What the corpus says about Up in the Air (2009)

You are a clerk at Video Culture, a video store. A customer just finished Up in the Air (2009) 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 Up in the Air (2009) 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 Rewatchables · ‘Margin Call’ · 0:48:21 · Bill Simmons (0.55)] Margin Call ↔ Up in the Air · theme · Simmons or Koppelman note Up in the Air shares the layoff-scene quality with the Tucci layoff. · "Oh, that's another movie that goes in the category is up in the air"
[Blank Check · Starman · 1:49:09 · Katey Rich (0.50)] Ryan Bingham ↔ Up in the Air · people · The Crazy Heart songwriter Ryan Bingham shares his name with George Clooney's character in Up in the Air. · "the guy who wrote those song, the weird kind, Ryan Bingham, who's like in the movie as musician, that is the name of George Clooney's character and up in the air."
[The Rewatchables · ‘Margin Call’ · 1:23:57 · Brian Koppelman (0.85)] Margin Call ↔ The Wolf of Wall Street · programming · Koppelman's double-feature picks are Wolf of Wall Street or Sweet Smell of Success. · "Either wolf of Wall Street or sweet smell of success."
[The Rewatchables · ‘Margin Call’ · 1:24:02 · Ryen Russillo (0.80)] Margin Call ↔ Bright Lights, Big City · programming · Russillo's double-feature pick. · "Bright lights, big city."
[The Rewatchables · ‘Margin Call’ · 1:24:10 · Bill Simmons (0.75)] Margin Call ↔ Wall Street · programming · Simmons chooses Wall Street as the best double feature, a fun mix that complements. · "I would go Wall Street."
[The Rewatchables · ‘Margin Call’ · 0:21:59 · Brian Koppelman (0.90)] Margin Call ⇒ Billions (the maker said so: Koppelman, Billions co-creator, on the show) · lineage · Koppelman says the borrowed lesson is that Margin Call does not speak down to the viewer. · "this movie doesn't speak down to the viewer"
[The Big Picture · The 25 Best Movies of the Century: No. 11 - 'The Wolf of Wall Street’ · 0:42:33 · Amanda Dobbins (0.50)] Margin Call ↔ The Wolf of Wall Street · lineage · Margin Call is in the finance-movie family that Wolf is the mothership of. · "This is, you know, the mothership."
[The Big Picture · Top Five Gen X Director Debuts, the Fate of ‘Black Widow,’ and a Potential Oscars Disaster · 1:09:43 · Brian Koppelman (0.65)] Oliver Stone ⇒ Margin Call (the maker said so: Brian speaking about his own writing) · lineage · Oliver Stone is as big an influence on Brian's dialogue as anybody but Mamet. · "Oliver Stone's big an influence on the way that I write dialogue as anybody but Mammoth."
[The Rewatchables · ‘Margin Call’ · 0:02:53 · Ryen Russillo (0.85)] Margin Call ↔ Liar's Poker · theme · Russillo links the movie's no-one-knows-what's-going-on feeling to Michael Lewis's Liar's Poker. · "I always think of that liar's poker effect from Michael Lewis"
[The Rewatchables · ‘Margin Call’ · 0:20:50 · Brian Koppelman (0.90)] Margin Call ↔ The Wolf of Wall Street · theme · Koppelman names Wolf as the other movie he has watched most, for the psychology of its people. · "Wolf of Wall Street's the other movie I've probably watched the most"
[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] Katey Rich · latest sketch, Blank Check · Starman · Loves Jeff Bridges and 80s hunks, Karen Allen's performance, Oscar history and the quiet humanity of Carpenter's side characters. Cannot stand Oscar tribute clips she says she hated. A sucker for her sons' obsessions (Coco, Sing, Rocketman). · stances: Karen Allen carries the movie and is the real lead; Carpenter gives every road character quiet humanity; Starman works because Bridges is both child and adult; The Starman TV show concept is insane
[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 Up in the Air (2009); name it the way the line names it. Don't recommend Up in the Air (2009) 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.