Appreciates craftspeople and lesser-known directors (loves The Boost and City Hall) and attends Cannes. Scrutinizes plot logic and loves Buscemi's Fargo energy. Disdains the garage finale.
Stances
The movie works until the murder, then the investigation sinks it
Modern tech would have ended the plot
Harold Becker's career deserves a look
Humor: Wry, uses film-nerd references and dry understatement.
In their words
“I just saw it for the 1st time this year is amazing.” (0:30:27)
“I just feel like reverse image search alone on a photo of Rick just ends this whole thing.” (1:08:35)
Treats After Hours as a top-5 Scorsese and an all-time favorite; loves style, Pee-wee-adjacent oddballs, Frances Ha and film-history research. Can't stand lazy comic-book flatness or explicit violence for its own sake. A sucker for homage, trivia and a clean pace.
Stances
After Hours is a hinge in Scorsese's career
Goodfellas' look starts here
Pauline Kael misread it
Nighttime New York movies are a lineage
Humor: Dry, researched asides and a New Yorker's grumble about the city changing.
In their words
“It's just a hinge movie for him, you know?” (1:41:36)
Barely audible in the transcript; credited by Bill's live-show promo and addressed as 'Fantasy', he offers short remarks on Spider Rico. Little can be said about his taste from this episode.
Admires Walken's monologue craft and Tarantino's refusal to sell out. Likes movie stars taking risks in non-star roles (Stallone in Cop Land). Dislikes how the film ends up with Fabienne.
Stances
Walken wins the Dion Waiters Award
Travolta, not Day-Lewis, was right
Tarantino never sold out
Humor: Quiet, wry one-liners; takes the long view.
In their words
“Don't massage my wife's foot unless you're a professional masseuse is one of my takes.” (0:10:40)
“I love when movie stars play non-movie star roles.” (2:41:43)
“Having him play like just one normal hitman having a weird day would be awesome.” (1:39:01)
Likes the sketch-driven silliness and Mini-Me/Scott Evil feud. Annoyed by Fat Bastard's grossness and Felicity sleeping with him. Likes Rob Lowe's resilient career.
Stances
Fat Bastard scene is the worst-aged
Dr. Evil nipples age best
Heather Graham deserves credit
Humor: Dry, plays straight man to Bill's tangents.
In their words
“Felicity sleeping with Fat Bastard has just grossed me out in 1999.” (0:37:25)
Sean is the most film-critical of the three, with a theory of Pacino as broken by Scarface and an argument that The Insider is his most calibrated performance. He admires Plummer's non-impression of Wallace and values the Mann-Roth research. He is less into the score and the style when applied to a white-collar story.
Stances
The Insider is probably Pacino's best performance
Mann's style strains for individuality and sometimes ages him
The movie is a little masturbatory when applied to a hotel-room decision story
The score is not his favorite Mann element
Humor: Wry and observational, with film-critic asides and self-deprecating comments about being excommunicated from the Mann club.
In their words
“I think this is truly his last great masterpiece.” (0:07:22)
“I think that the insider is probably his best performance because it's the one that is the most finely calibrated between loud, crazy, and kind of subtle and stormy” (0:12:36)
A DVD head and Letterboxd regular who would cave on the deleted scenes. Likes the fact sheets, craft details like Ozu, and friendship movies. Dislikes the sequel idea and the Costner scene being sat on forever.
Stances
Would show the cut Costner scene
Doubts Grand Canyon
Humor: Dry quips and the straight man to the Letterboxd jokes.
Cares about directorial craft and homage; Scorsese devotee. Praises performances and lessons over the direction, which he finds first-time-filmmaker plain. Bothered by mixed Goodfellas homages.
Stances
Wonders if Goodfellas echoes are purposeful
Scorsese directing would be more thrilling but less breezy
Wants answers on who planted the car bomb
Humor: Plays straight-man with deadpan nitpicks and question lists.
In their words
“my obsession with Martin Scorsese is probably rooted in the fact that I didn't have that.” (0:08:56)
“I just want to know how much of what he was doing was a purposeful homage to Goodfellas” (1:32:47)
Altman is in his top five favorite filmmakers and he knows the filmography cold, from Tanner '88 to Cookie's Fortune. He's a sucker for Carver and Blu-ray collecting and defends Greta Scacchi. He has little patience for TV-style stretches of an asshole.
Stances
Altman's legacy is the filmmakers he influenced
The Player is one of Altman's three or four best
Movies have been good for 15 months
The oral biography is the place to start with Altman
Humor: Dry and a little snobby about his own collector habits; deadpan fact-drops.
In their words
“He is in my top 5 favorite filmmakers ever.” (0:08:57)
“I think it's really like definitely one of his 3 or 4 best movies.” (0:10:20)
“I think movies have been good for like 15 months.” (1:40:05)
Film-nerd who values Willis's daring taste in directors and takes seriously the craft and the cultural footprint. Fond of Renny Harlin's Long Kiss Goodnight, De Palma, and a good that-guy roll call; skeptical of the movie's incoherent plot and the 9/11-erased airport.
Stances
Willis took risks with unproven filmmakers
Die Hard 2 is still among the better action movies of its era
Long Kiss Goodnight is Harlin's coolest movie
Air traffic control access was problematic
Humor: Dry, specific and film-literate; sets up jokes with precise references.
In their words
“he was willing to take on projects with filmmakers who were maybe not as proven.” (0:07:32)
Film-nerd who builds the big readings (Hitchcock lineage, Fincher career arc) and loves camera moves through walls and Blu-rays. Won't love the accent in Silence of the Lambs; sucker for nitpicks about propane physics.
Stances
Panic Room is Hitchcock doing Psycho after North by Northwest
Silence of the Lambs is still Foster's best
Likes Adventureland best of Stewart
Nitpicks the propane tank and phone logic
Humor: Dry and literate; gets teased for loving cameras inside walls and Blu-rays.
In their words
“I still think is probably the best thing she's ever been a part of” (0:29:47)
“I would say Adventureland is my favorite, Kristen Stewart” (1:34:50)
“Sean loves when we take cameras inside walls.” (1:21:07)
Loves Ang Lee's range, Brokeback Mountain, tragedy with satire, and thinking about how industry changes. Can't stand over-explained text. A sucker for Joan Allen and small observed behavior.
Stances
Lee has the most varied filmography of any major director in 30 years
The film is more satire than bum-out
Joan Allen is the apex pick
Humor: Earnest and precise, then undercuts with a deadpan aside.
In their words
“He probably has the most varied filmography of any major director in the last 30 years.” (0:09:07)
“Joan wins out of all the actors.” (1:23:11)
“I thought that movie was good, and that kind of came and went, and it was almost in the wrong decade.” (1:12:00)
Film-history lens: loves the Method actors versus movie-star divide, Scorsese's visual flourishes, and Newman's integrity. Dislikes the idea that Ebert missed the ending's point. A sucker for Grady Seasons and Amos scenes.
Stances
It's a torch-passing movie in both business and story
Ending ambiguity is the point, not a flaw
Newman integrity explains the forfeit
Scorsese is great at making a small movie feel big
Humor: Dry film-nerd asides, like claiming he will be 'young and vital forever.'
In their words
“Just that I'm going to be young and vital forever, so I still don't relate to any of that stuff, you know?” (0:21:09)
“it's one of the most exciting and entertaining movies he ever made.” (0:16:10)
“Newman is one of the few guys who basically fused both disciplines.” (0:05:48)
Proud Bill Murray devotee who frames careers in eras; loves the 'from hell' genre and craft details like cinematographer and editor credentials. A champion of Julie Hagerty and Dr. Melfi. Gets a kick out of deep trivia and the Muppets.
Stances
Murray has two phases, pre- and post-Rushmore
The film is a successor to Pacific Heights
Anna may be a post-college adult
Dreyfuss finally plays the character he was destined for
Humor: Confident, nerdy deep cuts and theory-building that makes the others groan, such as the post-college Anna reading.
In their words
“Think of this movie as a logical successor to Pacific Heights.” (0:46:51)
“Sean, you're a Bill Murray guy. Proudly. Proudly.” (0:03:35)
Admires Mann's themes and the rich cinematic lineage; calls himself a weed smoker for Heat but loves Thief. Fond of Caan's volatile nuance, finds Weld and Nelson fascinating.
Admires Fincher as a control-freak craftsman and sees Hitchcock behind Se7en. Can't stand when the Academy rewards uplift over difficult genre filmmaking. A sucker for the Freeman-as-lead reading.
Stances
Se7en is the darkest mainstream American movie ever made.
Pitt is not top-tier here; it is Freeman's movie.
Fincher won the movie.
Humor: Dry and precise, deadpan asides.
In their words
“this is just about the darkest mainstream American movie ever made.” (0:05:59)
“it's also just completely a Hitchcock movie in so many ways.” (0:14:30)
Critic-minded and history-minded: loves the real SNL oral histories, Siskel, Ritchie and Chandler-style noir. Cannot stand weak acting, especially Dana Wheeler-Nicholson here, and defends Siskel over Ebert. A sucker for HBO Max old movies.
Stances
You have to get Chevy Chase to get Fletch
Dana Wheeler-Nicholson is a bad actress
Ebert missed the point
Humor: Dry, authoritative asides and long rants framed as scholarship.
In their words
“I think if you don't get Chevy Chase, you will never get this movie.” (0:02:14)
“You may recall from the Tombstone podcast that I noted that she is a bad actress and she's not good in flutch.” (0:51:31)
Loves the Cameron-Ferris friendship, Hughes's relationships, and the film as a closed system of perfection. Cannot stand overthinking about why it works; a sucker for people who keep it together while coiled. Defends innocent fun and Cameron.
Stances
Ferris is the movie but audiences relate to Cameron
The film works as an unreplicable perfect moment
Jeffrey Jones was the right choice over Paul Gleason
Hughes is a rare writer who channels all kinds of characters
Humor: Dry, deadpan, quick to drop a zinger; the host who delivers the Silent Judge side-eye.
In their words
“It's like a, this is a very closed system of perfection.” (0:19:12)
“Your dirtbag ethics have nothing to do with what makes Ferris Bueller beautiful.” (1:26:08)
Treats Tarantino as the central author, loves Leo DiCaprio's work here, and defends the movie's themes against online complaints. Loves the Bruce Lee roof scene. Can't stand criticism that misses the point about beginnings and endings of careers.
Stances
Quentin wins every Tarantino movie
Leo's performance is the best of his career
The Margot Robbie criticism missed the point
Humor: Dry, deflecting, and gets teased about Equinox and Leo.
In their words
“I think Leo decided in like 1992.” (0:15:50)
“I think Quentin wins all of his movies.” (1:17:39)
Self-described not a huge Bond person who finds Skyfall scratches the part of his brain other Bonds do not; loves the Silva rat speech and dialogue scenes. A Peter Morgan disciple and Anglophile who can pick out British character actors.
Stances
Skyfall's action is accessible and legible
Silva dominates the film
Hacking is the worst-aged element
Humor: Deadpan nitpicks and bits about vlogging villains.
In their words
“I am not a huge bond person.” (0:04:20)
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 101–200 of 1,576 claims.
career (career):
Panic Room → Zodiac.
Five years between Panic Room and Zodiac; the effect on Fincher shows in how he tells stories afterward.
career (career):
Jodie Foster → Mel Gibson.
In the last decade Foster has directed Mel Gibson and worked with Polanski, taking on complicated collaborators.
“Like in the last 10 years, she directed Mel Gibson in a movie.”
what-if (what-if):
Nicole Kidman → Panic Room.
Kidman was cast as Meg, then injured her knee (aggravated from Moulin Rouge) and was replaced by Foster.
“Nicole Kidman was cast as the role in the role of Meg.”
contrast (contrast):
The Ice Storm → Michael Clayton.
Michael Clayton has several standalone scenes you watch when it airs; The Ice Storm must be seen as a whole.
“The ice storm kind of needs to be seen as a total package.”
lineage (lineage):
The Ice Storm → Bob & Carol & Ted & Alice.
Fennessey pairs the 1969 Mazursky satire of the early sexual revolution with Ice Storm, which comes at the end of that era.
“I think there's a really interesting movie to pair this movie with that's called Bob and Carol and Ted and Alice.”
theme (theme):
The Ice Storm → The Texas Chain Saw Massacre.
Fennessey places the film between Deep Throat (1972) and Texas Chain Saw (1974) as culture coarsened after Watergate.
“This movie takes place right in between those 2 things.”
theme (theme):
The Ice Storm → Brokeback Mountain.
The shared superpower is what is unsaid between characters; in both, characters feel lonely even with their partners.
“This movie is all about what is unsaid between characters.”
programming (programming):
The Ice Storm → The Squid and the Whale.
Fennessey says Squid and the Whale was the biggest near-miss for Fucked Up Family February.
“I think was probably the biggest one that could have made it.”
industry (Oscar context):
The Color of Money → The Verdict.
Newman lost for The Verdict in a brutal year (Hoffman in Tootsie, Kingsley in Gandhi) then won in 1987 against a weaker slate.
“In 87 when they give out the 86 Oscars. You know, it's it's a much weaker slate”
people (writer-director fusion):
Richard Price → The Color of Money.
Price, Scorsese and Newman each count as authors; Newman hired the director and badgered Price to keep fixing the script.
“He hired the director. He badgered Richard Price to fix stuff, make stuff better”
career (career context):
The Color of Money → Absence of Malice.
Newman's early-80s over-the-hill roles (The Verdict, Absence of Malice) led into choosing this role.
“he had already been doing over the hill parts for like 5 or 6 years.”
theme (movie-star persona):
Tom Cruise → Cocktail.
Cruise in Top Gun, Cocktail, and this film plays with no wink or self-awareness, unlike later movie stars.
“In all 3 of those movies that you just mentioned, cocktail, Top Gun, and this movie. There's no self-awareness.”
craft (directorial style):
The Color of Money → The Departed.
The fast-cutting montage with a blues soundtrack explosion in the Grady Seasons scene is a Scorsese move they also discussed on The Departed and Wolf of Wall Street.
“This like super fast cutting montage blues soundtrack explosion thing that he does”
craft (craft):
Eric Clapton → The Color of Money.
A host says the Clapton song playing before Werewolves of London is great and gets the audience hyped, even if 80s Clapton has aged unevenly.
“that song is when they're playing that before werewolves of London, you're just like getting so hype.”
lineage (sequel/continuation):
The Color of Money → The Hustler.
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.”
lineage (callback):
The Color of Money → The Hustler.
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.”
lineage (source material):
The Color of Money → The Hustler.
The film is theoretically based on Walter Tevis's follow-up novel to The Hustler but has almost nothing to do with it; Minnesota Fats was in the novel.
“this is theoretically based on Walter Tevis's follow-up novel to the Hustler, but the movie has almost nothing to do with the novel”
career (career):
Eric Clapton → The Color of Money.
A host says the film's use of Clapton was about as good as his comeback got after the drug years, before MTV Unplugged.
“Clapton, comeback, Clapton, I think this is about as good as it got for him after he'd gotten through all the drug stuff.”
career (career phase):
Bill Murray → Rushmore.
Sean splits Murray's career into pre-Rushmore (1980-1995, star vehicles) and post-Rushmore (character actor).
unmapped (straight man / crazy man):
What About Bob? → The Odd Couple.
The premise is another straight-guy-vs-crazy-guy movie like The Odd Couple and The In-Laws, but Murray makes it special.
“We've seen movies like this before, the odd couple, the in-laws.”
theme (talent on silly premise):
What About Bob? → Analyze This.
Both are silly-seeming comedies staffed by hugely accomplished crews, which makes them better.
“a ton of people that are incredibly accomplished working on a movie that seems really silly and it makes the movie that much better.”
craft (craft):
Anne V. Coates → Lawrence of Arabia.
Sean notes the editor of What About Bob? is the woman who cut Lawrence of Arabia, part of an unexpectedly accomplished crew on a silly comedy.
“It's got Ann Coates as the editor, the woman who cut Lawrence of Arabia.”
people (actor persona):
Richard Dreyfuss → Jaws.
In the 70s Dreyfuss was the audience POV for nerdy filmmakers (Close Encounters, Jaws), a nice-guy hero, before becoming a true asshole in What About Bob?
“He was this like POV character for all of these nerdy filmmakers, right?”
unmapped (age check):
Kathryn Erbe → Kiss of Death.
Three years later Erbe plays David Caruso's wife in Kiss of Death, so she reads as an adult, supporting Sean's post-college theory for Anna.
“Catherine Erb, 3 years later, plays David Caruso's wife in Kiss of Death.”
craft (craft):
Michael Ballhaus → What About Bob?.
Sean says Ballhaus shoots the scene of Siggy scaring Bob like a horror scene, with two heads in the frame, one in back and one in front.
“that's Michael Bauhaus. He's shooting that scene like it's a horror scene, you know, like the 2 heads in the frame, like one in the back and one in the front.”
lineage (comedy-mom lineage):
Julie Hagerty → Lost in America.
Hagerty has been a consistent comedy presence from Airplane! to Lost in America to this film to Marriage Story.
“the mom of our lives from airplane to Lost in America to this movie”
people (shared writer):
What About Bob? → Ordinary People.
Alvin Sargent, who wrote Ordinary People, provided the story for What About Bob?, which signals respect for therapy.
“the story for the movie comes from Alvin Sargent. Alvin Sargent was the writer of ordinary people.”
lineage (genre lineage):
What About Bob? → Pacific Heights.
Sean calls What About Bob? a logical successor to Pacific Heights, part of the late-80s/early-90s 'from hell' subgenre where a transactional acquaintance won't leave your life.
“Think of this movie as a logical successor to Pacific Heights. It is it is the same thing.”
unmapped (friendship / Muppets):
Fran Brill → Frank Oz.
Fran Brill, a Sesame Street/Muppets puppeteer, is in the movie because she is friends with Frank Oz.
industry (Oscar year):
Bugsy → What About Bob?.
The loaded 1992 Oscars (Hopkins, De Niro, Nolte, Williams, Beatty) explain Murray's lack of a nomination for Bob.
“we've talked in previous episodes about how loaded the 1992 Oscars was.”
lineage (lineage):
Seven → Alfred Hitchcock.
Se7en is a Hitchcock movie in its pulling-your-chain structure of mystery, reveal and anxiety, and Hitchcock is Fincher's biggest influence.
“I think as much as this seems like a modern movie, it's also just completely a Hitchcock movie in so many ways.”
career (career):
Brad Pitt → Inglourious Basterds.
Pitt does better work once writers like Tarantino give him funnier material that suits his twitchiness.
“I think later on when Pitt starts working with writers who are a little bit funnier, he does better work in some ways”
career (career):
Morgan Freeman → Driving Miss Daisy.
Freeman's 1989 trio of Glory, Driving Miss Daisy and Lean on Me made him a star after Street Smart.
contrast (contrast):
Seven → Copycat.
Copycat, a similar thriller one month later, is fine but forgettable; Se7en persists because of the people involved.
“There was a movie that came out one month after this movie called Copycat with Sigourney Weaver and Holly Hunter.”
people (people):
Darius Khondji → Seven.
A Se7en revival without Fincher, Pitt, or Darius Khondji would not interest the host, because the film persists on the strength of those people.
“if you're telling me that we're bringing 7 back, and Fincher's not a part of it, and Pitt's not a part of it, and Darius Kanji's not a part of it.”
theme (persona aspiration):
Chevy Chase → Cary Grant.
Early on Chase seemed to think he was Cary Grant or Jimmy Stewart in lighthearted mystery and mix-up movies, a miscasting of himself.
“It kind of seems like he thinks he's like Carrie Grant or Jimmy Stewart”
what-if (career what-if):
Chevy Chase → Johnny Carson.
A sideways comment about not wanting a nightly TV job and Carson's jab back may have cost Chase the Tonight Show path; a Carson clip shows tension between them.
“you can sense that Johnny just thinks that Chevy Chase is an asshole”
fun, about
Mission: Impossible:
The Langley vault heist is nearly silent; the digital sound meter goes into the red. It is the pick for most rewatchable scene and has been ripped off numerous times.
“almost all in silence, which is an incredible choice.”
fun, about
Mission: Impossible:
Masks win 'what's aged the worst' over floppy disks, Netscape and Usenet, though one host argues the preposterous masks are the point and the show's legacy.
fun, about
Mission: Impossible:
Unintentional comedy: Senator Waltzer appears on the McLaughlin Group and the team watches it in crystal-clear video in a Prague hotel room.
“being able to watch the McLaughlin group in crystal clear video in a hotel room in Prague.”
fun, about
Mission: Impossible:
Unanswerable question: three theories on Senator Waltzer, including that he is a 65-year-old American citizen played entirely by Cruise for IMF on 60 grand a year.
“Or he is a completely constructed 65-year-old human American citizen played entirely by Tom Cruise when necessary for the IMF.”
fun, about
The Rewatchables:
Recurring Danny Trejo category: asked which character in MI should be Danny Trejo; answer was Steve Buscemi as Estevez or Claire. Said to matter to Bill Simmons.
“This is one of like the 6 or 7 things that matters most to Bill is the evolution of the Danny Trejo category within the real logic.”
fun, about
Resident Evil:
Cregger told Sean the film would be a rock-em sock-em, brain-off Evil Dead 2 style movie, nothing like Barbarian and Weapons. Sean regrets asking him why he was making a franchise film right after Weapons.
fun, about
Resident Evil:
The suicide jumper scene: Brian runs through a canyon of people leaping off tall buildings and exploding near him; Chris calls it operatic but wishes it was not in the trailer.
“So I thought it was just completely operatic and amazing.”
fun, about
Resident Evil:
A voice-note confession by the elevator is undercut by an intercom voice saying come up, take the stairs; he takes the elevator anyway, which becomes the acid-barf, snowball-zombie set piece.
fun, about
Griffin Newman:
Blank Check co-host Griffin Newman and Severance's Zach Cherry play scientists in the final lab; podcasters get extra pixie dust from the scene.
“there's a little bit of extra pixie dust on this sequence”
fun, about
Zach Cregger:
Constantin Film head said Cregger came to them with the idea; Cregger's next film is a big sci-fi action movie, The Flood, for Warner Bros.
“Zach Craiger came to them and was like, I have an idea for a Resident Evil movie.”
fun, about
Video games:
Sean skips cut scenes; Chris likes being controlled by a movie and not controlling a game. GTA 6 arrives in two months and may blot out podcasting.
fun, about
Horror lately:
Both hosts feel horror movies are becoming a drag, heavy on ponderous self-examination; Resident Evil could be a changer-comer back toward fun.
fun, about
Raisinettes in popcorn:
Chris pours Raisinettes into a popcorn bucket, one person's breaking point; the speaker defends it as making popcorn tolerable.
fun, about
Camp Miasma (voyeur and victim):
Chris's confession of wanting to be both voyeur and victim is the film's most critical scene and a double-edged pleasure.
“you're the voyeur and the victim at the same time.”
fun, about
Camp Miasma (the movie-within-movie viewing):
Chris keeps annotating the old film's technique and transphobia while Billy rolls her eyes: the movie asks if you can enjoy something without its externalities.
fun, about
Obsession:
The discourse around Obsession is the most deranged for any American movie since the speaker started; 80 percent the moment, 20 percent the movie.
“about 80% of that is the moment that we're in, and only 20% of it is the movie.”
fun, about
Scarface / Scott Hall:
Story that Scott Hall auditioned for Vince McMahon as Tony Montana and afterwards admitted he didn't know what Scarface was.
fun, about
Alien:
In the original Alien script Ripley was a man, and little changed for Weaver beyond Ridley Scott stripping her to underwear at the end.
fun, about
Obsession:
A tiny indie horror movie made a stunning five million dollars on a Wednesday in its third week, which Griffin says breaks his brain.
“Obsession made $5000000 on a Wednesday in its 3rd week of release”
fun, about
Super Bowl / Jets:
Amanda announces a 12-month hiatus from the NFL after the Jets' pointless season; Sean doesn't believe a word of it.
“the New York Jets are a psyop that have been operated against me and I am publicly announcing that after this year's NFL draft, I am taking a 12 month hiatus from the team.”
fun, about
Movie swap history:
The hosts recap six swaps: Spider-Verse/Sense and Sensibility (2019), Aliens/Four Weddings (2020), Terminator 2/Titanic (2021), Fargo/English Patient (2022), the three-way Casablanca/In-Laws/Spy Kids (2023), and the Shrek one-way swap.
“The 1st one we ever did was in 2019, and we swapped into the Spider-Verse and Sense and Sensibility.”
fun, about
The Strangers:
Sean saw it in theaters knowing only the trailer; the hosts say it was shot in 2006-07 and sat on the shelf a year, which is how it landed in 2008.
“Apparently this movie was shot in 2006, 2007 and just sat on the shelf for a year.”
fun, about
The Strangers:
Bit about the proposal: the ring, the parking lot, the pear-shaped diamond from Sex and the City, and Sean's diamond shaped like Babu Frick.
“The diamond that I got for Eileen when I proposed is in the shape of Babu Frick.”
fun, about
Mamma Mia!:
Sean watched Mamma Mia with Eileen and Alice in a 4:30-to-6:18 window between Lincoln and moderating a One Battle After Another event at Warner Brothers.
“I can watch Mamma Mia from 430 to 618, and then I got to drive to Warner Brothers to go to moderate a conversation for one battle after another.”
fun, about
Mercy:
Mercy has an on-screen countdown clock of 90 minutes that nearly matches the 96-minute runtime, which the hosts call its one real innovation.
fun, about
Send Help:
The film moves from office revenge to survival, and Linda's survival skill comes from reading survival texts and loving Survivor.
“One of the reasons why she's so good at surviving on this island is because she has read survival texts and she loves the show Survivor”
fun, about
Rachel McAdams:
Letterboxd's most popular McAdams films: Mean Girls first, then The Notebook, Midnight in Paris sixth, Spotlight seventh, Game Night eighth, Sherlock Holmes ninth, Red Eye tenth.
“Number 7 is a movie that I always forget that she's in.”
fun, about
Zack Snyder's Justice League:
Sean rarely rewatches films except Zack Snyder's Justice League (ten times); he's seen The Dark Knight Rises six times from channel-flipping for Bane.
“I tend to not go back to films aside from Zack Snyder's Justice League, which I've seen 10 times.”
fun, about
Everything Everywhere All at Once:
Sean picks it as a genre mashup and sincere immigrant-family portrait with a lot of kung fu, despite the awards spin cycle.
fun, about
The Wolf of Wall Street:
Slowed-down blues over the bacchanalia, where lights change and sound drops out until the camera finds Belfort gleeful and regretful, reads as him descending into hell.
“you can almost feel Jordan like descending into hell or like, or he's being portrayed as Satan.”
fun, about
Once Upon a Time in Hollywood:
Fennessey says seeing Once Upon a Time at an ArcLight screening made it a forever movie, and says he feels the same hunger now for One Battle After Another.
“as soon as it was over, I was like forever movie.”
fun, about
Bill James:
Great baseball thinker who is weird on other topics; has a lot of feelings about who killed JFK. Joke about Chris Ryan reading the deleted files with Control F, like GMs did with James.
“He's got a lot of feelings about who killed JFK.”
fun, about
Billy Beane:
He has not won a World Series, is no longer GM, and the A's no longer play in Oakland, yet the movie still has a sentimental hold.
fun, about
Moneyball:
The big game is a mid-season winning-streak game, not a playoff; the movie shows mostly failures, only the Hatteberg home run and not the 11 runs.
“the big game is just like a winning streak game in the middle of the season.”
fun, about
Grady Fuson:
The scouts' scene is one of the great scenes of the century; the real Fuson was reportedly supportive of the revolution but the movie took dramatic license.
“another just one of the great scenes of the 21st century.”
fun, about
Chris Pratt:
Hatteberg is invented as a softening character; a joke list of his later movies follows from the audience, ending on Bride Wars.
“it invents the Hatteberg character written, played by Chris Pat in one of his best movie roles.”
fun, about
Steven Soderbergh:
His planned version: Reds-style baseball with real players like Hatteberg and Bradford acting; added more statistics days before production and Amy Pascal asked what the fuck it was and put it in turnaround.
“Amy Pascal, who was running Sony at the time, said, what the fuck is this?”
fun, about
Bennett Miller:
Hired after Sorkin's draft; had only made a documentary and Capote; has not made a movie in over 10 years, which may dim Moneyball's legacy.
“I wonder if like the legacy of this movie is dimmed at all because Bena Miller hasn't made a movie in over 10 years.”
fun, about
A Minecraft Movie:
Sean sat next to a date-night couple; the guy crushed three Sam Adamses and chuckled, all while surrounded by 9-14-year-olds who did not know how to behave.
“I watched a guy crush 3 Sam Adamses during the movie.”
fun, about
A Minecraft Movie:
Participatory movie, compared to Rocky Horror; Sean felt like he had no Amanda to turn to for explanations, as with Marvel.
“This is a participatory movie, the likes of which I haven't seen in a while.”
fun, about
A Minecraft Movie:
The 'chicken jockey' moment: when a baby Frankenstein rides a chicken and fights Momoa and the words are uttered, the whole theater erupts like a World Series win; it happens 5-6 times in the movie.
“The movie theater exploded as though everyone had just won the World Series.”
fun, about
Gabby's Dollhouse:
Eleven seasons on Netflix, from the creator of Blue's Clues; Universal pitched a movie with Kristen Wiig and Gloria Estefan.