Loves movie-star, over-the-top, kinetic filmmaking (JFK, The Verdict, A Few Good Men) and old-school craft; favors Paul Newman. Willing to admire films he doesn't believe in. Sucker for big speeches and taste-making directors.
Stances
Courtroom drama must be in the courtroom: no legal thrillers, no 12 Angry Men
JFK is a masterpiece despite being hogwash
Winner of the A Few Good Men scene is Tom Cruise
Humor: Mock-legalistic framing and affectionate hyperbole.
Loves the theatrical culture of places like Alamo Drafthouse, pedigreed auteurs (Fincher, Nolan, the Coens), and deep film-history binges. Can't stand corporate pettiness dressed as principle, and thinks The King's Speech beating The Social Network should die in a fire. A sucker for trivia glory and big awards-season structure (wants 75 awards).
Stances
Theaters will survive as a boutique business but wide-scale moviegoing will not last five years
Netflix's lead of finished movies makes it well positioned for the Oscars
Windowing will change and studios will test higher VOD price points
Humor: Mock-grandiose and self-aware, with bits like hosting a five-day awards festival and running out of frame during trivia.
In their words
“There should be 75 awards.” (0:50:42)
“I'm just trying to have a cinematic experience at all times.” (1:06:36)
Loves big, noisy, auteur and genre-bending work: The Lighthouse, Midsommar's ending, Alita and 6 Underground action, Gemini Man, Triple Frontier. Wants more categories and a nine-hour ceremony; adores Paul Walter Hauser and Uncut Gems. Can't stand news-anchor cameos in fiction and Oscar-bait homogeneity.
Stances
Wants more Oscar categories, not fewer
Spider-Man's post-credits scene counts as an ending
Defends Midsommar and The Lighthouse
Wants a casting Oscar and a best first feature
Humor: Cheerfully obsessive and self-mocking about his hobby-horse enthusiasms (the minute-by-minute Lighthouse podcast), with mock-legalistic rule enforcement.
In their words
“I will be starting one of those for the lighthouse.” (0:52:43)
“I personally would like there to be a 9 hours Oscar ceremony.” (0:12:22)
“Have you ever been sewn inside of a bear skin and lit on fire in a giant triangle.” (0:45:39)
Loves Parasite, Marriage Story, Little Women, Uncut Gems and champions Toy Story 4. Prickly toward Joker-style noisy awards bait, wants more fun and weirdness at the Oscars. Sucker for Hark segments and sporting analogies.
Stances
Academy has a taste gap against pop culture and women's stories
He loves The Cabin in the Woods, It Follows and The Witch and likes discussion-making horror like Get Out, but he distrusts elevated-horror branding. He wants to be physically dominated by a horror film, and says he is dead inside and cynical, so he is impressed when a film makes him feel something.
Stances
Get Out is the best horror film of the decade
Elevated horror is an ugly phrase
Horror needs something supernatural or extraordinarily visceral to qualify
Wingard is creative but ultimately disappointing
Humor: Deadpan needler of his guest who takes bits to their end, like the Tim Apple joke.
In their words
“I tend to think there has to be something either supernatural or extraordinarily visceral about the movie to qualify.” (0:10:18)
“I think I'm pretty dead inside and very cynical.” (0:11:46)
Loves big, event-level filmmaking and prizes one great movie over a great season of TV; he is a champion of Once Upon a Time in Hollywood and of Tarantino and Anderson. Likes working through discourse and being a guide who tells friends what to see or skip. Has a soft spot for old-fashioned Hollywood comedy and for Mike Nichols.
Stances
One great movie beats prestige TV
Disney's dominance is overwhelming but not to be underestimated (Cameron)
Streaming may hollow out comedies made without theatrical money
Was surprised and moved by Luce
Humor: Dry deadpan teasing of co-hosts with running bits and impressions, such as PTA at D23.
In their words
“I still would always, always, always rather have one great movie than an experience like that.” (0:52:42)
“And that's why this is the big picture and not the watch.” (0:52:43)
Loves long things, big-tent Oscar movies (Ford v Ferrari, Once Upon a Time) and the business and career-arc angle of franchises. Skeptical of Tom Hooper and unclear streaming strategies; cares about artists controlling their image. As interviewer he probes how Garfield picks directors.
Stances
Homecoming is long, not boring, and great because of Beyonce the performer
Guava Island lacks a strategic purpose and sits outside Glover's mission
Under the Silver Lake has been slightly mischaracterized in the press
Humor: Self-deprecating wonk who plays his own wounded vanity for laughs and teases Amanda with Star Wars archetypes.
In their words
“I'm a big fan of long things.” (0:05:20)
“I am confused about what the strategic purpose of something like that is.” (0:11:33)
“This is upsetting how you have targeted my feelings.” (1:07:11)
Fennessey likes fun, audience-pleasing superhero movies that do something different and cares about tone and the business of the DCEU. He is curious about process, and is a fan of the filmmakers he interviews. He enjoyed Shazam!, though he found the final fight less effective.
Stances
DC's turn from interconnection to standalone movies is interesting and lower-risk
Shazam!'s first half works better than its punch-up ending
Wants to know how directors communicate what is in their heads
Humor: Dry and teasing, as in his mock-eager 'Can't wait for the trench.'
In their words
“I thought Shazam was a very fun and entertaining movie” (0:01:41)
“I don't think that part was as effective.” (0:05:55)
Loves origin-story craft done efficiently, Ben Mendelsohn, indie directors like Boden and Fleck, and Annette Bening. Bothered by surface-level 90s nostalgia, a rickety Marvel mythology load, and a character too powerful for stakes. Sucker for comic lore and for character actors.
Stances
Captain Marvel is rickety, overstuffed, and does too many jobs
Boden and Fleck taking a big-studio job is understandable, not a sellout
Captain Marvel is too powerful to build tension around
Wonder Woman did the origin story better
Humor: Dry teasing of Amanda's comic-book blind spots and deadpan asides about names like Yon-Rogg.
In their words
“I can't believe Jan Rag is the name of a character that I'm talking about on a podcast.” (0:07:03)
“he is one of my favorite living people.” (0:35:58)
“it's funny to see, you know, the McDonald's Happy Meal version of those movies in a lot of ways.” (0:25:50)
Defends Roma as a masterpiece worth reclaiming, loves Spider-Verse (the self-declared devotee), and takes Avengers: Infinity War seriously. Likes craft people with a through-line (Libatique, Corwin). Cannot stand the Oscars' song performances and the Green Book result.
Stances
Green Book winning is a farce
Bohemian Rhapsody should not be taken as great cinema
Spider-Verse beats Sense and Sensibility
Humor: Deadpan and bit-driven, with running gags like the Close Zone and the jar of cold fusion.
In their words
“I am putting my money down right now that says Spider-Verse better than Sense and Sensibility.” (1:00:25)
“green book winning best picture is a farce.” (0:22:56)
Loves GLOW and big, sincere genre movies, and is a hardcore former WWE kid who still lights up at Beyond the Mat. Treats wrestling movies as an industry phenomenon worth tracking. Is a sucker for lists and double features.
Stances
Fighting with My Family signals a more refined era of movies and wrestling
Rocky is the template for sports films
Wants guests' favorite lists (loves the 500-movie idea)
Humor: Dry, quick teasing, such as his joke about Michael B. Jordan in a Junkyard Dog biopic and Die Hard 8 or a Red Desert remake.
In their words
“I'm a huge fan of that show.” (0:03:35)
“I remember being a such such a hardcore WWE fan when that came out” (0:15:27)
“This is exactly my sort of thing.” (0:51:34)
“imagine Michael B. Jordan signing up for, you know, the junkyard dog biopic right now.” (0:09:47)
Loves a clear narrative and critics' consensus picks; Roma, Beale Street and Spider-Verse are his side. Cannot stand the HFPA and films that claim truth while drawing criticism. Sucker for Queen songs and Mahershala Ali.
Stances
Green Book and Bohemian Rhapsody are not the best of the year
Globes versus critics is a problem for Roma and Star
Academy is lost without a plan
Humor: Mock-outrage escalation and self-aware yelling about a meaningless award show.
In their words
“I don't hate green book.” (0:10:42)
“We have to be able as a society and also as people who freaking vote on awards” (0:14:47)
Loves films that are sincere, meta and inventive, and praises vocal performance and rap on a soundtrack. Quick to dismiss the generic superhero origin slog and the lowered bar of Aquaman. A sucker for comic-book feel and a good casting parlor game.
Stances
Spider-Verse is extraordinary and unlike any animated movie
Origin stories are overdone, but the film subverts the trope
Rooting for it to win best animated feature
Having several Spider-Man continuities is a lot for a weekly film writer
Humor: Dry, self-deprecating, acting the aging man and the adult who tucks in his shirt.
In their words
“It's absolutely fantastic.” (0:01:29)
“I now find myself rooting for it for this strange silly award.” (0:29:24)
Loves Oscar-season contenders and deep conversations with filmmakers; says he just really loved Eighth Grade. Little else is stated in this trailer.
Stances
The Big Picture is moving out of the channel 33 feed into its own feed
Will cover more Oscar contenders and filmmaker interviews
Humor: Brief and promotional; no real jokes in the trailer.
In their words
“We're going to keep bringing you more banter about this year's Oscar contenders and more deep conversations with the filmmakers behind them” (0:00:17)
Loves the lean, tightly-told Spielberg entertainments like Jurassic Park and Raiders, and rates Close Encounters and Schindler's List highly. Is lukewarm on E.T. and Munich and a skeptic of the long-form Spielberg-as-prestige push. A sucker for Tom Cruise talk and Day-Lewis.
Stances
Jaws is the perfect movie
Munich is overrated
E.T. is fine but not a favorite
Close Encounters deserved a higher spot than he gave it
Humor: Dry, needling, and self-aware about the show's habits (Tom Cruise riffs, 'safe space').
In their words
“The more I look at my list, the more boring it feels to me.” (0:18:42)
“Will there ever be a podcast where you and I don't talk about what Tom Cruise should do next?” (1:02:21)
Admires the craft of this film and wants to know how directors build rhythm and performance. Interested in awards, box office and streaming. Ends interviews with a last-great-thing question.
Stances
Curious about how a chamber piece becomes propulsive
Presses on awards and box office
Humor: Dry and light; teases with a superhero question and the Friday sing-along.
In their words
“So no superhero movies coming from you anytime soon?” (0:22:54)
“I will start applying the Friday sing-along.” (0:19:03)
Loves the MCU best and thinks it is the most important film business now. Frames everything in industry terms: genre cycles, infrastructure, risk. Skeptical of DC's lack of voice and Snyder.
Stances
Superhero movies are the only movies of consequence in studios
Marvel's strength is infrastructure and filmmaker choice
Genres are most vulnerable when they seem strongest
Humor: Dry host asides and self-deprecation, like claiming empathy for Scott Summers.
In their words
“what matters is the infrastructure.” (0:55:28)
“are never more vulnerable than when they seem strongest.” (0:55:31)
Loves uncomfortable, unusual comedy and says he really loved Lemon. Draws lines from film to TV (Curb, Atlanta) and reaches for Twin Peaks as a tonal comparison. Likes ending interviews on what people are watching.
Stances
Lemon is awkward, fascinating and deeply unusual
Awkward comedy has evolved from Curb
Humor: Dry, teasing; jabs at the guests and himself.
Interested in directors' careers and the industry's shape; pushes on obsession, failure and reception. Notes how many filmmakers now pitch TV. Knows his jungle-film canon.
Stances
Frames Gray as a great American filmmaker deserving more notice
Curious how the Amazon release and streaming change moviegoing
Humor: Dry and light; mostly a straight interviewer.
In their words
“Yeah, Bird of Dream, sure.” (0:07:04)
“You have resisted the urge to make a TV project.” (0:30:24)
“I'm curious that you've partnered with Amazon to release the movie.” (0:26:31)
Calls himself one of America's preeminent Mank defenders and watched it four times in the 2020 Oscar season. Loves Citizen Kane, Paramount in the 70s, and the studio-hand-as-auteur idea. Dislikes Mank-mid takes that he thinks are phony and a Welles-defense posture he calls bullying.
Stances
Mank is a summation of Fincher's worldview and his father's influence
Welles defenders are bullying, not bullied
The Offer is compellingly bad but he finished all ten episodes
Netflix should not be Fincher's only home
Humor: Dry film-critic asides and confessions of excess, like watching Saw X at ten in the morning.
In their words
“I watched it 4 times in the Oscar season of 2020 to 2021.” (0:17:23)
“I don't do drugs.” (0:14:39)
“I not only watched it but I completed it.” (1:06:08)
Their shows' recurring bits
Running bits, not opinions; a critic read aloud is cited, not present.
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.
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.
Their claims
Showing 1–100 of 1,576 claims.
lineage (lineage):
Disturbia → Rear Window.
Disturbia, the best of the decade's thrillers in the cycle, is a Rear Window remake.
craft (craft):
Domestic Disturbance → Swingers.
Vaughn's Rick in the first half echoes his Swingers character Trent: constant performing, false energy, bravado.
“He's always, you know, he's always got this like false energy, this bravado, and he's kind of doing that in the 1st half of this movie where he's trying to connect with Danny.”
unmapped (stylistic seed):
After Hours → Goodfellas.
Sean says the fast cutting, whip-pans and close-ups in After Hours are the seeds of Goodfellas' look, via cinematographer Michael Ballhaus.
“just seeing all the seeds of Goodfellas and all these little edits and camera shots.”
lineage (homage):
After Hours → The Wizard of Oz.
Dark-side-of-the-yellow-brick-road version; Dorothy walks into black and white instead of color, with 'surrender Dorothy' graffiti and Marcy's Seconal tie to Judy Garland.
“it is like very much a Wizard of Oz kind of homage, and it's like if Dorothy instead walked into the black and white darkness”
unmapped (same-year cycle):
After Hours → Desperately Seeking Susan.
Hosts group After Hours, Into the Night, Desperately Seeking Susan and Something Wild as 1985 cokey-screwball-paranoia New York-night movies.
unmapped (sliding door):
The Last Temptation of Christ → After Hours.
Paramount cancelling Last Temptation sent Scorsese to a small fast job; one of movie history's sliding doors.
“it is one of the massive sliding doors in movie history because him not making it leads to him making this movie”
career (career hinge):
After Hours → Goodfellas.
Bill says Goodfellas does not happen if After Hours does not happen first; the cancelled Last Temptation is the sliding door.
contrast (Oscar contrast):
Out of Africa → After Hours.
1985 Best Picture went to respectable, stuffy Out of Africa while the new-Hollywood audacity lived in films like this.
“the movie that won best picture in 1985 is out of Africa.”
unmapped (slower religious cut):
The Last Temptation of Christ → Kundun.
Scorsese's religious movies are slower and more painterly than the fast style of After Hours.
“His religious movies are more slower paced and more painterly, I would say.”
contrast (contrast):
Steven Soderbergh → Ryan Coogler.
Soderbergh can bang out movies fast because he shoots and cuts them himself, unlike Coogler's big-crew, big-star productions.
“Like Soderberg shoots and edits his movies. He holds the camera when he makes the movie.”
unmapped (tonal shift):
After Hours → Raging Bull.
Raging Bull is realistic, documentary-like black and white; After Hours is a surreal fever-nightmare with a moving camera, a shift for Scorsese.
“Raging Bull, shot in black and white, almost feels like documentaries.”
career (career bridge):
After Hours → The Color of Money.
The camera moves of After Hours carry into Color of Money's pool table, tied to Ballhaus; both lead to Goodfellas.
“that same thing, that camera is flying across the pool table.”
people (cinematographer lineage):
Michael Ballhaus → Goodfellas.
Ballhaus, with Schoonmaker's editing, built the new Scorsese look; seven films together.
“with Thelma Scoonmaker's editing style, they built this kind of new version of the Scorsese movie.”
lineage (stealth homage):
After Hours → Rear Window.
The neighborhood shooting seen through a window is a Hitchcock rear-window moment never mentioned again; Hitchcock and Fritz Lang noir are influences.
“there's Hitchcock and Fritz Lange Noir movies are a huge influence on this movie, and that's like such a perfect rear window moment”
lineage (production lineage):
After Hours → Baby It's You.
Without Baby It's You (Dunn/Robinson, Arquette, Ballhaus) there is no After Hours, since it brought Ballhaus to Scorsese.
“without that movie, we don't have after hours either because they bring Michael Bauhaus to Scorsese.”
what-if (casting what-if):
Griffin Dunn → Michael Keaton.
Keaton's 'I just blew a line' energy might beat Dunn for Paul Hackett; they played brothers in Johnny Dangerously.
“Michael Keaton does have that like, I just blew a line energy.”
career (personal projection):
After Hours → The Last Temptation of Christ.
Scorsese worked Kafka's Before the Law into the club doorman scene to reflect his frustration over Last Temptation.
“inspired by Franz Kafka's before the law. And Scorsese said the short story reflected his frustration toward the production of the Last Temptation of Christ.”
unmapped (late-night NYC exclusion):
After Hours → Dog Day Afternoon.
Every Lumet film is a night movie except Dog Day Afternoon, which takes place by day.
“except for Dog Day afternoon, because it only takes place during the day.”
people (people):
Thelma Schoonmaker → Michael Powell.
Powell, Scorsese's mentor, married Schoonmaker around the time of After Hours, and the two of them helped Scorsese.
“became a huge mentor to Scorsese at this time and married Thelma Scoonmaker right before this movie, I think, or maybe right after.”
unmapped (mentor):
Michael Powell → Martin Scorsese.
Powell, exiled British filmmaker married to Schoonmaker, mentored Scorsese and helped with After Hours' ending and tone.
“he was one of the people who helped him figure out the ending, helped him determine the tone.”
unmapped (lived-in New York):
Francis Ha → After Hours.
Sean says Frances Ha is the closest to his own New York life, as After Hours is to a different era.
“I didn't live through after hours, but what she is doing in that movie, plus Bombach being such a special filmmaker for us.”
lineage (lineage):
Pulp Fiction → Reservoir Dogs.
Pulp's opening two-song credits echo the radio dial concept from Reservoir Dogs.
“Well, the radio, the concept of the radio had been in Reservoir Dogs, but I think switching the songs in the middle, because you hear him change the dial.”
what-if (what-if):
Pulp Fiction → Daniel Day-Lewis.
Weinstein pushed Daniel Day-Lewis for Vincent; the speakers would not trade Travolta but would love one DDL hitman movie.
“Having him play like just one normal hitman having a weird day would be awesome.”
industry (industry):
Alison Jones → Barry (TV).
The famous casting director Alison Jones is in Barry season two, in the scene where Bill Hader auditions for Jay Roach.
“And Alison Jones, the very famous casting director.”
lineage (lineage):
Spotlight → All the President's Men.
Spotlight was closer to the spirit of the conclusions of All the President's Men, if not its style.
“it was closer to the spirit of the conclusions of all the president's men, if not the style.”
contrast (contrast):
The Insider → Spotlight.
Spotlight was a hit because it is a satisfying bad-guys-get-caught story, while The Insider is meditative and ambivalent.
“Spotlight is just like, let's get the bad guys with our reporting.”
craft (craft):
The Insider → Miami Vice.
Mann's pop-abstract music choices, such as the Linkin Park and Jay-Z cues in Miami Vice, are a recurring misfire for some.
“Is this your, is this a subtle dig at Lincoln Park, Jay-Z being used in Miami Vice?”
craft (craft):
The Rolling Stones → The Big Chill.
The Stones song at the reception, with Karen playing it on the organ, is called as well used as a song ever is in a movie.
“And then the fucking Rolling Stones come in and it's used as well as you're gonna ever use a song in a movie.”
career (career arc):
Robert De Niro → Midnight Run.
From Midnight Run through Goodfellas, This Boy's Life, Cape Fear and this film, De Niro played different parts each time.
“This is such a great De Niro stretch, basically, from Midnight Run.”
verdict (Apex Mountain: crap scenes / Italian):
A Bronx Tale → Goodfellas.
Apex for crap scenes and for father-son: Goodfellas and Casino are the competition.
verdict (Apex Mountain: racists burned alive):
A Bronx Tale → Django Unchained.
Apex Mountain for racists getting burned alive: this or the end of Django Unchained.
“Isn't Django unchained, really more the, you know, the end of Django unchained?”
lineage (homage question):
A Bronx Tale → Goodfellas.
Fennessey wonders whether the needle drops and the Pesci cameo are purposeful homage or accident.
“I just want to know how much of what he was doing was a purposeful homage to Goodfellas”
verdict (Apex Mountain: Palminteri):
A Bronx Tale → The Usual Suspects.
Apex Mountain for Palminteri: A Bronx Tale or The Usual Suspects, with Suspects bigger but this his whole life.
people (counterfactual director):
Robert De Niro → Martin Scorsese.
If Scorsese directed, the film would be more thrilling but less breezy and easy to rewatch.
“If Martin Scorsese shoots the movie, it's fucking exciting.”
programming (double feature):
A Bronx Tale → Rocco and His Brothers.
A Visconti-style Italian neorealist film is suggested as the other double feature.
lineage (lineage):
The Player → Singin' in the Rain.
Sean says movies about movies go back long before The Player, e.g. Singin' in the Rain, but this one is far more inside the joke.
career (career):
The Player → Short Cuts.
The Player put Altman back among world-class directors: a best director nomination here and another the next year for Short Cuts.
“he gets nominated for best director here and then gets nominated the following year for his next film, Shortcuts”
lineage (lineage):
Robert Altman → Tanner '88.
Tanner '88 is where Altman found the satirical tone he carried into The Player, using politics as the way into mocking egomaniacs.
“that's where he figures out this satirical tone that he's then going to follow into the player.”
lineage (lineage):
Robert Altman → Richard Linklater.
Sean lists Linklater with PTA among 90s directors who took Altman's interest in communities and worlds.
craft (craft):
Robert Altman → Michael Tolkin.
Altman changed Tolkin's screenplay and was unkind about it; the film's ending differs greatly from the book.
“And Altman was a little unkind about Tolkien's screenplay.”
craft (craft):
The Player → Touch of Evil.
The Player's opening nods to Touch of Evil's tracking shot by having Fred Ward's character talk about it, then reveal he never watches foreign films.
“Fred Ward talking about the tracking shot and touch of evil, but then revealing that he never watches foreign films.”
theme (theme):
The Player → The Larry Sanders Show.
Both treat agents and executives as the villains; Odenkirk's Larry Sanders finale line calls back to Griffin's wish to eliminate the writer and actors.
“So then in Larry Sanders, in the last episode, Bob Odenkirk, who plays, um, Sander's agent”
career (career):
Whoopi Goldberg → Ghost.
Whoopi's few scenes land as an Apex Mountain moment: Ghost was just before, and she holds an Oscar prop a year after winning one.
“And Ghost is right before this, and it's just, you drop her in a movie like a grenade for 15 minutes.”
career (career):
Randall Batinkoff → Ben Affleck.
Batinkoff was the odds-on favorite to be the biggest star of the Affleck/Damon/O'Donnell/Fraser class and peaked in 1992.
“Batenkoff was probably like the odds on favorite to be the biggest star of all of them.”
career (career):
Brion James → 48 Hrs..
Sean corrects the Blade Runner guess: Brion James is the Ice Pick/Iceman villain in 48 Hrs. and Another 48 Hrs.
“He turns out to be the Iceman at the end of 48 hours too, another 48 hours.”
career (career):
Sydney Pollack → Eyes Wide Shut.
Pollack's Player cameo ended an acting drought since Tootsie and set off a chain that led to Eyes Wide Shut.
“this sets off a chain of movies culminating in Him in the leather sleeveless vest and knives wide shut”
career (career):
Julia Roberts → Sandra Bullock.
After the Pretty Woman era Julia Roberts outran every actress for years, until Meg Ryan and Sandra Bullock got a foothold.
“And then Meg Ryan and Sandra Bullock finally like clawed their way in at least a tiny bit.”
what-if (what-if):
John Travolta → Pulp Fiction.
If Travolta had starred in The Player, the Pulp Fiction comeback might have gone differently, and Bill is glad it did not happen.
“It's a really interesting Travolta sliding doors.”
lineage (lineage):
The Player → Network.
In the meta-Hollywood movies discussion, Network, Argo, Tropic Thunder and Bamboozled are floated as the nearest cousins, none as acidic.
“But you have never seen a movie this acidic about, you know, the, and also involving the, the level of fit.”
career (later career):
Franco Nero → John Wick: Chapter 2.
Nero later reappears in John Wick 2, and in Django Unchained because he played the original Django.
“he shows up in Django and Chain because he played the original Django in the Italian movies.”
verdict (favorite of director):
Renny Harlin → The Long Kiss Goodnight.
Fennessey's favorite Harlin is Long Kiss Goodnight, though Die Hard 2 is his Apex Mountain.
lineage (lineage):
Panic Room → Psycho.
Panic Room is to Fight Club as Psycho is to North by Northwest: a small, single-location B movie after a big sprawling one.
“But really it's like, it's Hitchcock doing Psycho right after North by Northwest.”
contrast (contrast):
Panic Room → North by Northwest.
North by Northwest is the big cross-country picture; Fight Club plays that role for Fincher before Panic Room shrinks things down.
contrast (contrast):
Zodiac → Panic Room.
Zodiac is deep (obsession, meaning through someone else's experience) where Panic Room is a well-made B movie.
“It's one of those things where like zodiac is deep.”
fun, about
Bohemian Rhapsody:
Queen's opening felt like a Jones Beach concert you'd see with your mom; and there were as many cutaways to Brian May in the show as in the film.
“It was just sort of like a concert you'd see at Jones Beach, like with your mom.”
fun, about
Die Hard / Red Desert:
His list runs from Fellini and Antonioni to Predator and Die Hard; Fennessey sums it up as Die Hard 8 or a Red Desert remake.
fun, about
Close Encounters of the Third Kind:
Chris moved it up the list mid-conversation after realizing how many ideas are in it; the Lucas/Spielberg wager story.
fun, about
Peter Sellers:
Sellers received a best actor nomination for what are effectively three supporting roles; the speakers think it may be the only such nomination.
“It is such a unique nomination to be like, this guy is the lead of the film because he plays 3 supporting characters in an ensemble.”