What the corpus says about The Untouchables (1987)

You are a clerk at Video Culture, a video store. A customer just finished The Untouchables (1987) 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 The Untouchables (1987) 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 · 3:05:48 · unknown (0.30)] The Color of Money ↔ The Untouchables · dismissed-at-the-time · Both got tepid, popcorn-fluff reviews at release despite being directed by great filmmakers. · "It feels very akin to the untouchables to me, where you read those reviews and you're like, it's more summer popcorn fluff."
[Blank Check · The Color of Money · 3:06:00 · David Sims (0.40)] The Untouchables ↔ Armani · craft · The Untouchables is defended as more than popcorn fluff, citing its Armani costumes. · "It has costumes by like Armani."
[Blank Check · The Color of Money · 3:06:03 · David Sims (0.40)] The Untouchables ↔ Morricone · craft · The Untouchables is defended as more than popcorn fluff, citing its Morricone score. · "It has a Morricone score."
[The Rewatchables · ‘Internal Affairs’ · 0:12:31 · Chris Ryan (0.40)] Andy Garcia ↔ The Untouchables · career · Garcia pops in The Untouchables and goes toe to toe with Connery. · "He's going up against Connery."
[The Rewatchables · 'Mission: Impossible' · 1:02:39 · Sean Fennessey (0.40)] Stephen Burum ↔ The Untouchables · career · Asked to pick the apex of De Palma's cinematographer Stephen Burum, the panel runs his filmography (The Outsiders, Rumble Fish, St. Elmo's Fire, 8 Million Ways to Die) and lands on The Untouchables. · "I'm going untouchables."
[The Rewatchables · 'Mission: Impossible' · 1:02:39 · Sean Fennessey (0.40)] Brian De Palma ↔ The Untouchables · verdict · Panel picks The Untouchables as De Palma's apex. · "I'm going untouchables."
[Blank Check · The Color of Money · 0:13:06 · unknown (0.30)] The Hustler ⇒ The Color of Money (the host's read) · lineage · The Color of Money is the sequel to The Hustler, but built from a new script that keeps only the title of the Tevis sequel novel. · "Even when they start developing scripts and go, like, throw all that out, start fresh, they kept writing in parts from Minnesota fats."
[Blank Check · The Color of Money · 0:20:34 · David Sims (0.55)] The Color of Money ↔ Return to Oz · lineage · Reddit consensus calls Color of Money the first legacy sequel, with Return to Oz as a debated earlier candidate dismissed as too weird. · "Uh, color money is generally agreed to on to be the 1st legacy sequel. Some people are like, does return to Oz count?"
[Blank Check · The Color of Money · 0:20:55 · unknown (0.30)] The Color of Money ↔ Dawn of the Dead · lineage · Another early sequel candidate that shares no characters, just a long gap and iconography. · "Dawn of the Dead kind of counts because it was a long, like, weight. between movies that like they don't have the same characters."
[Blank Check · The Color of Money · 1:06:13 · unknown (0.30)] The Color of Money ↔ Rocky II · lineage · The original Tevis-based script, a two-hander with Fats in Florida, would have been more by-the-book, like Rocky II or Creed II. · "It's more going by the book, right? It's like Rocky 2."
[Blank Check · The Color of Money · 1:07:05 · David Sims (0.40)] The Color of Money ⇒ Top Gun: Maverick (the host's read) · lineage · Gap-based legacy sequels like Top Gun Maverick, Tron Legacy and Blade Runner follow the template Color of Money invented, though in 1986 sequels were derided. · "now we get more and more like your your Tron legacies and your Top Gun Mavericks, where it's just casually... 37, 40 years later"
[The Rewatchables · ‘The Color of Money’ · 0:44:53 · Chris Ryan (0.65)] The Hustler ⇒ The Color of Money (the host's read) · lineage · The mentoring conversation Newman has with Vince and Carmen mirrors the one George C. Scott has with Newman in The Hustler; both films also go on the road. · "that's basically the George C. Scott has the same conversation with Paul Newman and the Hustler."
[The Rewatchables · ‘The Color of Money’ · 0:45:31 · Sean Fennessey (0.60)] The Hustler ⇒ The Color of Money (the host's read) · lineage · Newman's Eddie Felson in 1986 becomes the George C. Scott hustler-mentor character of the original, and the sequel answers rather than remakes it. · "the Newman character in the color of money becomes the George C. Scott character in the Hustler."
[The Rewatchables · ‘The Color of Money’ · 0:45:56 · Sean Fennessey (0.50)] The Hustler ⇒ The Color of Money (the host's read) · lineage · Newman getting drunk and hustled by Amos is the first time he plays the Jackie Gleason role of the original, drunk and overconfident. · "it's basically the 1st time he plays Jackie Gleason and the hustler where he's just like wasted and thinks he's going to win and then gets gets hustled."
[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] 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] 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 The Untouchables (1987); name it the way the line names it. Don't recommend The Untouchables (1987) 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.