What the corpus says about Munich

You are a clerk at Video Culture, a video store. A customer just finished Munich 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 Munich 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 · Steven Spielberg's Top 5 Movies · 0:50:57 · Sean Fennessey (0.60)] Munich ↔ Miami Vice · programming · Mann was busy making Miami Vice, 'maybe that was part of the problem'. · "I'm pretty sure Michael Mann was making your beloved Miami Vice when... Maybe that was part of the problem."
[The Big Picture · Steven Spielberg's Top 5 Movies · 0:34:24 · Chris Ryan (0.75)] Munich ↔ Munich · verdict · The opening 35 minutes of Munich is the case for Spielberg as the best. · "the opening 35 minutes of Munich or like everybody just needs to put their cameras down"
[The Big Picture · Steven Spielberg's Top 5 Movies · 0:50:45 · Bill Simmons (0.65)] Munich ↔ Michael Mann · what-if · Munich should have been shot like a vintage Michael Mann thriller. · "It should have been like a Michael Mann movie."
[Blank Check · Miami Vice - Pilot Episode · 1:07:11 · unknown (0.40)] Miami Vice ⇒ ER (the host's read) · lineage · Miami Vice's influence made TV look like Mann movies; ER's steadicam is where that finishes. · "An ER, you've got steady cam shots and that's when it's really done and dusted."
[The Big Picture · ‘Ferrari’ and Top Five Michael Mann Movies · 0:39:11 · Chris Ryan (0.40)] Miami Vice ↔ Calderone's Return · lineage · Calderone's Return is the 1984 Miami Vice double episode that the Rewatchables did. · "How do you feel about Calderon's return, the double episode of Miami Vice from 1984."
[The Rewatchables · ‘Thief’ · 0:44:28 · Chris Ryan (0.40)] Thief ↔ Miami Vice · theme · Same send-the-wife-away beat in Miami Vice's Calderon's revenge. · "Miami Vice, which I think he had a pretty big imprint on season one."
[The Big Picture · ‘Ferrari’ and Top Five Michael Mann Movies · 0:57:49 · Chris Ryan (0.70)] Miami Vice ↔ Black Hat · theme · Both have messy, stitched-together production histories, a hallmark of the last 15 years of Mann's career. · "when you see black hat, you're like, this definitely feels stitched together in strange ways."
[The Big Picture · ‘Ferrari’ and Top Five Michael Mann Movies · 0:59:04 · Chris Ryan (0.50)] Miami Vice ↔ Babylon · theme · Chris likes reclamation projects, films that critics first dismissed, as he does Miami Vice. · "I like reclamation projects."
[The Rewatchables · ‘The Insider’ · 0:52:07 · Sean Fennessey (0.35)] The Insider ↔ Miami Vice · craft · Mann's pop-abstract music choices, such as the Linkin Park and Jay-Z cues in Miami Vice, are a recurring misfire for some. · "Is this your, is this a subtle dig at Lincoln Park, Jay-Z being used in Miami Vice?"
[Blank Check — Patreon · Zodiac · 1:09:57 · unknown (0.40)] Miami Vice ↔ Zodiac · craft · Both used the Thomson Viper digital camera. · "man, use that on Miami Vice as well."
[Blank Check — Patreon · In the Cut · 1:24:25 · Griffin or David (unclear) (0.35)] Dion Beebe ↔ Miami Vice · craft · Beebe shot Miami Vice and defines the Michael Mann digital look. · "He defines the Michael Mann digital look."
[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] Chris Ryan · latest sketch, The Rewatchables · ‘Friday the 13th’ · A franchise and genre scholar who likes Jason, the early sequels, and Manhattan; attention to trivia, tropes and critic reception. Treats slashers as a canon with tiers. · stances: Parts 1, 2, 4 and Manhattan are the good ones; The series finds its legs at 4
[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)
[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 Munich; name it the way the line names it. Don't recommend Munich 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.