What the corpus says about Robin Hood: Prince of Thieves (1991)

You are a clerk at Video Culture, a video store. A customer just finished Robin Hood: Prince of Thieves (1991) 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 Robin Hood: Prince of Thieves (1991) 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 · Flesh+Blood · 0:43:45 · Griffin Newman (0.50)] Flesh and Blood ↔ Robin Hood: Prince of Thieves · contrast · The heroic uplifting score sounds like a Robin Hood epic, then cuts straight to depravity. · "the score sounds like it could fit on fucking Robin Hood Prince of Thieves."
[The Rewatchables · ‘Se7en’ · 1:10:18 · Sean Fennessey (0.45)] Seven ↔ Robin Hood: Prince of Thieves · verdict · Apex Mountain for Freeman: Bill asks if the moment before Robin Hood is his apex. · "Would you guys argue that the moment before Robin Hood comes out as his apex mountain?"
[Blank Check · The Color of Money · 2:29:55 · unknown (0.30)] Mary Elizabeth Mastrantonio ↔ Robin Hood: Prince of Thieves · career · Prince of Thieves is called her last major movie-star move, and its praise leads to a Costner-series discussion. · "Robin Hood Prince of Thieves is kind of her final major movie star move."
[Blank Check · Flesh+Blood · 1:25:59 · Griffin Newman (0.40)] Flesh and Blood ↔ Back to the Future · programming · Flesh+Blood opened Labor Day weekend 1985 when Back to the Future was number one. · "Back to the future?"
[The Rewatchables · ‘Se7en’ · 0:17:05 · Bill Simmons (0.70)] Seven ↔ The Shawshank Redemption · programming · Both are movies you get sucked into on cable by the last 40 minutes. · "The same thing with Shawshank."
[Blank Check · Flesh+Blood · 0:43:23 · David Sims (0.40)] Flesh and Blood ↔ Willow · lineage · The painted poster looks like fantasy-adventure posters of the era. · "it has this poster that looks like, you know, the poster for Willow or Legend"
[The Rewatchables · ‘Se7en’ · 0:04:37 · Bill Simmons (0.60)] Seven ↔ Heat · lineage · Grouped with Usual Suspects, Heat and Casino as the four defining 1995 movies, three of which were shut out at the Oscars. · "Our usual suspects, which we recently did, Heat Casino in seven."
[Blank Check · Flesh+Blood · 0:27:54 · Griffin Newman (0.50)] Flesh and Blood ↔ The Loveless · theme · Both take a romanticized genre and show how gross it really was. · "Which is where I think this movie shares a similarity with the Loveless."
[The Rewatchables · ‘Se7en’ · 0:14:30 · Sean Fennessey (0.85)] Alfred Hitchcock ⇒ Seven (the host's read) · lineage · Se7en is a Hitchcock movie in its pulling-your-chain structure of mystery, reveal and anxiety, and Hitchcock is Fincher's biggest influence. · "I think as much as this seems like a modern movie, it's also just completely a Hitchcock movie in so many ways."
[Blank Check · Flesh+Blood · 1:05:02 · Griffin Newman (0.45)] Flesh and Blood ↔ Strange Days · theme · Like Strange Days, the film treats sexual assault as psychological aftermath rather than a plot device. · "In the Strange Days episode, we talked about the sexual assault scene in that movie, right?"
[The Rewatchables · ‘Se7en’ · 0:15:19 · Chris Ryan (0.55)] Seven ⇒ True Detective (the host's read) · lineage · Se7en's influence shows in True Detective from the title sequence to the characters, though True Detective's first season flinches at the dark ending. · "you can see the influence of of 7 on things like True Detective from the title sequence to the characters."
[Blank Check · Flesh+Blood · 1:13:10 · David Sims (0.40)] Flesh and Blood ↔ A Bug's Life · theme · Steven's crazy siege inventions are compared to Flick's. · "He's like flick from a bug's life where he's coming up with these crazy inventions"
[The Rewatchables · ‘Se7en’ · 0:15:42 · Chris Ryan (0.50)] William Friedkin ⇒ Seven (the maker said so) · lineage · Fincher drew from Friedkin and wanted it to feel like an episode of Cops. · "he's drawn from like Friedkin, but he's also, he's, he's referenced like how he wanted it to feel like an episode of cops."
[Blank Check · Flesh+Blood · 0:44:02 · Griffin Newman (0.40)] Flesh and Blood ↔ Hieronymus Bosch · craft · The film's opening is said to look like a Bosch painting. · "Like, now we're in a bosh painting."
[The Rewatchables · ‘Se7en’ · 0:29:28 · Sean Fennessey (0.55)] Seven ↔ Lethal Weapon · lineage · Mills plays the reckless young cop with Mel Gibson in Lethal Weapon energy. · "he's playing that like Mel Gibson and lethal weapon energy"
[Blank Check · Flesh+Blood · 0:44:18 · David Sims (0.45)] Flesh and Blood ↔ Monty Python and the Holy Grail · craft · The film's muddy, grimy medieval look is likened to Holy Grail. · "The movie that this is aesthetically most similar to weirdly is Monty Python, the Holy Grail."
[The Rewatchables · ‘Se7en’ · 0:55:04 · Sean Fennessey (0.45)] Seven ⇒ Nine Inch Nails (the host's read) · lineage · Se7en caught industrial rock at its peak and led to Fincher-Reznor scores. · "Fincher and Rezner go on to make this incredible partnership"
[Blank Check · Flesh+Blood · 1:13:31 · Griffin Newman (0.40)] Flesh and Blood ↔ Excalibur · craft · The siege-tower set piece is presented like a grand medieval epic. · "Is it's presenting it to you like you're watching."
[Blank Check — Patreon · David Fincher Music Videos · 1:13:07 · unknown (0.30)] All That Jazz ⇒ Seven (the maker said so) · lineage · A host recalls a Fincher film the show covered where he cited All That Jazz as an inspiration for the look, maybe Seven. · "where he cited how much of an inspiration all that jazz was for him for the look of the movie?"
[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 Robin Hood: Prince of Thieves (1991); name it the way the line names it. Don't recommend Robin Hood: Prince of Thieves (1991) 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.