Filmspotting

Kristen Stewart is back in theaters with The Wrong Girls, which is an excuse to share our Top 5 KStew Scenes from 2017.
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"Personal Shopper and the Movies That Haunt Us"
Scott, Morris - Great Performances of 2016
Stewart: Hiding In Plain Sight
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It’s all fine and good to be sealed up in a house with Wagner Moura and Greta Lee, but the longer Netflix’s new The Last House keeps us there, the more time Matt and Jordan have for questions about the why and the how and… is that broccoli you’re growing in the floorboards, Greta? Matt and Jordan also discuss Netflix’s curious fascination with apocalyptic tales. Then, some Last House-inspired streaming recommendations (Universal Monsters! H.P. Lovecraft!) and a listener streaming request inspires recommendations for a forgotten Emma Thompson movie from the early 90s and a literary adaptation from Roger Corman. And Jordan hosts this week’s game: The Gaul of These People!
Welcome/Intro (00:00:00–00:2:54)
The Last House (00:2:55–00:27:17)
H.P. Lovecraft and Universal Monsters (Rec Seg!) (00:27:18–00:44:30)
Emma Thompson, Roger Corman, and Vincent Price (Listener Request Seg!) (00:44:31–01:03:16)
MLB's Field of Dreams Game on Netflix (01:03:17–01:09:26)
Game: The Gaul of these People! (01:09:27–01:26:10)
New to Streaming / Credits (01:26:11–01:31:04)
Show Notes
Now Streaming on Bazooga - A Filmspotting: SVU Archive⁠ https://letterboxd.com/samvanhallgren/list/now-streaming-on-bazooga-a-filmspotting-svu/⁠
Pre-Order Matt's book "Funny Business: The Old-School Wedding Crashers and Knocked-Up Virgins Who Changed Comedy Forever" (Coming October 6th):⁠ https://www.penguinrandomhouse.com/books/790241/funny-business-by-matt-singer/⁠
Feedback: Email us at [email protected]
Follow Matt on Blue Sky: @mattsinger.bsky.social
Follow Jordan on Blue Sky: @jhoffman.bsky.social
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Follow the Show:⁠ https://www.instagram.com/superpulse/⁠⁠ https://www.facebook.com/FilmspottingSvu⁠
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Matt Johnson’s new biopic Tony sidesteps the infamous Walk Hard trap by narrowing its scope to a single summer that would end up shaping the rest of Anthony Bourdain’s life, but not necessarily defining it. Whether that approach is ultimately satisfying to fans of the late celebrity chef and author is up for debate this week, as we’re once again joined by Vulture critic Roxana Hadadi to discuss how Tony plays into and against our expectations of a Bourdain narrative. Then we bring Ratatouille back in for Connections, to compare how these two films introduce us to kitchen culture through the eyes of a newbie. Then for Your Next Picture Show, we recommend two more recent films to fill out a Matt Johnson triple feature.
Please share your thoughts about Ratatouille, Tony, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.
Next Pairing: David Robert Mitchell’s The End of Oak Street and Steven Spielberg’s The War of the Worlds
This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.
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Screenwriter and producer David Kajganich (Suspiria, Bones and All) joins Michael Phillips to test a provocative rule of adaptation from filmmaker Whit Stillman: "You owe everything to the movie and nothing to the original [source]."

But what about the opposite approach? As the Coen brothers once joked about adapting Cormac McCarthy's No Country for Old Men: "One of us types into the computer while the other holds the spine of the book flat." Between those two extremes lies the art of adaptation.

Drawing on more than two decades of adapting novels, memoirs, plays, and films, Kajganich explores when fidelity serves a movie, when it becomes a trap, and why great adaptations sometimes have to break the bones of the original work. As you'd expect, Christopher Nolan's The Odyssey enters the conversation, along with Howards End, The Shining, The Zone of Interest, and Where the Wild Things Are.

Is the best adaptation the one that faithfully recreates its source? Or the one that expresses something new? Join the conversation: email [email protected]
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Adam and Josh share their favorite discoveries, performances, and scenes from the recently completed Dissident Cinema Marathon, which included Chaplin’s The Great Dictator, Kurosawa's No Regrets for Our Youth, and Rossellini’s Rome, Open City.
Links:
-The Circle Ending Revealed | BFI
⁠old.bfi.org.uk/sightandsound/review/1960⁠
-Filmspotting Marathons
https://www.filmspotting.net/marathons
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