What the corpus says about Mission: Impossible (1988)

You are a clerk at Video Culture, a video store. A customer just finished Mission: Impossible (1988) 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 Mission: Impossible (1988) 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 · ‘Skyfall’ · 0:37:14 · Sean Fennessey (0.40)] Skyfall ↔ Mission: Impossible · contrast · Bond now has 'Mission Impossibleitis' of topping set pieces; MI is the action gold standard. · "to me, the gold standard is the Mission Impossible movies on this stuff right now"
[Blank Check — Patreon · Iron Man 3 · 0:10:01 · unknown (0.30)] Drew Pearce ↔ Mission: Impossible · career · Pearce is a studio-trusted franchise planner who also worked on Mission: Impossible. · "Yeah, if they want to figure out how to extend a brain because he also did this with Mission Impossible."
[Blank Check — Patreon · Doctor Sleep · 0:53:57 · Griffin Newman (0.40)] Rebecca Ferguson ↔ Mission: Impossible · holds her own · Ferguson held her own against Tom Cruise in the Mission: Impossible movies. · "has been able to hold her own against Tom Cruise in the Mission Impossible movies."
[The Rewatchables · ‘Skyfall’ · 0:12:29 · Sean Fennessey (0.45)] Casino Royale ⇒ Skyfall (the host's read) · lineage · Skyfall is the payoff of the first Craig movie, where Vesper's betrayal shows Bond can feel. · "it's also the ultimate payoff of what starts in the 1st Craig movie"
[The Rewatchables · ‘Skyfall’ · 0:46:30 · Chris Ryan (0.60)] The Dark Knight ⇒ Skyfall (the host's read) · lineage · Mendes openly lifted the Dark Knight aesthetic and the orphan-avenging-sins idea. · "Mendy's just very openly lifted a lot of the Dark Knight aesthetic for these movies."
[Blank Check · Empire of the Sun · 0:43:50 · Griffin Newman (0.50)] Skyfall ↔ Sam Mendes · theme · Skyfall helped Bond convince itself it was a prestige genre, which led to bloat. · "become a prestige genre like genre."
[The Rewatchables · ‘Skyfall’ · 0:15:34 · Chris Ryan (0.55)] Skyfall ↔ Unforgiven · theme · Skyfall is a reckoning with everything that came before in its franchise. · "Skyfall is like the unfor is unforgiven to me."
[The Rewatchables · ‘Skyfall’ · 1:08:15 · Chris Ryan (0.60)] Skyfall ↔ Rocky (series) · theme · Best entries show the hero coming to terms with aging, which Skyfall pairs with the permanent hero. · "some of the best movies about those things are about the person coming to terms with the fact that they're not as powerful as they once were."
[The Rewatchables · ‘Skyfall’ · 0:05:24 · Sean Fennessey (0.40)] Adele ↔ Skyfall · craft · The Adele song feels both a century old and incredibly modern. · "The Adele song, it feels like it's 100 years old and also incredibly modern"
[The Rewatchables · ‘Skyfall’ · 0:05:29 · Sean Fennessey (0.40)] Roger Deakins ↔ Skyfall · craft · The shot-from-behind-Bond's-shoulder Silva intro is Deakins photography, and the movie is candy for movie nerds. · "The movie is shot by Roger Deakins."
[The Rewatchables · ‘Skyfall’ · 0:26:14 · unclear host (0.30)] Adele ↔ Skyfall · craft · The Adele song is cued at the pivot where M orders Moneypenny to take the shot in Istanbul. · "I think that's in the trailer and it obviously cues the great Adele song."
[speaker] Griffin Newman · latest sketch, Blank Check · The Last Temptation of Christ · Calls Last Temptation his college-era favorite Scorsese; loves Scorsese's smaller 80s and the film's closing transcendence and Gabriel score. Cannot stand fundamentalist outrage at it. A sucker for casting trivia and Tom Cruise-silliness. · stances: Hot take: Last Temptation structurally mirrors New York, New York as a better version; Outrage over the film is stupid; it is respectful to Jesus; Scorsese's smaller 80s work beats his later baroque phases
[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] 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 Mission: Impossible (1988); name it the way the line names it. Don't recommend Mission: Impossible (1988) 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.