The Shape of Water (2017) 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.