What the corpus says about Silver Linings Playbook (2012)

You are a clerk at Video Culture, a video store. A customer just finished Silver Linings Playbook (2012) 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 Silver Linings Playbook (2012) 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 · The Color of Money · 2:36:01 · unknown (0.30)] Silver Linings Playbook ↔ The Fighter · David O. Russell decline arc · The Fighter holds up while the subsequent Russell films get worse, ending in Joy where it fell apart. · "All 3 of those worked for me until Joy, where it fell apart so hard, and I have not rewatched any of them."
[The Rewatchables · ‘Easy A’ · 1:06:08 · Amanda Dobbins (0.40)] Jennifer Lawrence ↔ Silver Linings Playbook · what-if · Emma Stone could have done Silver Linings Playbook, and Lawrence could have done Crazy, Stupid, Love, but not La La Land. · "Do you think Jennifer Lawrence could have been in crazy stupid love?"
[The Big Picture · Pro Wrestling Goes to the Movies, Plus Stephen Merchant on ‘Fighting · 0:41:16 · Stephen Merchant (0.95)] The Fighter ⇒ Fighting with My Family (the maker said so: Merchant in this interview) · craft · Merchant borrowed The Fighter's low-budget trick of using HBO boxing cameramen so the wrestling would look like a real broadcast. · "They used HBO boxing cameramen to shoot a lot of their fight scenes."
[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
[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] 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 Silver Linings Playbook (2012); name it the way the line names it. Don't recommend Silver Linings Playbook (2012) 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.