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 701–800 of 1,576 claims.
what-if (recut):
Miami Vice → Michael Mann.
The theatrical cut throws you into the club; Mann's Blu-ray version adds earlier scenes.
“really kind of loves the theatrical cut of Miami Vice because he just throws you into the club.”
unmapped (portal):
Possession → Andrzej Zulawski.
Possession gets so far under your skin that the speaker bought a Zulawski box set to chase more of him.
“but he gets so under your skin in that movie that I kind of wanted to try to go back to that place.”
people (same writers):
Messiah of Evil → Howard the Duck.
Messiah of Evil's writers-directors are best known for Howard the Duck, which it has nothing to do with.
“They are probably best known for working on Howard the Duck”
unmapped (same label):
Messiah of Evil → Miami Blues.
Radiance put out Messiah of Evil; the speaker first got hip to the label buying Miami Blues at Fopp.
“But I bought Miami blues there, which is a really, really good Alec Baldwin, Jennifer Jason Lee movie.”
lineage (influence):
Hayao Miyazaki → Leonardo DiCaprio.
Miyazaki's planet-degradation themes were a critical influence on DiCaprio becoming an environmental activist.
“Miyazaki is one of the critical influences on DiCaprio becoming such an aggressive environmental activists”
unmapped (unusual PGA nominees):
The Zone of Interest → Past Lives.
The PGA, which usually goes mainstream, nominated these two smaller art house movies among its ten.
“It's unusual that films like the zone of interest and past lives that are smaller, intimate, complicated art house movies, really, are nominated among the 10 films here.”
contrast (campaign contrast):
The Color Purple → Origin.
The Color Purple had a big initial response but faded at the box office and lacks a PGA bump, while Origin is getting a late grassroots push.
“that is a film that had an initial huge audience response. The box office is kind of tapered off.”
unmapped (podcast fandom):
Ryan Rosillo → The Rewatchables: JFK.
Sean is a devoted fan of Rosillo's non-sports content, naming The Town and JFK Rewatchables.
“including the town rewatchables, one of like hang his jersey and the rafters for that”
lineage (adaptation recontextualization):
The Zone of Interest → Poor Things.
Five adapted-screenplay nominees are interesting recontextualizations of their sources, and Zone of Interest is the outside contender that is also one.
“The one on the outside, I think, is also a best picture contender that is also a recontextualization, which is the zone of interest.”
unmapped (retrospective momentum):
Perfect Days → Wim Wenders.
Perfect Days is the chalk international-feature pick because Wenders has a huge retrospective at the American Cinematheque.
“the chalk pick is perfect days, Vim Vendors, beloved, he's having this huge retrospective at the American Cinema at this moment.”
people (performance vs. film):
Maestro → Bradley Cooper.
Cooper's performance is one of the best things about Maestro, but he is not quite the center of a movie that is afraid of that.
“I love his performance. I think that his performance is one of the best things about it, but, He's not the center of the movie.”
career (career-recognition vote):
The Holdovers → Alexander Payne.
Voters may nominate Payne because they see The Holdovers as the last great Alexander Payne movie, a miracle they do not make anymore.
“this is the last great Alexander Payne movie or something, that's sort of like we gotta, we gotta get him his thing that he deserves.”
unmapped (moviegoing experience):
Mean Girls → Barbie.
Seeing Mean Girls alone in an IMAX theater surrounded by young women in bright colors felt just like seeing Barbie.
unmapped (IP recreation):
Mean Girls → The Lord of the Rings.
The verbatim echoing of the original is compared to how a future remake of Lord of the Rings would recycle its shtick.
“when we see a Lord of the Rings movie, you know, 10 years from now, when they're just like doing the same shtick, like it's kind of like IP recreation in a way.”
lineage (remake):
Mean Girls → Mean Girls.
The new film reuses the original's iconic lines and jokes nearly verbatim, which Sean found a little flat because no joke lands when you know it is coming.
“they really do it verbatim, like, and so that's weird with a joke.”
lineage (remake tolerance):
Mean Girls → Transformers.
Since the host does not give Transformers and Spider-Man grief for echoing earlier versions, he will not give it to Mean Girls.
“I guess if I'm not going to give Transformers and Spider-Man shit about that.”
lineage (generational remake):
Mean Girls → A Star Is Born.
The speaker is fine with a new auteur remaking a beloved thing every 20 years, as with Star Is Born / Star Wars-style retellings, here giving the social-media generation its own Mean Girls.
“every 20 years another Otour comes along and is like, I've got a take on this.”
people (director filmography):
Weekend → All of Us Strangers.
Sean lists Haigh's prior films (Weekend, 45 Years, Lean on Pete) and the HBO series Looking.
“has directed a handful of films, created the looking TV series for HBO, darted weekend, uh, 45 years, lean on Pete.”
people (same director, intimacy):
All of Us Strangers → Weekend.
Haigh has always been direct about sex between two men, and Weekend shows an intimacy you will not find in a common 2024 love story.
“if you just watch Weekend, you can see that there's a level of intimacy that is portrayed in that movie that you won't find in your common, uh, love story in in 2024.”
unmapped (needle drop):
All of Us Strangers → Blur.
Blur's Death of a Party scores the club sequence where the movie tilts toward the truth about Harry.
“and blur, uh, death of a party is played. like an amazing needle drop”
unmapped (needle drop):
All of Us Strangers → Frankie Goes to Hollywood.
The film closes on The Power of Love, one of Haigh's favorite songs, while the bed pulls away into the stars.
“The film closes with uh, Frankie goes to Hollywood's uh, Power of Love.”
contrast (persona contrast):
Andrew Scott → Fleabag.
Scott is known for slick, verbally dexterous, elusive characters like the Hot Priest and Moriarty, which makes his quiet turn here a recontextualization.
“very verbally dexterous, you know, hot priest in Moriarty.”
people (actor range):
All of Us Strangers → Ripley.
Moving from the performative sociopath of Ripley to the recessed, often wordless Adam is one of the biggest leaps between character archetypes.
“I'm not sure if there could be a bigger leap between character archetype than from Ripley to Adam.”
unmapped (audience context):
Bong Joon-ho → Parasite.
Parasite introduced Bong to a huge audience but he makes strange genre films, a concern for Warner.
“Parasite introduced him to a huge new audience, but he makes really unusual genre movies.”
unmapped (gave break):
Michael De Luca → Boogie Nights.
De Luca ran New Line and gave PTA his break with Boogie Nights; now runs Warner's films division.
lineage (rumored adaptation):
Paul Thomas Anderson → Thomas Pynchon.
PTA's next film was long rumored to adapt Pynchon's Vineland, set in the 1980s, but this one is contemporary.
“it has been long rumored that his next, his next film is going to be an adaptation of Thomas Pinchin's Vineland.”
people (director identity):
Ferrari → Michael Mann.
An Italian-set film by 'the most American of directors', with Cruz as a more known international actress.
“Ferrari, which is an Italian based film made by Michael Mann, the most American of directors.”
people (actors satirized):
May December → Poor Things.
Sean says he discussed the satirization of actors in May December with the guests, tied to why actors may have overlooked it.
“I actually talked about specifically some of the satirization of actors with Julianne and Todd.”
contrast (awards contrast):
Mark Ruffalo → Willem Dafoe.
Dafoe repeats what he has done before while Ruffalo breaks new ground, so Ruffalo's snub is odder.
people (casting reference):
Willem Dafoe → The Lighthouse.
Dafoe's Godwin is described as a craggy, monstrous creature, a lighthouse meets Shadow of the Vampire.
theme (parallel role):
Mark Ruffalo → Sterling K. Brown.
Both play comic relief who force a realization on the lead, which is why one host wants both recognized.
“Like they're comic relief, but they're also like a critical emotional turning point for the lead character.”
people (collaboration pair):
Emma Stone → Yorgos Lanthimos.
Their partnership (two features, a short, a third coming) is likened to Scorsese and De Niro.
“This is like a Scorsese De Niro thing that is happening.”
lineage (sequel in spirit):
Poor Things → Dogtooth.
Both are about who gets to dictate the rules; Poor Things is described as a sequel to Dogtooth's fathers-and-language themes.
“It's like the sequel to that movie in some ways because the Godwin character”
lineage (influence):
Poor Things → Bride of Frankenstein.
Sean says the Frankenstein novel and the first two Frankenstein movies are major influences on Poor Things.
“the Frankenstein and Bride of Frankenstein are, like, huge influences on this movie.”
contrast (inversion):
Poor Things → Frankenstein.
Frankenstein is a cautionary tale about science; Poor Things uses its framework to arrive at redemption and closeness.
“There's a lot of other ideas in Frankenstein, but this movie in many ways is the opposite.”
theme (genre translation):
The Favourite → Mean Girls.
Sean praises the Mean Girls reading, then says the film is really about power and lonely futility.
“The favorite is Mean Girls. I think that's super smart reading of that movie”
unmapped (temperament):
Yorgos Lanthimos → Stanley Kubrick.
Sean calls Lanthimos a 'we are all alone' filmmaker in the Kubrick mold, at least until now.
“he is like a Kubrickian, we are all alone kind of filmmaker.”
industry (awards viewership):
May December → The Zone of Interest.
Argues May December is widely seen on Netflix, more than Zone, Anatomy or Past Lives.
“Main December is way more widely seen, in my opinion, than the zone of interest.”
unmapped (creative counterpart):
May December → Safe.
Haynes and Moore's collaboration traces to Moore's Safe audition; it is their fifth film together.
lineage (influence):
Far from Heaven → Douglas Sirk.
Sean asks whether Moore studied Sirk films; Haynes says Far from Heaven derives from other movies and 1950s domestic melodramas.
“do you watch Douglas Cirque films when you're preparing”
theme (theme):
Michael Mann → Ferrari.
Enzo Ferrari, with his department heads and team who report to him, reads as a stand-in for Michael Mann the filmmaker.
fun, about
Brendan Fraser and John Lithgow:
They show up as lawyers in the last 30 minutes in what feels like a different movie, with Fraser cut to erupt thunderously.
“They're doing an old timey lawyer thing. There's like this thundering explanatory.”
fun, about
Killers of the Flower Moon:
The Masonic Hall spanking scene, a Jack Fisk construction with a checkerboard floor, is called funny and strange.
fun, about
Killers of the Flower Moon:
Awards forecast: nominated for lots (Leo, Gladstone, Scorsese, production design, costume, adapted screenplay, maybe score and editing) but no real shot at Best Picture.
“I just don't think it really has any chance to win best picture.”
fun, about
Sight and Sound poll:
Sean notes that the Sight and Sound poll ballots include a Looney Tune and a 14-minute film on Adam's list, which includes Duck Amuck and Meshes of the Afternoon.
“I mean, Adam had a had a had a looney tune and a 14 minute film on his list.”
fun, about
The Eternal Daughter:
Sean saw it at the New York Film Festival about five feet from Tilda Swinton and bumped it half a star for it. Amanda had slept on it because Sean did not respond to it at the festival.
“the movie was bumped up half a star for me by seeing it in the front row and then being less than 5 feet away from Tilda Swinton.”
fun, about
Babylon:
Sean's backstory: he left a holiday party at Amanda's, in a bad mood, to drive to Century City for a three-hour-eight-minute screening, and was blown away anyway. He relays a Letterboxd review asking if it's a love letter to cinema or a suicide note.
“Is this a love letter to cinema or a suicide note?”
fun, about
Babylon:
Sean says Margot Robbie is one of the only truly fearless young stars, glorious and disgusting at times, and might deserve a best actress nod.
“She is one of the only truly fearless young stars we have.”
fun, about
The Fabelmans:
Amanda asks if she would trade having her son be as successful as Spielberg for the movie he'd make about her; Sean says to take the Jurassic Park money.
“But could you be sitting on Jurassic Park money?”
fun, about
Tár:
Sean says the opening Q&A scene with the New Yorker interviewer is how to use Blanchett: ten minutes of her talking about things she likes. A hosts' joke imagines a Todd Field and Adam Sandler pairing.
“that opening scene, as I wrote in the Ringer piece, where she's taking questions from Gopnik, from the New Yorkers, like, that is how you use Cape Blanchett.”
fun, about
Nope:
Sean admires the premise: an invented family that may be descended from the Black jockey in Muybridge's film strip, launching 100 years of film history and people whose names we don't know.
“that's a genius idea for a drama, let alone a UFO movie.”
fun, about
Clash of the Titans:
Argument over Clash of the Titans, the Harry Hamlin original versus the Sam Worthington remake, with a side note that Hamlin is Lisa Rinna's husband.
fun, about
Elvis:
Sean's contrast: Elvis was shot with one camera on Ed Sullivan; the movie cuts a hundred times in two minutes to match his magnetism.
“it literally cuts a 100 times in a 2 minute period of performance because that's almost sort of what it takes to match the Elvis Presley magnetism.”
fun, about
Love and Mercy:
Director Bill Pohlad is the son of Twins owner Carl Pohlad; he produced Brokeback Mountain, 12 Years a Slave and Tree of Life, a benefactor for filmmakers.
“a guy named Bill Polad, who is the son of Carl Polad, the billionaire owner of the Minnesota Twins.”
fun, about
Bird:
Warner Bros. and Columbia traded Revenge for the Charlie Parker rights, and Adam jokes Revenge is a gift to history that social media should avoid.
“Revenge and Bird would be quite a double feature.”
fun, about
Mission: Impossible – Fallout:
Henry Cavill and Cruise punch each other in the bathroom and later on a cliff after a helicopter chase; the Henry Cavill speech about being disavowed is remembered.
“how many times can a man be disavowed, discarded and ignored by his government?”
fun, about
The Firm:
Chris loves The Firm for Hackman, Wilford Brimley and Holly Hunter, a Hollywood movie aspiring to nothing but entertainment; Sean calls his Wilford imitation the best Rewatchables bit.
“That might be the best episode of the rewatchables ever, in my opinion.”
fun, about
The Mummy:
The Dark Universe cast photo (Russell Crowe, Johnny Depp, Javier Bardem, Angelina Jolie) was taken and then no more movies were made because The Mummy was so bad; Chris says it is the only non-festival movie he walked out of.
“I think this is the only non-festival movie I've ever walked out of.”
fun, about
Errol Morris:
Idea for the Oscars: hire people like Morris to make short documentaries, like the one with Donald Trump misreading Citizen Kane.
“he completely misreads Citizen Kane and misunderstands it”
fun, about
Oscars 2021:
The hosts catalogue the thirteen awards movies not yet widely seen and where to stream them, with Nomadland the clear frontrunner.
“There are 13 more movies that most people have not seen that I think are going to be meaningful to the Oscar conversation.”
fun, about
Pretend It's a City:
Scorsese's on-screen role is mostly laughing at Lebowitz; the one time he talks over 20 seconds, he corrects her Penny Arcade into Penny Serenade and explains Grant's career.
“Martin Scorsese's role on the show, his physical role, is largely just to laugh at the things that friend Leboitt says.”
fun, about
Penny Serenade:
Sean fact-checks Scorsese on air: Cary Grant was nominated twice, for None but the Lonely Heart and Penny Serenade, not once; Amanda dubs it very un-Cary Grant energy.
“And when a person says a fact about a movie that I know to be not correct, even if it is perhaps the greatest living filmmaker, I just have to note that.”
fun, about
A Muppet Christmas Carol:
Sean's wife Eileen, who will never appear on the podcast, has an unhealthy addiction to the film, and also yells Heat Miser at dinner.
“she has like an unhealthy addiction to a Muppet Christmas carol.”
fun, about
Eyes Wide Shut:
Sean's pick for a day on a historic set: a long shoot, one of the greatest filmmakers, two stars in the midst of a marriage, and some of the wildest scenes ever shot.
“just some of the wildest scenes ever shot in the history of movies occur in that film.”
fun, about
Aaron Sorkin:
The 'I'm never, ever sick at sea' line turns up in Malice and again in Charlie Wilson's War; the references are like a drinking game.
“I'm never, ever sick at sea, shows up in malice, and then it shows up in Charlie Wilson's war”
fun, about
Transformers:
Sean's first adult LA trip was a Transformers premiere, driving an Escalade supplied by the film's car sponsor; it hooked him on movies.
“going to a movie premiere as an adult with a VIP ticket talking to the people that were in the movie”