What the corpus says about Giant (1956)

You are a clerk at Video Culture, a video store. A customer just finished Giant (1956) 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 Giant (1956) 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 · ‘Killers of the Flower Moon’ Is Astounding · 0:59:47 · Sean Fennessey (0.50)] Killers of the Flower Moon ↔ Giant · theme · Its magnitude and oil, family and betrayal themes recall Giant, with Ford, Hawks, Stevens epic scale. · "I did think of giant a few times while watching the movie, which is a movie about oil and families and betrayal."
[Blank Check — Patreon · The Killing · 1:08:38 · Patton Oswalt (0.40)] The Killing ↔ Giant · contrast · The Killing's little low-budget kind stands against the bloated epics (Giant, King and I, Ten Commandments) of the era. · "all the great movies from this era are these little low budget"
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 1:18:30 · Amanda Dobbins (0.40)] Killers of the Flower Moon ↔ Silence · programming · Amanda watched Silence the day before and went straight to Killers. · "I watched silence yesterday and immediately went to sit down with you to watch Killers of the Flower Moon"
[The Rewatchables · ‘Reservoir Dogs’ · 0:47:05 · Bill Simmons (0.70)] The Killing ⇒ Reservoir Dogs (the maker said so: a Tarantino quote the host reads) · lineage · Tarantino said Reservoir Dogs was his version of Kubrick's heist film, without meaning it as a ripoff. · "but I did think of it as my killing, my take on that kind of heist movie."
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 0:35:48 · Amanda Dobbins (0.50)] Titanic ⇒ Killers of the Flower Moon (the host's read) · lineage · The car make-out scene is a funny Titanic callback. · "I thought there was a really funny callback to Titanic when they're making out in the car."
[Blank Check — Patreon · Paths of Glory · 1:41:56 · unknown (0.40)] Stanley Kubrick ↔ The Killing · lineage · The Killing is where Kubrick first has a real grasp of the language; Paths of Glory sits after it. · "The killing is when he finally has sort of like a real grasp on the language."
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 1:00:16 · Sean Fennessey (0.50)] Killers of the Flower Moon ↔ Kundun · lineage · An American version of the desolate landscapes and haunting spirituality of Kundun, Silence, Last Temptation. · "it is him doing an American version in some ways of what he did in Kundun, in silence, and last temptation of Christ"
[Blank Check — Patreon · The Killing · 0:05:46 · David Sims (0.40)] Clean Break (novel) ⇒ The Killing (the host's read) · lineage · The film is the screen version of the novel Clean Break. · "Clean Break was the name of the book."
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 0:26:35 · Amanda Dobbins (0.50)] Killers of the Flower Moon ↔ The Wolf of Wall Street · theme · Both feature a too-smart-for-his-own-good man doing dumb things who thinks he'll get away with it. · "I thought a lot of Wolf of Wall Street. While doing it because that is a guy who is too smart for his own good, but also doing a lot of really dumb shit."
[Blank Check — Patreon · The Killing · 1:28:00 · David Sims (0.35)] The Killing ⇒ The Dark Knight (the host's read) · lineage · The clown mask is said to look basically like the Joker mask Nolan pays homage to in The Dark Knight. · "Nolan obviously pays homage to in the Dark Knight"
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 1:00:04 · Sean Fennessey (0.40)] Killers of the Flower Moon ↔ Shane · theme · Sean notes Scorsese often talks about Shane when discussing Westerns. · "Scorsese talks about Shane a lot."
[Blank Check — Patreon · Paths of Glory · 0:41:29 · unknown (0.40)] Paths of Glory ↔ The Killing · craft · The overcomplicated hard-boiled dialogue of the rewrite is the kind that rules in The Killing. · "that's like the kind of dialogue that like rules in the killing."
[The Big Picture · ‘Ferrari’ and Top Five Michael Mann Movies · 0:16:14 · Amanda Dobbins (0.40)] Ferrari ↔ Killers of the Flower Moon · craft · Ferrari's quick impressionistic opening flashback recalls the silent-film-style opening of Killers of the Flower Moon. · "it reminded me a bit of the opening sequence of the Killers of the Flower Moon, where it's kind of shot in this old school, like silent film style."
[Blank Check — Patreon · The Killing · 0:19:39 · David Sims (0.40)] The Killing ↔ Day of the Fight · craft · The racetrack footage reminds the speaker of Day of the Fight and Kubrick's Look magazine work. · "It reminds me of, you know, a lot of Kubrick stuff like Day of the Fight"
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 0:14:19 · Sean Fennessey (0.60)] Goodfellas ⇒ Killers of the Flower Moon (the host's read) · craft · The opening tracking shot echoes the Copacabana shot before the film rejects that mode. · "It was a very long tracking shot through Leo's arrival, which is, you know, gesturing to Copacabana"
[Blank Check — Patreon · The Killing · 0:20:29 · Griffin Newman (0.50)] The Killing ↔ Fear and Desire · craft · The Killing's documentary feel recalls Fear and Desire and Kubrick's earlier work. · "Fear and desire feels very documentary-esque."
[The Big Picture · ‘Killers of the Flower Moon’ Is Astounding · 0:29:37 · Sean Fennessey or Amanda Dobbins (0.40)] Thelma Schoonmaker ↔ Killers of the Flower Moon · craft · Her signature cutting style appears in Killers only for the violent outbursts, not the hard push-in zooms of old. · "the Thelma Schoolmaker cutting style, which they use like sometimes in this movie, but only really for the violent outbursts."
[speaker] Patton Oswalt · latest sketch, Blank Check — Patreon · The Killing · Watches The Killing repeatedly, loves noir and character actors, Timothy Carey stories, Matthau in Pelham 123, Albert Brooks and Adam Sandler's dramatic work, Shudder and the Corman-style ecosystem. Hates the method and the auteur theory. · stances: The method and the auteur theory both get in the way of the work; The Killing's characters are small-time crooks who aren't smart enough; Titles do real work, the killing is a double meaning; Genre outsiders like Shudder directors will be the next filmmakers
[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] 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 Giant (1956); name it the way the line names it. Don't recommend Giant (1956) 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.