What the corpus says about 1917 (2019)

You are a clerk at Video Culture, a video store. A customer just finished 1917 (2019) 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 1917 (2019) 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 · The Snubs and Surprises of the 92nd Academy Award Nominations | The Oscars Show · 0:12:18 · Sean Fennessey (0.50)] Marriage Story ↔ 1917 · contrast · Showy, aggressive filmmaking cleaned up while Marriage Story, a chamber piece, did not. · "And marriage story is a chamber piece in a lot of ways."
[Blank Check — Patreon · Paths of Glory · 0:47:14 · Griffin Newman (0.40)] Paths of Glory ↔ 1917 · contrast · The single whistle-blowing sequence in Paths of Glory is more harrowing than all of 1917's unrelenting one-shot. · "the one whistleblowing sequence with Douglas for me is so much more harrowing and tense than anything in 1917"
[The Big Picture · Top Five Gen X Director Debuts, the Fate of ‘Black Widow,’ and a Potential Oscars Disaster · 0:24:23 · Amanda Dobbins (0.60)] Parasite ↔ 1917 · industry · Last year was the rare time the PGAs missed: they picked 1917 and Parasite won. · "They went with 1917 and then parasite one."
[The Big Picture · Thirteen Awards Movies to Watch Out for, Oscar Do-Overs, and More From the Mailbag · 0:31:45 · Sean Fennessey (0.70)] Malcolm & Marie ↔ 1917 · industry · Like 1917 last year, Malcolm & Marie is a late-entrant Oscar movie that is suddenly competing everywhere with a ready-made narrative. · "This is definitely what 1917 was to the Oscar race last year, the kind of late entrant that's like, oh, okay, this is competing in every category and is going to be really noisy"
[The Big Picture · 300th Episode Ask-Us-Anything Mailbag Spectacular · 0:34:11 · Sean Fennessey (0.80)] 1917 ↔ Once Upon a Time in Hollywood · industry · A friend says 1917 may be the last big awards-worthy global release before the gate closed, alongside Joker, Once Upon a Time and Endgame. · "we might look back on 1917 as the last movie that got in before the gate closed"
[The Big Picture · The Snubs and Surprises of the 92nd Academy Award Nominations | The Oscars Show · 0:02:28 · Sean Fennessey (0.60)] 1917 ↔ Joker · industry · Speaker expected 1917 rather than Joker to lead nominations, since 1917 is technically accomplished. · "I think I expected that to go to 1917, which is a little bit recency bias and also just because I expected 1917 to grab every single technical nomination"
[The Big Picture · The Snubs and Surprises of the 92nd Academy Award Nominations | The Oscars Show · 0:05:10 · Sean Fennessey (0.50)] 1917 ↔ Once Upon a Time in Hollywood · industry · Three films by already-celebrated directors (Tarantino, Scorsese, Mendes) each got ten nominations. · "3 people who made films who have been hugely recognized in the past Quentin Tarantino, Martin Scorsese and Sam Mendes."
[The Big Picture · The Tom Cruise Hall of Fame · 1:40:22 · unclear (one of the hosts) (0.30)] 1917 ↔ Roger Deakins · craft · A host likens the question of cutting Top Gun to a past Big Picture episode, a podcast celebrating Roger Deakins's cinematography on 1917, that asked whether to cut 1917. · "should we cut 1917 from a Roger Deacons podcast celebrating his work on 1917"
[The Big Picture · The Snubs and Surprises of the 92nd Academy Award Nominations | The Oscars Show · 0:53:35 · Sean Fennessey (0.60)] Roger Deakins ↔ 1917 · craft · Next episode covers 1917 and the life's work of Roger Deakins. · "we'll also be talking about the life's work of one great man named Roger Deacons."
[pairs] 1917 ↔ Once Upon a Time in Hollywood · said 2 times in 2 episodes
[The Rewatchables · ‘Pulp Fiction’ (Part 2) · 0:17:32 · unknown (0.00)] Pulp Fiction ⇒ Once Upon a Time in Hollywood (the host's read) · lineage · Marcellus's you-pride-only-hurts speech to Butch is the same speech Pacino gives DiCaprio in Once Upon a Time in Hollywood. · "And it's the same speech that Pacino gives DiCaprio at Rousseau and Frank in Once Upon a Time in Hollywood."
[Blank Check · As Good as It Gets · 1:03:44 · unknown (0.30)] Joker ↔ Batman · lineage · A new Joker ties right into Nicholson's Joker. · "Wow, topical ties right into the jack."
[Blank Check — Patreon · Return of the Jedi · 2:05:46 · unknown (0.30)] Star Wars: Episode VI – Return of the Jedi ↔ Marriage Story · theme · Blowing up the Death Star is a pleasure so rare in cinema that Marriage Story could have ended with it. · "Most movies, like marriage story could have ended with it blowing."
[The Big Picture · Thirteen Awards Movies to Watch Out for, Oscar Do-Overs, and More From the Mailbag · 0:29:10 · Amanda Dobbins (0.85)] Nomadland ↔ Parasite · programming · The National Society of Film Critics has picked Best Picture winners that later became cool-kid Academy picks, such as Parasite, Moonlight and Spotlight. · "they have picked some best picture winners, um, in recent memory parasite."
[The Rewatchables · ‘Once Upon a Time … in Hollywood’ Live From Sundance · 0:16:14 · Bill Simmons (0.50)] Wanted: Dead or Alive ⇒ Once Upon a Time in Hollywood (the host's read) · lineage · Bounty Law is based on Steve McQueen's Wanted Dead or Alive. · "Bounty Lostar, which was based on Wanted Dead or Alive with Steve McQueen"
[The Big Picture · 'Shazam!’ and the Future of the DCEU · 0:10:08 · Miles Surrey (0.85)] Martin Scorsese ⇒ Joker (the host's read) · lineage · Miles imagines Joker as a Scorsese pastiche that may not work. · "it's like a Scorsese Pestiche that just kind of doesn't work"
[Blank Check — Patreon · The Fifth Annual Blank Check Awards · 1:18:56 · Joe Reid (0.40)] Randy Newman ↔ Marriage Story · craft · Joe likes Newman's dueling scores in Marriage Story. · "And I liked the Duelan scores in marriage story."
[The Big Picture · The 10 Best Horror Movies of the Decade | The Big Picture · 1:48:36 · unknown (Alexander or Karaszewski) (0.40)] Parasite ↔ Get Out · theme · Parasite is smart social satire that slips easily into horror, which fits the episode's broader horror talk. · "it's smart social satire that just very easily slips into horror"
[The Rewatchables · ‘Once Upon a Time … in Hollywood’ Live From Sundance · 0:37:06 · Bill Simmons (0.50)] The Texas Chain Saw Massacre ⇒ Once Upon a Time in Hollywood (the host's read) · lineage · Tarantino wanted the Spahn Ranch sequence to feel like Texas Chain Saw Massacre. · "Tarantino wanted it to look like the Texas Chainsaw Massacre and had his crew research, Texas Chant, and the whole feel of it and how desolate it was."
[The Rewatchables · ‘Once Upon a Time … in Hollywood’ Live From Sundance · 0:37:25 · Bill Simmons (0.50)] Apocalypse Now ⇒ Once Upon a Time in Hollywood (the host's read) · lineage · The dogs at Spahn Ranch play the role of the Duvall helicopters, constantly present and disorienting. · "He wanted the dogs to be the helicopters."
[The Rewatchables · ‘Once Upon a Time … in Hollywood’ Live From Sundance · 0:44:51 · Chris Ryan (0.50)] Lee Van Cleef ⇒ Once Upon a Time in Hollywood (the maker said so: he told me; I asked Quentin about it) · lineage · The painting of Rick in the driveway came from Tarantino finding a giant Lee Van Cleef painting in the actor's garage while scouting. · "that's why I put a painting of Rick in the driveway."
[The Rewatchables · ‘Once Upon a Time … in Hollywood’ Live From Sundance · 1:09:23 · Chris Ryan (0.50)] Bob & Carol & Ted & Alice ⇒ Once Upon a Time in Hollywood (the maker said so) · lineage · Tarantino said Bob & Carol & Ted & Alice influenced the characters, looks, and scenery. · "Quinn said Bob and Carol and Ted Alice was a big influence on this movie"
[The Rewatchables · ‘Pulp Fiction’ (Part 2) · 0:17:38 · unknown (0.00)] Pulp Fiction ↔ Once Upon a Time in Hollywood · theme · Motifs echo across Tarantino's movies. · "It's so awesome to see the motifs echo across his movies."
[The Rewatchables · ‘Once Upon a Time … in Hollywood’ Live From Sundance · 0:21:42 · Sean Fennessey (0.40)] Once Upon a Time in Hollywood ↔ Scent of a Woman · theme · Marvin's pitch resembles the Top Gun speech in Sleep With Me; the transcript garbles the title. · "That speech he gives is pure Tarantino. Like, that is not that much different than the actual speech"
[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] 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] 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
[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 1917 (2019); name it the way the line names it. Don't recommend 1917 (2019) 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.