What the corpus says about Inherit the Wind (1960)

You are a clerk at Video Culture, a video store. A customer just finished Inherit the Wind (1960) 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 Inherit the Wind (1960) 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 · Objection! Top 10 Courtroom Dramas | The Big Picture · 0:52:39 · Sean Fennessey (0.80)] Judgment at Nuremberg ↔ Inherit the Wind · programming · Judgment at Nuremberg just barely missed the list. · "a movie that just barely missed the list here for us"
[The Big Picture · Objection! Top 10 Courtroom Dramas | The Big Picture · 0:15:35 · Amanda Dobbins (0.75)] To Kill a Mockingbird ↔ Inherit the Wind · theme · Mockingbird is never in question about who is right, unlike the combative movies; its value is the speech. · "there's never any question as to whether he's right"
[The Big Picture · Objection! Top 10 Courtroom Dramas | The Big Picture · 0:55:15 · Sean Fennessey (0.50)] Inherit the Wind ↔ JFK · contrast · Inherit the Wind shows a trial becoming a social firestorm, unlike the insular courtroom movies. · "so many of the movies on this list are really insular"
[The Big Picture · Objection! Top 10 Courtroom Dramas | The Big Picture · 0:58:09 · Amanda Dobbins (0.75)] Inherit the Wind ↔ Inherit the Wind · industry · Remade four times because it is catnip for actors. · "just catnip for actors"
[The Big Picture · Objection! Top 10 Courtroom Dramas | The Big Picture · 0:56:11 · Amanda Dobbins (0.75)] William Jennings Bryan ⇒ Inherit the Wind (the host's read) · lineage · Brady is loosely based on Bryan; the film is loosely based on the Scopes trial. · "loosely based on William Jennings Bryan"
[The Big Picture · Objection! Top 10 Courtroom Dramas | The Big Picture · 0:58:18 · Amanda Dobbins (0.75)] Clarence Darrow ⇒ Inherit the Wind (the host's read) · lineage · Drummond is loosely based on Darrow. · "loosely based on Clarence Darrow"
[The Big Picture · Objection! Top 10 Courtroom Dramas | The Big Picture · 0:52:23 · Sean Fennessey (0.80)] Stanley Kramer ↔ Inherit the Wind · career · Kramer made issue-oriented parables: The Defiant Ones, Inherit the Wind, Judgment at Nuremberg, Mad World, Guess Who's Coming to Dinner. · "films that were sort of parables for ideas in the culture"
[The Big Picture · Objection! Top 10 Courtroom Dramas | The Big Picture · 0:56:49 · Amanda Dobbins (0.75)] Gene Kelly ↔ Inherit the Wind · people · Kelly plays an HL Mencken-style newspaper man who sits at the lawyer's table. · "an HL Menken style sort of sing-songing newspaper man"
[The Big Picture · Objection! Top 10 Courtroom Dramas | The Big Picture · 0:57:05 · Amanda Dobbins (0.80)] Inherit the Wind · fun · Gene Kelly just starts sitting at the defense table. · "just starts sitting at the table with the lawyer"
[The Big Picture · Objection! Top 10 Courtroom Dramas | The Big Picture · 0:58:35 · Amanda Dobbins (0.80)] Inherit the Wind · fun · Two 68-year-old men screaming at each other about God. · "these 2 68-year-old men scream at each other about the teachings of God"
[The Rewatchables · ‘The Insider’ · 0:22:48 · Bill Simmons (0.50)] The Insider ↔ JFK · theme · JFK became the assassination movie though half of it is false, whereas The Insider really captures its specific moment with the cigarette industry. · "This movie really does capture this specific moment with the cigarette industry that played out with the lawsuits and everything."
[The Big Picture · Objection! Top 10 Courtroom Dramas | The Big Picture · 0:14:25 · Sean Fennessey (0.80)] To Kill a Mockingbird ↔ A Few Good Men · programming · Left off the list as more homework than pleasurable; the list favors twisty, speechifying, overacting movies. · "pleasurability factor of a lot of these movies"
[The Rewatchables · ‘The Ice Storm’ · 0:10:48 · Chris Ryan (0.50)] The Ice Storm ↔ JFK · theme · Ryan asks whether decades had to pass before America could tell the story, as Simmons said about Oliver Stone's JFK. · "when we did the JFK pod, you talked a little bit about needing some time to go by for America to be ready to hear about that story"
[The Rewatchables · ‘My Cousin Vinny’ · 0:28:51 · Bill Simmons (0.50)] Joe Pesci ↔ JFK · craft · Pesci will do anything asked, even in a bad wig, and that willingness makes it work. · "the willingness to go as far out as he needs to to work somehow is that's a winning thing."
[The Big Picture · Objection! Top 10 Courtroom Dramas | The Big Picture · 1:18:51 · Sean Fennessey (0.80)] Hank Corwin ↔ JFK · craft · Corwin's aggressive flash-cutting across film stocks, the Zapruder film and archival footage defines JFK's editing, and he later helped Adam McKay on Vice. · "this incredible commercial influence flash cutting style that he does in this movie, which, you know, is liable to, you know, give you a seizure."
[The Big Picture · Objection! Top 10 Courtroom Dramas | The Big Picture · 1:19:35 · Sean Fennessey (0.75)] JFK ↔ John Williams · craft · Williams wrote six pieces without seeing the film and Stone cut to them. · "Oliver Stone cut the movie to the music that John Williams provided"
[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)
[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 Inherit the Wind (1960); name it the way the line names it. Don't recommend Inherit the Wind (1960) 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.