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
Napoleon (unmade Kubrick film):
The book 'Stanley Kubrick's Napoleon' is Sean's heaviest book, with phone-book pages holding thousands of pages of documents.
“The book is so big that the pages are almost like telephone book pages.”
fun, about
Tenet:
Sean and Amanda drove about 130 miles round trip to a San Diego drive-in to see Tenet in a heat wave, parked side by side. Amanda left claiming she understood the whole film; they will try to explain it on the pod next week.
“The movie ended and she said, I get it. I know everything that happened.”
fun, about
Chadwick Boseman:
Sean rewatched Black Panther the night before, saying it lived up to unprecedented anticipation, which never happens in mainstream culture.
fun, about
Mulan:
Controversy: filmed in Xinjiang, where Muslims are held in mass internment camps; lead Yifei Liu's Hong Kong police tweet triggered #BoycottMulan.
“was filmed in uh, Jinjiang, the region in China, where uh, Muslims have been detained in mass internment camps.”
fun, about
Cruella:
Sean reads the logline: a 1970s London fashion designer obsessed with dogskins, especially Dalmatians; Amanda and Jason react with horror.
“young fashion designer Cruella DeVille becomes obsessed with dogs skins, especially Dalmatians, until she eventually becomes a ruthless and terrifying legend.”
fun, about
The Little Mermaid (upcoming live action remake):
Casting rundown: Halle Bailey as Ariel, Melissa McCarthy as Ursula, Javier Bardem as King Triton, plus voices Daveed Diggs, Awkwafina and Jacob Tremblay; King Triton is described as xenophobic toward humans.
“Ariel's overprotective father and the king of Atlantica, who is xenophobic towards humans.”
fun, about
Trolls World Tour:
Parents reportedly rented the 48-hour 19.99 title three weekends running; the hosts bless parents and hope kids learned respect for country as well as rock and pop.
“I had people anecdotally tell me that they rented the movie 3 weekends in a row.”
fun, about
The Great Moment:
Host watched Preston Sturges's late biopic about William Morton, inventor of ether, during a pandemic film-history bender.
“I watched Preston Sturgis's The Great Moment last night about William Morton, the inventor of ether, who revolutionized dentistry.”
fun, about
David Fincher:
Netflix is betting on a black-and-white, no-movie-star historical drama because studios have not funded Fincher in 7 or 8 years.
“studios haven't been giving David Fincher money to make movies for the last 7 or 8 years for a reason.”
fun, about
Netflix and the Egyptian Theatre:
Netflix bought the Egyptian and was refurbishing the Paris Theater; a host reads the moves as overtures to older Academy members.
“those overtures were made to ingratiate themselves to the older members of the academy”
fun, about
Alamo Drafthouse:
A six-hour evening: movie, whiskey cocktail, fries, rent a video from the same filmmaker at their video store, beer and trivia, which AMC does not offer.
“And that is a 6 hour evening in a movie palace that AMC is not offering.”
fun, about
Academy Awards:
From 24 awards to 23 by merging sound; one host wants 75 awards and a five-day festival; another wants best first feature and best breakthrough.
“There should be 75 awards. This should be a 5 day festival of handing out awards.”
fun, about
Stunt Oscar:
A host zags on the stunt category: everyone demands it without knowing why, while still wanting to honor stunt work with an honorary award; joke pitch: Zoom Stunt Oscars with DVDs held up.
“Everybody needs to just settle down with pretending that they really like stunts in movies.”
fun, about
Twilight Zone: The Movie:
An episode of the Shudder series Cursed covers the 1982 set death of Vic Morrow and two children in a helicopter stunt; Landis was acquitted.
“A helicopter crashed during a stunt and Vic Morrow, Jennifer Jason Lee's father, was killed along with 2 children during the making of this movie”
fun, about
Incredible Hulk / Iron Man:
Trivia win: the two characters in the first two MCU films, Hulk and Iron Man, earned the team points after a host sprinted out of frame.
“It's the Incredible Hulk and Iron Man, you fools.”
fun, about
Postponed films:
Sean tracks 18 postponed undated films that could drop when theaters reopen, listing New Mutants, Promising Young Woman, Bad Trip, The High Note, Run, Military Wives, Greyhound and Malignant.
“there have been 18 movies that have been postponed and are undated at the moment.”
fun, about
Alita: Battle Angel:
Sean watches strangers watch Alita on planes and tracks the actors he recognizes; the 15-minute motorball fight keeps breaking for exposition and restarting.
“I watched people watch it on the plane and then at some point I just took kept track of like the actors I could recognize.”
fun, about
John Wick: Chapter 3 – Parabellum:
The dog-fight sequence took six months to design and train, and director Chad Stahelski told this podcast it was the hardest thing he had done. Wins best action sequence.
“I took 6 months to design and train the dogs to execute this fight.”
fun, about
Spider-Man: Far From Home:
Sean argues the post-credits scene (J.K. Simmons outing Peter Parker on a Times Square screen) is the best ending of 2019 because the theater erupted; Amanda calls it a teaser, not an ending.
“That was the loudest vocal reaction I had heard to a movie in 2019.”
fun, about
Midsommar:
Sean defends the ending by asking whether anyone has been sewn inside a bear skin and lit on fire in a giant triangle; Midsommar also wins best meme inspiration and Halloween costumes.
“Have you ever been sewn inside of a bear skin and lit on fire in a giant triangle.”
fun, about
The Lighthouse:
Sean is so devoted he'll launch a minute-by-minute Lighthouse podcast alone in a lighthouse; Amanda calls him an A24-merch-bro Reddit nerd and says Eggers shows his work too much.
“what you are is a Reddit nerd, bro, and you hate this. I believe what I said was A24 merch, bro.”
fun, about
Richard Jewell:
Paul Walter Hauser was a guest and recited A Few Good Men past the code red, continuing through the officer on deck; Sean says he can do it too.
“He started doing like this, the extended a few good men recitation, like we had done, the normal code red stuff, and then he just kept going”
fun, about
Richard Jewell:
Hauser's home scene with Kathy Bates sells the age of the relationship with comfort alone, and the film cooks whenever Jewell, Rockwell and Bates share a room.
“these 3 people are amazingly comfortable with each other.”
fun, about
Blair Witch (The Woods):
Sean says its last 30 minutes are the most scared he has ever been in a theater, though he doesn't think the film is good.
“the last 30 minutes of Blair Witch is the most scared I think I may have ever been in a movie theater”
fun, about
Soul / Inside Out:
Sean can only remember Inside Out as a drawing and confuses its Sadness creature with Tina Fey's Soul; Amanda saw it in a theater.
“No, I saw that in a movie theater. Really? Yeah, I just couldn't remember anything about it because it's a drawing.”
fun, about
Paul Thomas Anderson / Once Upon a Time in Hollywood:
Sean riffs on the DGA podcast, where PTA gushed about Brad Pitt, and impersonates him on the Moana bit.
“Because Paul Thomas Anderson is being like, Quentin, fucking Brad. In this movie.”
fun, about
Fleabag / Succession vs Once Upon a Time in Hollywood:
Sean says that's why the show is The Big Picture and not The Watch: he would take one great movie over Fleabag.
“And that's why this is the big picture and not the watch.”
fun, about
Captain Marvel:
The 90s signaling: a never-worn Guns N' Roses T-shirt, and Carol stealing a Nine Inch Nails shirt off a mannequin as a metaphor for the film.
“steals a 9 inch nails t-shirt and a leather jacket off of a mannequin outside of a boutique.”
fun, about
Captain Marvel:
The big fight scene is set to No Doubt's Just a Girl while she punches Jude Law, which Sean finds cute and clever but ham-handed.
“certainly the chorus of that song makes it fit when she's punching Jude Law on the face repeatedly.”
fun, about
The Ringer office:
A Ringer Slack prompt for the most 90s song stopped work for an hour; Dan Devine said Smells Like Teen Spirit immediately.
“Dan Devine gave immediately, which was smells like teen spirit.”
fun, about
Guardians of the Galaxy:
Amanda knows Guardians only as the raccoon voiced by Bradley Cooper, and Sean suggests she go by Amanda the Accuser.
“perhaps you should go by Amanda the accuser in future podcasts.”
fun, about
Captain Marvel:
Opening weekend benchmark: less than $150 million would be called a disappointment, even though few can open a movie on name alone.
“less than $150000000 in the opening weekend would be considered a relative disappointment for a Marvel movie like this”
fun, about
Kingdom Come:
Sean explains the Alex Ross series, set 50 or 60 years later with an older Batman in a wheelchair and gray-streaked Wonder Woman, calling it very melodramatic.