Admires Eddie's subtlety in the film and the Detroit-set opening that sets it apart from other 80s blockbusters. Appreciates sly craft details like pop songs turning down for a scene. He is a sucker for the rival-duo moments and the soundtrack.
Stances
The opening feels like Mean Streets rather than an 80s blockbuster
Eddie's performance is quiet and sly, not stuck in a persona
Humor: Understated, pop-culture-reference humor.
In their words
“he's really sly in this movie” (0:06:13)
“Also, a secret trope of the 80s movie making is pop song playing over montage.” (0:35:52)
Loves big-picture film history and awards lore, brings printed research and Roger Ebert quotes, and likes comfort rewatches (Wedding Crashers, Beverly Hills Cop). Bad on moral outrage as a critical starting point. A sucker for pizza as a holy deity and for New York.
Stances
Do the Right Thing is a perfect screenplay and Spike's fiction apex
The Denby, Klein, and Crouch criticism missed the film
Tarantino lifted things from this movie
The worst New York pizza beats California food
Humor: Deadpan and procedural; reads 'half-assed Internet research' with mock apology, and picks fights over pizza.
In their words
“Half-assed internet research.” (1:06:03)
“Pizza is a holy deity to me.” (1:35:53)
“I have thought about this movie every day of my life since 1989, so ask away.” (1:32:24)
Sean is the one who treats Reservoir Dogs as a film education: the Melville and The Killing recommendations, the 10-year-old rewatcher who rented it. He loves the sound-and-image craft of the opening, Buscemi as the ideal Buscemi, and the commode story. Cannot let a bad accent go.
Stances
Reservoir Dogs is the film that shaped how he related to pop culture
Roth's accent is a pet peeve
Madonna's refutation is why the tipping theory wins the Ewing Award
Humor: Dry and unbothered, undercutting Bill's categories.
In their words
“Go rent the killing if you haven't seen it.” (0:47:22)
Cinephile with filmmaker-career knowledge (Todd Phillips' documentaries, Phillips-Cooper partnership). Loves Wayne's World 2 and rewards deep-cut details. Not a fan of The Hangover sequels or the Godfather compound mistake.
Stances
Todd Phillips won the movie
Hangover 2 and 3 are not worth revisiting
Fuck the South Shore, North Shore forever
Never said Frank Sinatra wasn't cool
Humor: Mock-wounded pride about his Godfather misses and hometown loyalty.
In their words
“I am from the northern shore of Long Island, and I'm north shore till I die.” (1:09:30)
“it's Todd Phillips for me because of everything I said.” (1:05:58)
Cares about behind-the-scenes lore and fair historical context; likes Kurt Russell's career arc and Westerns. Dislikes stereotypical bad takes. Provides the lore breakdown.
Stances
Tombstone is better than Wyatt Earp
Russell's apex is 1982-83
Ghost director story is the soul of the film
Kurt Russell wins spiritually
Humor: Dry, knowing asides, calls out cohosts' takes.
In their words
“The miracle of this movie is that so it was basically, let's just say it's directed by 3 people.” (0:09:03)
“He was nominated for best supporting actor, four, Silkwood” (0:48:04)
Obsessed with Brian De Palma and sees this as his last great movie; loves Carlito's Way, The Untouchables, Blow Out, and heist movies like Rififi. Dislikes masks that break the rules. A sucker for Henry Czerny and the Langley vault.
Stances
This is De Palma's last great movie
Langley heist is the most rewatchable scene
Villains' goals in the MI series are always vague
Humor: Enthusiastic, tangents about Usenet confessions and hypothetical senator IP.
In their words
“I love I love Brian De Palma's movie making.” (0:07:34)
“I realized that this is his last great movie” (0:06:56)
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
Humor: Dry, self-deprecating banter and bit-building (mouse in Boston, Dion Waiters riff, cardigan mouse).
Loves slashers and the final-girl canon, and writes about them; holds Miasma up as an A-plus and Obsession as incomplete but provocative. Uses Smile 2 as a reference. Is a sucker for tonal gear-shifts and sincere-yet-silly filmmaking.
Stances
Miasma is sweet and sincere, not scary
Obsession is incomplete but its reaction is unusual
Horror is more mainstream than ever
Final-girl trope has run to the end of the road
Humor: Dry teasing, running gags with Adam about the Blue Jays and podcasting.
In their words
“as a certified slasherologist,” (0:30:16)
“I like camping miasma exponentially more, you know, like much, much more.” (0:39:49)
“Okay, Adam, one thing, one movie that I revisited this week in writing about Final Girls was Smile 2.” (0:44:06)
A lifelong He-Man collector who admits the film has his number even when he thinks it is flawed. He loves Henson fantasy, Excalibur, and unvarnished, handmade movie moments, and prizes sincere emotional entry points. He is allergic to Marvel-style end-credit teases and sequel bait, and is a sucker for Hensonian creature work and toy nostalgia.
Stances
The film is wildly flawed and too long but tonally interesting
Handmade, unpolished horror like Obsession is what the fandom wants
Fantasy canon is mostly the five things everyone says
Tired of sequel-bait end credits
Humor: Self-deprecating about being a broken fan critic, riffing on his own 'film critic or not' persona.
In their words
“I'm a bizarre broken person and this silly thing means a lot to me, right?” (0:42:31)
“I want to watch a movie finish itself.” (1:12:44)
“Yeah, I would I would throw Dark Crystal and Excalibur into that cannon.” (1:18:46)
Likes lean, formally controlled genre movies, prefers Sondheim to Lloyd Webber-era musicals, and respects cult phenomena once he understands them. He doesn't care for modern movie musicals, bad-good irony, or over-psychologized horror. He is a sucker for movie stars and celebrity mystique and for a good Letterboxd rating.
Stances
Mamma Mia is both very good and very bad and he's willing to join the cult
Camera work and direction in Mamma Mia are poor
Dislikes modern musicals like Wicked and over-performative choreography
Not fond of 'so bad it's good'
The Strangers is richer than its 81 minutes suggest
Humor: Dry, digressive and self-deprecating, building long riffs on sports fandom, marriage and Meryl Streep's filmography.
In their words
“I've never seen a film be so good and so bad simultaneously.” (0:52:28)
“I'm actually willing to join the cult, but it is extremely important to talk about the myriad ways in which this movie also kind of stinks.” (0:52:38)
“It's just not a bad idea for a movie and maybe there should be other movies like this.” (1:26:26)
Loves genre craft and auteur signatures: devoted to Sam Raimi, delighted by Send Help as exactly what he wants from any month, and fond of movie stars with range. Detests mean-spirited, incoherent studio product like Mercy, and likes making lists of underused stars. A sucker for Beatles, Chris Pine and scenes that feel like real fights.
Stances
Mercy is ugly, mean, immoral and structurally confused
Send Help is the model fun genre movie, and Rachel McAdams should be in more
Hollywood misuses stars, especially women over 40
Amy Adams is partly responsible for her own bad roles (low confidence in attribution)
Humor: Dry compliment-sandwich deadpan, with dramatic mock hosting and running bits like the list of 22 stars.
Loves ambitious, Hollywood-about-Hollywood spectacle and big-swing auteur messiness: Babylon, Nope, Avatar: The Way of Water, Barbarian, EEAAO. Likes genre mashups with sincere hearts, rewatches Zack Snyder's Justice League, and wants theatrical formats (70mm). Will follow a filmmaker for decades after one great film.
Stances
Babylon is a near masterpiece and he is obsessed with it
Peele's messier movies reward rewatching
Avatar: The Way of Water is a film he loves and was moved by
Awards campaigns should not define a movie's reputation afterward
Humor: Dry, performative magnanimity, grandly generous gestures, and teasing his co-hosts about pants.
In their words
“I love Babylon more than I love tar.” (0:31:21)
“I love, love, love this movie.” (0:43:31)
“I tend to not go back to films aside from Zack Snyder's Justice League, which I've seen 10 times.” (0:32:25)
“I think it's probably his most satisfying film for me since in Bruges.” (0:44:50)
Loves the apotheosis of Scorsese's style and long, ambitious movies, and champions Leo, blues-drenched needle drops and big Hollywood events. He is bothered by audiences who misread excess as celebration and by passion projects that take decades. He is a sucker for personal connections, like Long Island details, and for a rankable list.
Stances
Wolf is the culmination of Scorsese's hyperkinetic 21st-century style
Leo's performance may be his best of the century
Audiences who read Wolf as a celebration are misreading it
Silence is a serious rival pick
Humor: Dry and self-deprecating, deflating moments with a deadpan aside and teasing his co-host.
In their words
“it's like the final boss of a thing he developed in the 21st century as a director.” (0:03:29)
“So we continue to make mistakes throughout this experience.” (0:02:06)
Loves Wes Anderson's Rushmore best and treats Tenenbaums as the calling card. Responds to its imaginative-Texan, literary-pop sensibility, and to sad comedy. Admires showy camera moves and needle drops. (Attribution of individual remarks is low confidence.)
Stances
Tenenbaums is the right Anderson pick as a bridge from indie to institution
Hackman's resistance to the Anderson style makes the film
Humor: Self-deprecating banter about fantasy football punishment and eyeliner.
In their words
“I will wear the Richie Tenbaum headband.” (0:26:06)
Loves Moneyball as one of his favorite movies of the decade, a baseball obsessive, a fan of Pitt's movie-star presence and Sorkin's writing. Drawn to character studies about unfulfilled promise and process movies. Allergic to self-serious later Miller and to Oscar logic.
Stances
Moneyball is the best sports movie of the decade
Pitt's best performance
Bennett Miller is interested in characters, not sports
Oscars miss the right role
Humor: Deadpan, self-deprecating banter, running gags about Chris Ryan and pants.
In their words
“The best sports movie of the decade, one of the, for my money, the best performance by one of the great movie stars of our generation.” (0:02:37)
Loves tilted, genre-mixing movies (Wild at Heart, Gremlins 2) and mainstream crowd-pleasers he grew up with (Home Alone, Ghost, Total Recall). He kept the draft's logic and also took the Spike Lee Mo' Better Blues as a heartfelt late pick. A sucker for sequels with a point of view and for the Rewatchables tie-in.
Stances
Gremlins 2 is among the cleverest movies about the scary future of America
Wild at Heart is great but not top Lynch
Chose to skip five sequels to New Hollywood classics in the sequel slot
Humor: Dry, deadpan teasing, especially of his co-hosts' drafting mistakes and the Braves.
In their words
“I'm taking David Lynch's Wild at Heart.” (1:11:00)
“one of the cleverest, if not the most clever movie about like the scary future of America” (1:15:14)
“I think misery is the best movie of the bunch.” (0:57:28)
Sean is the Minecraft-business optimist who still admits it is a mediocre movie; he loves a theatrical crowd losing its mind, auteur exercises (Soderbergh), music movies, queer European arthouse thrillers and Canadian cinema (Egoyan). He recommends in bulk, with caveats ('mixed on this, but I want to recommend it'). He's a sucker for the macro story: globalization, China, IP, and the studio math.
Stances
A Minecraft Movie is not a good movie but is an important, essential one
Kids deserve their own movies; chicken jockey gave him life
Theatrical revival needs IP and eventization right now
Film critics (incl. himself) share blame for the superhero glut
Optimistic about April and the studio year despite a bad Q1
Humor: Deadpan thesis-mongering and self-mocking melodrama ('movie bleed out'), with a constant needle for Amanda's habits.
In their words
“I'm excited about what's happened over the weekend and I have so many reasons why.” (0:01:58)
“I'm ove indexed on caring about movies.” (0:52:38)
“But you're right that I am kind of paying a penance because my enthusiasm contributed to leading us to this place.” (0:46:09)
Saw Babygirl three months before the episode and again with his wife, and the second viewing made him want a dog. Names The Brutalist his favorite movie of the year and conducts the Halina Reijn interview. Attribution inside the Hall of Fame draft is uncertain, but the draft voice that reads the filmography, champions Dead Calm and wants to hold a listener vote is probably his.
Stances
Babygirl works best as set pieces, a comedy of manners played straight, not Basic Instinct
The Brutalist is the best film of the year
Pushes Dead Calm into the Hall of Fame (low confidence)
Humor: Dry and needling, prone to pretending to be wounded.
In their words
“I think we should get a dog.” (0:12:02)
“I'm very curious about, uh, the big needle drops.” (2:32:14)
Loves spectacle done with craft and the practical heft of the original Gladiator; counts it just under his top tier of Ridley Scott. Can't stand sloppy CGI animals, soft scripts and legacy sequels that merely restate the original. A sucker for actors committing, a big Mad Max: Fury Road partisan.
Stances
Gladiator II is a huge disappointment and also incredibly entertaining
Denzel Washington is the best thing in it, but Macrinus's villainy was telegraphed
CGI baboons and sharks pull him out of the film; real animals would be better
Wants Ridley Scott to finally win Best Director
Humor: Dry, ringleader-style needling of his co-hosts, with absurd escalations (method-acting baboons, Bitcoin vs. cranking it).
In their words
“how do you communicate that this movie is a huge disappointment to me and also incredibly entertaining.” (0:16:31)
A fan of Chazelle's showy, homage-heavy filmmaking and a self-declared proud member of the Babylon hive. Loves Singin' in the Rain, physical media, genre like Suspiria, and the Immaculate theatrical experience. Can't stand long bad blockbusters, though long ambitious films do not bother him. Hunts movie-night rituals and bits.
Stances
Babylon is a maligned masterpiece and the middle and ending montage hold up
Long movies are fine when they are good; the problem is long bad blockbusters
Movies are best with a crowd and a ritual of focus
Humor: Deadpan tangents and mock-solemn setups (snack lists, bridge-dog theory, fake complaints about the golf scandal) that pull the room off the film and back.
In their words
“Now, listen, I am a proud member of the Babylon Hive.” (2:57:53)
“who's going to show this kid? Suspiria, you know, if not me.” (1:52:01)
“Tell you what, I think I'm a pretty normal guy.” (1:09:04)
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 1,401–1,500 of 1,576 claims.
career (career):
Ben Mendelsohn → Rogue One.
Mendelsohn played Director Orson Krennic in Rogue One, in a flowing cape.
“He played a character with just a phenomenal name named Director Orson Krenik.”
career (career):
Ben Mendelsohn → Ready Player One.
In Ready Player One he plays Nolan Sorrento, a basic evil corporate villain who still brings flair.
“where he plays a character named Nolan Sorrento, who's just a villain.”
career (career):
Annette Bening → American Beauty.
Bening is a 1990s emblem, star of The Grifters and American Beauty, whose character was compared to Hillary Clinton.
“Star of the Grifters and Star of American Beauty.”
lineage (lineage):
Captain Marvel → Guardians of the Galaxy.
As a prequel, Captain Marvel brings back Guardians characters Ronan (Lee Pace) and Korath (Djimon Hounsou).
“this is, of course, a prequel, so their characters appear in this film again.”
industry (industry):
Captain Marvel → Avengers: Infinity War.
Opening-weekend benchmarks: Infinity War opened at $257 million; under $150 million is called a disappointment for Captain Marvel.
“Avengers Infinity War, naturally, that one's $257000000 opening weekend.”
lineage (lineage):
Wonder Woman → Kingdom Come.
Sean points to Alex Ross's 90s comic Kingdom Come, where an elderly Wonder Woman and Batman had a thing.
“you got the sense that Wonder Woman and Batman had a thing, but they no longer got along anymore.”
theme (theme):
Bohemian Rhapsody → The Pianist.
Rami Malek's win reminds the speaker of Adrien Brody's win for The Pianist, a film by a controversial filmmaker with a sordid past.
“I thought a bit of Adrian Brody winning for the pianist, which was also made by a controversial controversial filmmaker with a sordid past.”
industry (industry):
Roma → The Irishman.
A Netflix ad for The Irishman put 'in theaters' first, which the speaker reads as the new paradigm for how movies are seen.
“There was a notable commercial in the middle of this show for the Irishman, a new film from Netflix, and Martin Scorsese that you pointed out.”
contrast (contrast):
The Shape of Water → Get Out.
Shape of Water won in a soft year because nobody was comfortable giving it to Get Out, Dunkirk, Lady Bird or Three Billboards.
“Nobody feels comfortable giving it to get out or to Dunkirk or to Ladybird, or even a 3 billboards.”
craft (craft):
Bradley Cooper → A Star Is Born.
Says Cooper performed as himself rather than as Jackson Maine, which is a mistake because the character's voice is indelible.
“Bradley Cooper, very notably, did not perform as Jackson Maine.”
industry (industry):
First Man → Avengers: Infinity War.
First Man won visual effects because the most high-toned action movie nominated for best picture tends to win the category.
“basically the most high toned action movie that is also nominated for best picture tends to win.”
industry (industry):
Green Book → Period. End of Sentence..
When women are not honored in big categories the Academy gives the award to the women's empowerment movie; for every Green Book there is a menstruation movie.
“Yes, for every green book, there is a menstruation movie and here we had one.”
verdict (verdict):
Hank Corwin → Bohemian Rhapsody.
The speaker expected Corwin to be honored for editing Vice, but Bohemian Rhapsody won the editing award.
“I thought that he was going to be honored here. And I should have known all along that Bohemian Rhapsody was going to win.”
theme (theme):
Alfonso Cuaron → Groundhog Day.
Cuarón's repeated thanks to the same Roma actors in each speech is compared to the alarm clock in Groundhog Day.
“it was that sort of the alarm clock going off in Groundhog Day.”
contrast (contrast):
Damien Chazelle → Moonlight.
Another split between best director and best picture: Chazelle won director for La La Land and Moonlight won picture.
“We had this a couple of years ago, of course, when Damian Chazelle won best director for La La Land, and then Moonlight went on to win best picture.”
career (career):
Yorgos Lanthimos → Population 1280.
Next project is an adaptation of a Jim Thompson novel, gritty stuff from the writer of The Killer Inside Me.
“adaptation of a Jim Thompson novel called Population 1280”
industry (industry):
Todd Phillips → Hulk Hogan.
Fennessey cites the news of a Todd Phillips and Chris Hemsworth Hogan biopic as evidence movies and wrestling are in the air.
“Todd Phillips and Chris Hemsworth are going to be making a movie about the life of Hulk Hogan, movies and wrestling just seem to be in the air.”
verdict (verdict):
Rocky III → The Wrestler.
Fennessey wonders whether Rocky III counts as a wrestling movie, in which case it might rank with The Wrestler.
“whether or not Rocky 3 actually counted as a wrestling movie because if so, that's obviously like, that might be up there with the wrestler is the best wrestling thing ever made”
what-if (what-if):
Paradise Alley → Michael B. Jordan.
Fennessey compares Stallone making a wrestling movie right after Rocky to Michael B. Jordan making a Junkyard Dog biopic now.
“imagine Michael B. Jordan signing up for, you know, the junkyard dog biopic right now.”
craft (craft):
Jules Dassin → Night and the City.
Fennessey notes Dassin set the tone for a lot of film noir and crime tropes, which is why this is a cool vibe for a pro wrestling film.
“set the tone for a lot of film noir and crime tropes over through his career”
industry (industry):
Fighting with My Family → Ready to Rumble.
Fennessey frames Fighting with My Family as the first stroke of a more refined version of the movie-wrestling crossover that Ready to Rumble attempted.
“fighting with my family feels like the 1st stroke of maybe a slightly more refined vision of how movies and the pro wrestling world intersect.”
theme (comparison):
David Arquette → The Umbrella Academy (TV series).
Fennessey compares seeing shirtless Arquette in spandex to the unbelievable gorilla-bodied character on The Umbrella Academy.
“unbelievable as seeing the guy with the gorilla body and umbrella academy”
career (career):
Fighting with My Family → The Office (TV series).
Fennessey says Paige is positioned not far from David Brent or Merchant's Hello Ladies character, with a presumed sense of accomplishment.
“not so far from David Brent or your character in Hello Ladies”
programming (programming):
Leave No Trace → Fighting with My Family.
Fennessey proposes Leave No Trace as an unlikely but reasonable double feature with Fighting with My Family.
“That would make an unlikely but not unreasonable double feature with fighting with my family.”
career (career):
Mahershala Ali → True Detective.
Ali is about to star in the third season of True Detective, so he can float above Green Book's problems.
“Mohershla is about to be starring in the 3rd season of True Detective on HBO.”
verdict (verdict):
Green Book → Three Billboards.
Asked if Green Book is this year's Three Billboards, the answer is probably yes, and there will be one every year.
“I think we're going to have a 3 billboards every year until we fix a lot of larger problems in Hollywood and the world at large.”
industry (industry):
Bohemian Rhapsody → If Beale Street Could Talk.
PGA nominating Bohemian Rhapsody while omitting Beale Street worries the speakers for Beale Street's Oscar chances.
contrast (contrast):
A Star Is Born → Bohemian Rhapsody.
A Star Is Born came out in October and Bohemian Rhapsody in November and stayed in theaters, so civilians saw one and not the other.
“And Bohemian Rhapsody came out in November and has just been in theaters.”
theme (theme):
A Star Is Born → Bohemian Rhapsody.
Star's schmaltz and old-fashionedness were expected to lift it, but that is what the night rewarded in Bohemian Rhapsody and Green Book.
“it's the schmaltiness and old-fashionedness of Bohemian Rhapsody and Green book that we're really discussing tonight.”
what-if (what-if):
Christian Bale → Daniel Day-Lewis.
With Day-Lewis out of the frame, Bale becomes the consensus best actor and a second Oscar would make that official.
“Daniel DeLouis is out of the frame and now everybody's like, this is our best actor”
industry (industry):
Christian Bale → James Franco.
Last year's winner of the same award was James Franco, who was soon blown out of the frame, showing how frivolous the show is.
career (career):
Amy Pascal → Spider-Man: Homecoming.
After leaving Sony she negotiated a producing deal including the Spider-Man rights and made Homecoming with Marvel.
“Her 1st Spider-Man movie, she got to produce in conjunction with Marvel and made Spider-Man Homecoming.”
career (career):
Chuck Lorre → The Kominsky Method.
Lorre, creator of The Big Bang Theory, won for his Netflix show and was emotional, almost forgetting to thank Netflix.
“He's, of course, the creator of the Big Bang Theory”
people (people):
Roma → Alfonso Cuaron.
Cuaron won best director and Roma is bulletproof regardless; best director does not necessarily portend the Oscar.
“I think that no matter what Romo was going to be bulletproof tonight.”
verdict (verdict):
Regina King → If Beale Street Could Talk.
King's win was the one where critics' favorite got rewarded, since she won most of the critics awards.
“Regina King to me was the one person who I was like, this is a small film.”
“Like they're really at home in a world like this, which is kind of rife with meta commentary, but also incredibly sweet and sincere and empathic towards his characters.”
“it doesn't have any of the self-awareness or the, you know, it's not it's self-awareness, but not self-consciousness of Spider-Man into the Spider-Verse.”
“the movie that I kept thinking of, especially as this movie went on and it gets sort of more kaleidoscopic and more strange and more fun and high energy is who framed Roger Rabbit?”
verdict (verdict):
Spider-Man: Into the Spider-Verse → Aquaman.
Aquaman made the speaker dread a sequel; Spider-Verse made him curious about where the story goes.
“unlike Aquaman, which as soon as the movie ended, I was like, I can't believe I have to go do this again 2 years from now”
career (career):
Jurassic Park → Steven Spielberg.
Jurassic Park is the midpoint of Spielberg's career, blending spectacle with childhood and humanity.
“it is kind of the perfect middle ground, the median point of Spielberg's career.”
craft (craft):
Ready Player One → ILM.
ILM artists slipped a gremlin into Ready Player One and Spielberg was annoyed, part of his trimming of self-referential Easter eggs.
“ILM people threw in like a gremlin in some place and like he was just like, god damn it.”
lineage (lineage):
Raiders of the Lost Ark → George Lucas.
Raiders fuses Spielberg's and Lucas's love of 30s-50s serialized hero comic strips.
“it is a neat fusion of his point of view and George Lucas's point of view and their fascination with the serialized hero comic strip stories of the 30s and 40s and 50s”
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.”