What the corpus says about American Graffiti (1973)

You are a clerk at Video Culture, a video store. A customer just finished American Graffiti (1973) 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 American Graffiti (1973) 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 · Physical Media Strikes Back · 1:08:01 · Sean Fennessey (0.50)] Messiah of Evil ↔ American Graffiti · lineage · Messiah of Evil is described as hugely influential on 80s horror that followed. · "clearly hugely influential on the 80s films that were going to come after it."
[The Big Picture · The 2022 Movie Draft · 0:39:16 · Amanda Dobbins (0.85)] The Fabelmans ↔ American Graffiti · theme · Amanda compares the high school interlude in the middle of The Fabelmans to American Graffiti. · "the lovely American graffiti high school, like interlude in the middle."
[Blank Check — Patreon · The Shining · 2:40:09 · David Sims (0.40)] American Graffiti ⇒ Hollywood Nights (the host's read) · knockoff · Hollywood Nights looks like an American Graffiti knockoff. · "This looks like a kind of American graffiti knockoff."
[The Big Picture · The Top Five Movies of 2022 · 1:23:37 · Sean Fennessey (0.75)] Aftersun ↔ The Fabelmans · programming · Sean calls Aftersun an interesting pairing with The Fabelmans, both memory movies about childhood; Aftersun is told while the memory is fresher. · "Interesting pairing with the fablemans, this movie."
[The Big Picture · The Top Five Movies of 2022 · 1:31:29 · Sean Fennessey (0.80)] Nope ↔ The Fabelmans · programming · Sean finds it fascinating that in one year Spielberg made a movie about why he makes movies and Peele made the most Spielbergian movie in ages. · "it's fascinating that this is a year in which Spielberg made a movie about how he figured out why he wanted to make movies"
[Blank Check · Raiders of the Lost Ark · 0:36:23 · Brian Michael Bendis (0.80)] Raiders of the Lost Ark ↔ The Fabelmans · theme · Bendis says he sees the movie differently after The Fabelmans. · "I honestly don't think I've heard a serious conversation about this movie Post Fabelman's"
[Blank Check · Raiders of the Lost Ark · 2:28:09 · unknown (0.50)] The Fabelmans ⇒ Raiders of the Lost Ark (the host's read) · theme · Marion's monkey scenes mirror Spielberg's mother's relationship with the monkey shown in The Fabelmans. · "the relationship Marion has with the monkey, in that brief amount of screen time, feels so mirrored to his mother's relationship with the monkey"
[Blank Check · Raiders of the Lost Ark · 2:28:40 · unknown (0.50)] The Fabelmans ⇒ Raiders of the Lost Ark (the host's read) · theme · Marion is partly Spielberg's mother, which keeps her from being an idealized tough-girl fantasy. · "it does feel like to some degree she's like his mom."
[The Big Picture · The 2022 Movie Draft · 0:41:32 · Sean Fennessey (0.80)] Nope ↔ The Fabelmans · theme · Sean says Nope, like The Fabelmans, explores self and what you do in the act of making movies. · "similar to the Fablemans, like exploration of self and like what you do in the act of making movies"
[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
[speaker] David Sims · latest sketch, Blank Check · The Last Temptation of Christ · Prepares history: novel, casting, budgets, box office. Reveres the film and thinks it reads as a normal ground-level story. A sucker for Hollywood deal backstory and box office game. · stances: Praises Keitel and Dafoe casting; Respects Scorsese's persistence and Corman discipline; The film is now well regarded though not 'canonical Marty'
[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)

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 American Graffiti (1973); name it the way the line names it. Don't recommend American Graffiti (1973) 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.