What the corpus says about Darkest Hour (2017)

You are a clerk at Video Culture, a video store. A customer just finished Darkest Hour (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 Darkest Hour (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 · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:04:10 · Joe Wright (0.95)] Darkest Hour ↔ Black Mirror (TV episode directed by Wright) · theme · Both are scripts of people talking in rooms, which challenged him to find cinema in conversation. · "it was men in rooms talking to each other, the creative challenge of that thrilled me."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:12:20 · Joe Wright (0.95)] The Soloist ↔ Darkest Hour · theme · On real-life stories: you cannot change events, so The Soloist got a smaller ending of friendship; Darkest Hour seeks truth over fact. · "you're not necessarily wanting the facts, you're wanting the truth, and they sometimes are different things"
[The Big Picture · ‘Captain Marvel’ Is a ’90s Nostalgia Play. Did It Work? | Exit Survey · 0:37:07 · Amanda Dobbins (0.55)] Darkest Hour ↔ The King's Speech · contrast · Mendelsohn's king did not stutter as much as Colin Firth's Oscar-winning version. · "famously the character that Con Firth won for the Oscar for."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:04:41 · Joe Wright (0.95)] Anna Karenina ⇒ Darkest Hour (the maker said so: Wright, on the show) · contrast · Darkest Hour's stripped-back look is a reaction against Pan and Anna Karenina. · "as a kind of reaction to what I've been doing before, including Pan, but also, you know, Anna Karenina and movies like that."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:19:59 · Joe Wright (0.95)] Darkest Hour ↔ Dunkirk · contrast · Wright avoided watching Dunkirk until his own film was done, then found both going minimalist. · "I purposefully didn't watch the film until I'd finished ours."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:02:29 · Joe Wright (0.95)] Pan ⇒ Darkest Hour (the maker said so: Wright, on the show) · career · Wright says Pan's failure and his own doubt are what made the doubt-ridden Churchill script resonate. · "I had made a film called Pan, which had lost about $100 million, and had been slated, really, by most everyone, and I was suffering my own crisis of confidence"
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:03:05 · Joe Wright (0.95)] Pan ⇒ Darkest Hour (the maker said so: Wright, on the show) · career · After Pan he decided he was not cut out for big studio movies and wanted to return to his wheelhouse. · "I realized after Pan that I wasn't cut out necessarily for the kind of big studio movies, and I wanted to return to something that was closer to my wheelhouse."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:04:10 · Joe Wright (0.95)] Black Mirror (TV episode directed by Wright) ↔ Darkest Hour · career · A Charlie Brooker script of people talking in rooms re-engaged him, and Darkest Hour arrived while he shot it. · "whilst I was out in South Africa shooting the Black Mirror episode, Darkest Hour came across my desk"
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:20:18 · Joe Wright (0.95)] Dunkirk ↔ Darkest Hour · industry · Wright says success is not finite and more good films mean more audiences. · "success is, you know, is not finite."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:15:27 · Joe Wright (0.95)] Andrei Tarkovsky ⇒ Darkest Hour (the maker said so: Wright, on the show) · lineage · Wright wants his work called cinematic and cites Tarkovsky's 'sculpting in time'. · "as Tarkovsky put it, sculpting in time."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:05:00 · Joe Wright (0.95)] Max Richter ⇒ Darkest Hour (the maker said so: Wright speaking of his own film on the show) · craft · Wright says he wanted a cinematic equivalent of the minimalist music he was listening to, including Max Richter. · "I was also listening to a lot of minimalist music at the time, Max Richter and Niels Fram and, of course, the great Philip Glass and so on."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:05:00 · Joe Wright (0.95)] Nils Frahm ⇒ Darkest Hour (the maker said so: Wright speaking of his own film on the show) · craft · Wright says he wanted a cinematic equivalent of the minimalist music he was listening to, including Nils Frahm. · "I was also listening to a lot of minimalist music at the time, Max Richter and Niels Fram and, of course, the great Philip Glass and so on."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:05:08 · Joe Wright (0.95)] Philip Glass ⇒ Darkest Hour (the maker said so: Wright, on the show) · craft · Wright aimed for a cinematic equivalent of minimalist music by Richter, Frahm and Glass. · "I wanted to try and achieve some kind of cinematic aesthetic equivalent to that music."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:05:23 · Joe Wright (0.95)] Bruno Delbonnel ↔ Darkest Hour · craft · With DP Bruno Delbonnel he developed a simple, honest, truthful style. · "together we we developed a style that was trying to just be as simple and as honest and as dramatic as possible"
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:06:18 · Joe Wright (0.95)] Joe Wright ↔ Darkest Hour · craft · Wright thinks film is like music, happening in time, and gives actors rhythm notes by singing them. · "Film for me is most like music."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:10:08 · Joe Wright (0.95)] Dario Marianelli ↔ Darkest Hour · craft · He sent Marianelli a photo of Oldman walking as Churchill, to write music with a TikTok tempo, before shooting. · "I took a picture of Gary walking as Churchill in one of those early sessions and sent it to Dario Marianelli."
[The Big Picture · ‘Captain Marvel’ Is a ’90s Nostalgia Play. Did It Work? | Exit Survey · 0:36:54 · Sean Fennessey (0.80)] Ben Mendelsohn ↔ Darkest Hour · career · Mendelsohn played King George VI in Darkest Hour, a bit too in control compared to the stutter. · "he was King George, the, the, the 6th in Darkest Hour."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:09:49 · Joe Wright (0.95)] Gary Oldman ↔ Darkest Hour · people · Wright cast Oldman for Churchill's essence rather than his look, over more obvious choices. · "you can fake the exterior, but you can't fake the interior necessarily, Gary had the essence."
[pairs] Darkest Hour ↔ Dunkirk · said 2 times in 1 episode
[pairs] Darkest Hour ↔ Pan · said 2 times in 1 episode
[pairs] Darkest Hour ↔ Black Mirror (TV episode directed by Wright) · said 2 times in 1 episode
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:08:08 · Joe Wright (0.95)] Darkest Hour · fun · The opening: Churchill is heard before seen, in a dark room until a servant opens the curtains. · "you hear him before you see him."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:10:17 · Joe Wright (0.95)] Darkest Hour · fun · Wright says he sent Marianelli a photo of Oldman walking as Churchill and asked for music from it. · "you should write a piece based on this photograph."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:14:06 · Joe Wright (0.95)] Darkest Hour · fun · English newsreel style: a wide shot of a street that holds until a man crosses the road, then cuts. · "a wide shot of a street and it holds and then a man crosses the road and then it cuts."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:14:21 · Joe Wright (0.95)] Darkest Hour · fun · Wright researched at the Imperial War Museum on a Steenbeck; German, French and English newsreels each have a national style. · "A nation has its style."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:17:40 · Joe Wright (0.95)] Darkest Hour · fun · On set he plays Major Lazer; Oldman as Churchill danced to Bubble Butt. · "We played Major Laser bubble butt a lot."
[The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · 0:18:06 · Joe Wright (0.95)] Darkest Hour · fun · 500 extras sang Hey Jude at 7:30 a.m. before Oldman arrived, so he walked into a swell of cheering. · "the entire room sang together, the Beatles, hey Jude."
[speaker] Joe Wright · latest sketch, The Big Picture · Joe Wright Bounces Back From His Darkest Hour | The Big Picture · Loves cinematic beauty, rhythm and music, minimalist composers, and 1970s-80s auteurs plus British TV drama. Can't stand being called painterly, box-office tracking, or superhero movies. A sucker for emotional sets, singalongs and performances from unusual actors. · stances: Film is most like music; it happens in time; Prefers cinematic to painterly; Doubt is a component of wisdom; Does not compare himself to other artists; Not snobbish about television
[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] 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)

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 Darkest Hour (2017); name it the way the line names it. Don't recommend Darkest Hour (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.