What the corpus says about A Christmas Carol (2009)

You are a clerk at Video Culture, a video store. A customer just finished A Christmas Carol (2009) 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 A Christmas Carol (2009) 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.

[Blank Check — Patreon · OLD DOGS - Blank Check LIVE! at the Bell House · 1:54:45 · Marie Bardi (0.70)] A Christmas Carol ↔ The Polar Express · lineage · A guess that the answer is Polar Express is rejected; Christmas Carol is the other Zemeckis frozen-faced animation. · "It's the Polar Express?"
[Blank Check — Patreon · The Game · 0:47:52 · David Sims (0.50)] A Christmas Carol ⇒ The Game (the maker said so: reading Fincher's quotes in the dossier JJ put together) · template · Fincher's own framing, as quoted in the dossier, is that The Game is A Christmas Carol and Nick is Scrooge. · "it's a Christmas carol."
[Blank Check — Patreon · OLD DOGS - Blank Check LIVE! at the Bell House · 1:55:01 · Griffin Newman (0.50)] A Christmas Carol ↔ Robert Zemeckis · people · The box office quiz answer, a 2009 holiday film in a director miniseries, is Zemeckis' A Christmas Carol. · "Zameck is a Christmas Carol."
[The Rewatchables · ‘The Truman Show’ · 1:34:20 · Chris Ryan (0.40)] The Truman Show ↔ The Game · programming · Double feature: The Game. · "I'd go to the game, the game."
[Blank Check — Patreon · The Game · 1:04:58 · Griffin Newman (0.40)] The Game ↔ The Player · programming · Two 90s satirical thrillers about soulless titans of industry caught in a trap of their own design. · "In terms of like 90s, uh, sort of vaguely satirical thrillers"
[The Big Picture · The Oscars Schedule Changes, and Andrew Garfield On ‘Under the Silver Lake’ | Interview · 1:01:20 · Andrew Garfield (0.95)] Under the Silver Lake ↔ The Game · theme · Garfield says people crave mystery and decoding, citing The Game as a favorite modern film about that. · "the game is one of my favorite like modern films of all time that deals with this issue."
[Blank Check — Patreon · The Game · 0:28:04 · David Sims (0.40)] The Game ↔ Falling Down · theme · Fincher, in the dossier, lists the Falling Down fascist among Douglas's friction. · "he stole the fascist from falling down."
[Blank Check — Patreon · The Game · 0:28:09 · David Sims (0.40)] The Game ↔ Fatal Attraction · theme · Fincher, in the dossier, lists the Fatal Attraction adulterer among Douglas's friction. · "The adulterer from Fatal Attraction."
[Blank Check — Patreon · The Game · 0:40:56 · Griffin Newman (0.40)] Joel Schumacher ↔ The Game · theme · One host says The Game feels very Joel Schumacher. · "Because the game feels very Joel Schumacher to me."
[Blank Check — Patreon · The Game · 0:43:29 · David Sims (0.40)] The Game ↔ The Most Dangerous Game · theme · Fincher first wondered if the script was a Most Dangerous Game thing, and was relieved it wasn't. · "oh, is it like a most dangerous game kind of thing?"
[Blank Check — Patreon · The Game · 0:50:34 · David Sims (0.40)] The Game ↔ It's a Wonderful Life · theme · Calls the film Kafka's It's a Wonderful Life. · "Kafka's it's a wonderful life."
[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] 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] Marie Bardi · latest sketch, Blank Check — Patreon · The Killer · Loves the film's stripped-down craft and sound; draws on her advertising career for how the client reads. Her favorite Fincher film is Gone Girl; she is a Fincher-series fan who liked Alien 3 and Panic Room. · stances: The sound design demands a theater; The ending's twitch means he is itching to get back to the job; The client scene reflects advertising
[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 A Christmas Carol (2009); name it the way the line names it. Don't recommend A Christmas Carol (2009) 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.