What the corpus says about Beginners (2010)

You are a clerk at Video Culture, a video store. A customer just finished Beginners (2010) 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 Beginners (2010) 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 · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 1:02:18 · Sean Fennessey (0.70)] Come On, Come On ↔ Beginners · theme · Mills says Come On, Come On, 20th Century Women and Beginners are about primary family relationships (dad, mom, child). · "you have a dad film and a mom film and now in come on, come on."
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:34:18 · Sean Fennessey (0.80)] Come On, Come On ↔ Beginners · craft · Come On, Come On is the most stripped down of Mills's movies versus the busyness of Beginners and 20th Century Women. · "this was the most stripped down of his movies relative to kind of some of the like busyness, the kind of intentional busyness of beginners and 20th century women"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 1:22:28 · Mike Mills (0.90)] Come On, Come On ↔ Beginners · craft · Mills says he used text and archival-like material in earlier films and found a different way here, via included texts. · "I love archival stuff and real, but I feel like I just did that with the text."
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 1:20:14 · Mike Mills (0.90)] Come On, Come On ↔ Beginners · contrast · Earlier films were like paintings with a wider palette; this one is a drawing. · "maybe my other films are more like a painting, you know, or there's a wider palette deployed to tell the story."
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 1:25:36 · Mike Mills (0.90)] Come On, Come On ↔ Beginners · people · Mills says he kept his sisters largely out of his films besides 20th Century Women. · "I've kept my sisters largely out of my films, except for 20th"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 1:25:54 · Mike Mills (0.90)] Come On, Come On ↔ Beginners · people · Mills says Beginners resonates with people coping with a parent's death. · "you should see this movie called Beginners with Christopher Plummer."
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 1:26:08 · Mike Mills (0.90)] Come On, Come On ↔ Beginners · people · Beginners was about Mills and his dad. · "That's sort of me and my dad."
[The Rewatchables · ‘The Insider’ · 0:49:04 · Chris Ryan (0.40)] Christopher Plummer ↔ Beginners · career · Plummer won his Oscar late for Beginners, given because of his long career. · "Christopher Plummer got that later on in his career for beginners."
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 1:28:43 · Mike Mills (0.90)] Mike Mills ↔ Beginners · career · He says he got away with murder by making these three personal, uncommercial movies. · "I got away with murder, you know, by making these 3 movies."
[Blank Check — Patreon · The Girl with the Dragon Tattoo · 1:31:51 · unknown (0.30)] Christopher Plummer ↔ Beginners · people · Plummer plays a father who comes out in his 80s in Beginners. · "He's Ewan McGregor's dad, who comes out in his 80s."
[pairs] Beginners ↔ Come On, Come On · said 7 times in 1 episode
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 1:25:54 · Mike Mills (0.90)] Beginners · fun · Strangers tell Mills to see Beginners about a dying father, not knowing he made it. · "oh, you should see this movie called Beginners with Christopher Plummer. And I'm like, oh, I made that movie, you know?"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:34:54 · Sean Fennessey (0.60)] Ira Glass's This American Life ⇒ Come On, Come On (the host's read) · lineage · The radio-producer device is in the Ira Glass tradition, not the conspiracy podcaster. · "I think it's a little bit more in the tradition of Ira Glass than it is necessarily in the tradition of the conspiracy theory podcaster"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 1:14:04 · Mike Mills (0.90)] Ira Glass ⇒ Come On, Come On (the maker said so: Mike Mills interview on the episode) · lineage · Johnny is a WNYC-style old-school radio journalist; Ira Glass is a big influence on Mills. · "Ira Glass has been like a big influence, big hero to me."
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:33:19 · Sean Fennessey (0.60)] Come On, Come On ↔ Ghostbusters: Afterlife · theme · Come On, Come On depicts a non-traditional family, in contrast with the Reitman point. · "In a family that, to the Reitman point, is not a traditional family"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:34:40 · Sean Fennessey (0.50)] Come On, Come On ↔ Ghostbusters: Afterlife · theme · Both put a podcast/radio figure on screen. · "which is, um, a podcast character of its own"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 0:56:48 · Sean Fennessey (0.60)] Pee-wee's Big Adventure ↔ Come On, Come On · theme · All the feel-good picks are about when you see them, like Come On, Come On and Afterlife. · "all of these movies for me are about when you see them, just like, come on, come on, is about when you see them."
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 1:04:45 · Mike Mills (0.90)] Come On, Come On ↔ Buster Keaton's films · craft · Mills made Johnny an uncle so every scene plays like a Buster Keaton movie of not knowing what to do. · "So it's like a it's like a Buster Keaton movie all of a sudden, you know?"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 1:04:45 · Mike Mills (0.90)] Come On, Come On ↔ Buster Keaton · craft · An uncle who does not know how to parent makes every scene like a Keaton movie. · "it's like a Buster Keaton movie all of a sudden, you know?"
[The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · 1:17:03 · Mike Mills (0.90)] Joaquin Phoenix ↔ Come On, Come On · craft · Phoenix surprised Mills with how good he was at doing the interviews. · "I was surprised at how deeply Joaquin got into it and how good he was at it."
[speaker] Mike Mills · latest sketch, The Big Picture · ‘Ghostbusters: Afterlife,’ ‘Tick, Tick ... Boom!,' and Our Top Five Feel-Good Movies · Loves French new wave and Italian cinema (Fellini, Godard), Buster Keaton, radio journalism (Studs Terkel, Ira Glass), and Chekhovian small stories like Bob's Burgers. Drawn to personal, uncommercial, non-plot-driven films and to the fable image of a child and adult. Suspicious of tidy 'truth'; likes masking and nerves in interviews. · stances: Fatherhood deepened and broadened his work; Each film is a bet of all his chips on a primary relationship; Long shelf lives and strangers' personal stories are the highest honor; Blur the boundaries between documentary and acting
[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
[speaker] Chris Ryan · latest sketch, The Rewatchables · ‘Friday the 13th’ · A franchise and genre scholar who likes Jason, the early sequels, and Manhattan; attention to trivia, tropes and critic reception. Treats slashers as a canon with tiers. · stances: Parts 1, 2, 4 and Manhattan are the good ones; The series finds its legs at 4
[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 Beginners (2010); name it the way the line names it. Don't recommend Beginners (2010) 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.