Drawn to movie stars who own the frame (Lily Gladstone) and to character-driven emotional storytelling; wants more of Molly. Skeptical of The Wolf of Wall Street-style glorification and of pop morality; devoted to Silence and the Scorsese catalog, and passionately anti-Oppenheimer in this episode.
Stances
Does not think it is a minor masterpiece; it is an epic
Rejects Oppenheimer as comparable to Killers
Skeptical of the Wolf of Wall Street-type male voiceover until Molly's narration
Thinks it is overwhelming on first viewing and needs a second
Humor: Rambling digressions, self-deprecating about being off the rails, and a vendetta against Oppenheimer.
In their words
“I'm a supremely stupid movie viewer.” (0:15:53)
“Oppenheimer does not deserve to be in the same sentence as what killers the flower moon does.” (1:36:00)
“I held it together for 18 years and we're still paying it off.” (1:42:46)
Loves personal, formal films about women and families (The Eternal Daughter, Happening, The Fabelmans) and controlled star turns (Tar), plus big communal blockbusters like Top Gun: Maverick. Not a horror enthusiast; less moved by Aftersun because she watches as a child of parents. A sucker for Joanna Hogg and for romantic comedies and Howard Hawks.
Stances
She watches movies as a daughter
2022 was a top-heavy year and then pretty thin; her kid affected her movie-going
Tar is a Rorschach test and not too long
Andrew Dominik owes penance for Blonde
Humor: Deadpan and teasing; needles Sean and Chris about mid-ness and refuses to watch Speak No Evil.
In their words
“I did have a child in February, and let me tell you, that just took me down for the count for a while” (0:21:30)
“I'm just into the Joanna Hogg project.” (0:37:14)
“I realize I still watch movies as a daughter primarily” (0:36:53)
A non-comics, non-MCU-fan viewer who consumes these as movies. She liked the original Black Panther, loves the Ruth Carter costumes and Wakanda production design, and was moved by the opening and ending. She can't stand overstaffed plots and weak CGI set pieces, and says her brain shuts off with comic book lore.
Stances
Wakanda Forever was overstaffed and disappointing
Marvel may no longer be making movies for the Amandas
Ruth Carter should win another Oscar
Chief Nolan hater
Humor: Deadpan and self-deprecating, plays the lore-skeptic to Van and Sean's comic fandom.
In their words
“I'm the Chief Nolan hater.” (0:22:12)
“And I just, it was just overstaffed, man.” (0:14:20)
“I think Ruth Carter should win another Oscar, even though I didn't really like this movie.” (0:53:03)
A pop-culture generalist and self-described child of MTV who loves a bewitching performance and a love story, and has a real soft spot for the music biopic. She can't stand sloppy storytelling and rushed pacing, and is a sucker for Walk the Line, Amadeus and the Beach Boys.
Stances
Elvis is a mess in storytelling decisions
Music biopics are a stupid genre that sometimes works anyway
Good parody needs a sincere object, so Walk the Line deserves number one
Performance-driven biopics can overcome ordinary filmmaking
Humor: Wry and self-deprecating, with a talent for quick riffs on cultural trivia.
In their words
“I just decided to put walk the line at number one because you know what?” (1:03:56)
“it's a stupid genre that sometimes works anyway.” (0:38:14)
“I really am, I guess I'm just a child of MTV” (0:49:09)
Responds to Cruise charisma, underdog arcs and navy uniforms; loves A Few Good Men best. Skeptical of Edge of Tomorrow-type indulgence and Cocktail. Suckers for the Nicholson showdown.
Stances
A Few Good Men is her favorite Cruise performance
Cruise doesn't challenge himself like he used to
Born over Rain Man
Humor: Dry deadpan, quick on the political and pop-culture asides.
In their words
“I really do feel that Tom Cruise looks very handsome in navy uniforms.” (0:37:17)
Likes screwball energy, Dave, That Thing You Do!, Frances Ha, and Singin' in the Rain; laughs at Muncher; a theater fan; mostly dislikes cynical or product-driven nostalgia but is less worked up about nostalgia than Sean. Not a fan of Broadway-theater-kid musicals like Tick, Tick... Boom!
Stances
Afterlife is a movie for seven-year-olds
Tick, Tick... Boom! is not for her
Feel-good picks that make her smile involuntarily
Humor: Deadpan, self-aware gripes and teasing her co-host.
In their words
“I thought it was a fine movie for 7 year olds.” (0:03:19)
“I laughed.” (0:11:31)
“I judge these movies by like, do I just involuntarily smile at the screen.” (0:54:19)
Loves Fast Five above all and the grandiose silliness, winking meta jokes and the gang-assembling scenes. Not a Vin Diesel fan and tired of believability limits.
Stances
Fast Five is number one
Furious 7 is third
Villains do not matter
Humor: Deadpan sincerity about absurd plot logic, such as praising the safe-dragging as problem solving.
In their words
“Fast five, a transcendent movie experience.” (0:02:47)
Loves Soderbergh almost inappropriately, and Minari-style personal warmth. Allergic to corporate storytelling talk like 'stories matter' and wants the Oscars weird. Wants the Oscars to try pre-produced films and montages.
Stances
Not against Black Widow but not vociferously for it
Prefers watching at home to theaters for MCU
Wants the Oscars to make the best of a drab season
Supports Soderbergh's weird Oscars
Humor: Deadpan exasperation, as when she says she wants to jump out a window at the word 'stories'.
In their words
“My affection and devotion to Stephen Soderberg is well documented and like possibly bordering on inappropriate, but that's okay.” (0:17:07)
“I just was thinking about how I could, like, jump out this window.” (0:21:43)
“I'm just trying to bring a little positivity to the world, Sean.” (0:27:21)
Loves old Hollywood glamour and comfort (Cary Grant, Katharine Hepburn, Singing in the Rain), screwball comedy and Nora Ephron, and Sense and Sensibility. She leans toward joy, escapism and fast dialogue, and also likes a good Oscar-race pundit take. She does not enjoy her husband's golf lectures and is skeptical of award-season over-narratives.
Stances
Classic movies should be pleasurable, not homework
Streaming is not the problem for the Oscars, pandemic viewing is
Her do-overs favor movies she actually loves over canonical choices
It's not for me is a legitimate school of taste
Humor: Warm, self-deprecating domestic storytelling, including relentless public slander of her husband Zach.
In their words
“I'm a huge believer of the, it's not for me, school, uh, as you well know, because like, personal taste is personal taste.” (0:22:50)
“It's just like, oh, imagine if we could all be like that, wouldn't that be fun?” (0:57:15)
A West Wing devotee who loves Sorkin's idealism and memorized dialogue, with American President, Moneyball, Social Network and the West Wing as pillars. Cynical about institutions yet a sucker for hopeful, earnest characters; likes Sorkin's craft and grudgingly accepts his politics.
Stances
Sorkin's optimism is unrealistic but she is a sucker for it
Chicago 7 is a good Sorkin film that feels small and whose timeliness does not work in its favor
Rank Sorkin by Sorkiness, not general greatness
Start the West Wing at season two
Humor: Self-aware superfan comedy, joking that she and Sean are podcasters talking quickly like Sorkin characters.
Amanda loves movies as shared events and the narratives around them (the Oscar campaign, Good Will Hunting), wants big communal Bond and Top Gun-style theater experiences, and gravitates to character and female-director what-ifs (Kusama on Tully, Meyers on Gone Girl). She likes boundaries, dislikes influencer content and Emily in Paris (kind of), and wants more women in film criticism.
Stances
Theater experiences should be boutique events
Movie Pass was unsustainable but a missed habit-building window
Does not love bad movies; failure wastes her time
Wants a female director for Tully
Wants more women on Letterboxd
Humor: Anxious-organized deadpan; roasts Sean's systems and her husband Zach's takes with affection.
In their words
“I a person who likes boundaries, as we've discussed.” (0:21:09)
“an all-female heist movie, sign me up.” (0:37:18)
“My my pick is Army Hammer.” (1:31:10)
“I would love to find more women on Letterbox” (1:39:01)
Loves Elton John, romantic comedies, and heroines who just live up to their own potential. Cannot stand chosen-one magic or Disney franchise bait. Sucker for Emma Stone and Disney songs that are real pop songs.
Stances
Probably would remove the magic
Skeptical of the Disney remake machine
Prefers dropping the love interest
Dislikes the original Mulan's songs
Humor: Deadpan and contrarian, happy to say the heretical thing ('average ass ballad').
In their words
“this is just like an average ass ballad about finding yourself. Okay, whatever. It's not Elton John.” (0:49:22)
Raised on Grisham and Tom Cruise; loves Agatha Christie formulas, rewatchable crowd-pleasers, and movies where a woman gets a role. Skeptical of the over-the-top nuance of Stone's JFK. Fond of fantasy and comedy courtroom picks.
Stances
Courtroom dramas are her sports movies
Wants an opponent as formidable as Nicholson yelling you're so right
Wolf Hall repudiates A Man for All Seasons
Humor: Self-deprecating confessions (preschool lawyer, PSATs, LSAT) and dry asides.
In their words
“courtroom dramas are essentially my sports movies” (0:10:00)
Enjoys Judd Apatow, Soderbergh and star-driven spectacle like Tom Cruise stunts; wary of tentpole-only futures and mourns smaller films losing a platform. She is a sucker for drama and pettiness in the business, and for Portrait of a Lady on Fire.
Stances
Wants a best first feature or best breakthrough category
Skeptical of the viral demand for a stunt category
Expects a traditional Oscars year of movies about movies
Humor: Dry and teasing, sending up Sean's Zoom habits and exaggerating pandemic cabin fever.
In their words
“Okay, listen, I agree with the CGI stuff. I just want to watch Tom Cruise jump out of things.” (0:51:45)
“It's the Incredible Hulk and Iron Man, you fools.” (1:05:03)
Moved by Greta Gerwig and Little Women, loves a movie-star performance and Brad Pitt, and Archie Yates and Julia Butters. Can't stand fussiness and filmmaking that anticipates the discourse (Midsommar, The Lighthouse). A sucker for a good ending and ensemble comedy; wants to see a movie about Olivia Wilde's FBI agent.
Stances
Wants Laura Dern to get the It's Time Oscar
Spider-Man's tag is a teaser, not an ending
Picks Greta Gerwig for best director
Skeptical of the A24 Reddit crowd
Humor: Dry deflation of Sean's big-theory moments and bits like 'A24 merch, bro'.
In their words
“You know that I just can't stand anything where the work is showing and where the people are infatuated with the work as opposed to the result.” (0:54:47)
“I didn't know you could do that, but also you were in my brain.” (1:29:04)
“Brad Pitt's having his therapy on the screen and someone filmed it and let me watch it.” (1:13:29)
Devoted to Brad Pitt, Joaquin Phoenix as a campaign personality, Bridget Jones, and Little Women. Dislikes Joker. Anti-democratic on lists, avoids animated movies.
Stances
Joker is intellectually bankrupt
Anti-democracy on list-making
Baffled by Renee Zellweger frontrunner
Humor: Dry, self-deprecating, deadpan comebacks at Sean.
In their words
“I am anti-democracy.” (0:38:10)
“Bridget Jones diary, hugely important to me.” (0:48:05)
Responds to mood, discovery and raw performance, such as The Souvenir and Maya Erskine in Plus One. Is skeptical of franchise lore and anything about space aliens, and likes things she cares about, such as Spider-Man. Can't stand movies that raise hot-button issues without developing them (Luce) and is a sucker for Brad Pitt.
Stances
Disney's monopoly is a confirmation, not a surprise
Luce failed to provoke her
Once Upon a Time in Hollywood is a tier of one
Brad Pitt is a presence-based form of acting
Humor: Self-deprecating and quick, with comic storytelling that undercuts her own taste, such as the Star Wars plot story.
In their words
“I'm not a parent, so I don't need like the parenting newsletter from the New York Times in film form” (0:42:55)
Loves costume dramas (Downton), crowd-pleasers, and Greta Gerwig; likes things with a clear tone. Bored by The Last Waltz and unimpressed by Hooper. Can be sentimental (sad if Captain America dies) while resisting franchise lore.
Stances
Les Mis is much better than Cats
Homecoming is long, not boring
Amazon vs Netflix release execution explains Guava Island's smaller footprint
Humor: Dry and blunt, with quick undercutting asides.
In their words
“Les Mis is a much better musical than cats.” (0:20:24)
Loves Wonder Woman and its emotional impact, and responds to women on screen. Not a comics or sci-fi person and not an origin-story fan. Sucker for celebrity and a 90s song, and for Annette Bening.
Stances
Captain Marvel is not Wonder Woman
Female superhero movies carry an unfair burden
The film's female empowerment feels reactive and half-baked
A female superhero movie can also have a love story
Humor: Self-deprecating about not knowing comics, with blunt nitpicks.
In their words
“my immediate reaction was this is not Wonder Woman.” (0:01:18)
“Catch me out here crying about it.” (0:56:50)
“It should be like if Nora Efron wrote a Marvel movie.” (1:04:07)
Loves celebrity and public image, Olivia Colman's warmth, and Lady Gaga. Sentimental and more forgiving of Bohemian Rhapsody as a ratings play. Sees the Oscars as a fight between old and new Hollywood.
Stances
The Academy is split between two academies
Netflix resistance explains part of the Roma loss
Song performances do not belong at the Oscars
Humor: Dry and conspiratorial, fond of absurd comparisons.
In their words
“as a person who loves celebrity and movie stars” (0:33:29)
“I used to work as a cleaner and I loved that job.” (0:18:48)
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 201–300 of 520 claims.
unmapped (academy habit):
May December → Julianne Moore.
The Academy does not always love Todd Haynes but always nominates Julianne Moore, so she is a way to recognize the film.
“the Academy doesn't always love Todd Haynes, but they love Julianne Moore.”
unmapped (screenplay-category stand-in):
Asteroid City → Maestro.
Asteroid City, wrongly abandoned, was liked more than Maestro, which is only a cowardly default pick for original screenplay.
“I guess I'm going to put maestro here, but it's a cowardly pick.”
people (great actor, weak film):
Rustin → Colman Domingo.
Domingo is good but Rustin is a flat, obviously written 2D movie, so a nomination for it would annoy the hosts.
industry (awards-speech complaint):
Oppenheimer → Emma Thomas.
The hosts say Thomas keeps giving the final acceptance speech instead of Nolan, which they object to.
“I do feel that the director should be giving the acceptance speech.”
people (auteur respect):
Barbie → Greta Gerwig.
Barbie's Oscar push comes from the overwhelming respect for Gerwig, which female directors did not used to get.
“There's an overwhelming amount of respect for her that female directors just didn't use to get.”
craft (tone shift):
Mean Girls → Mean Girls.
The musical sands the edges off the Plastics and replaces bite with empowerment, a generational update on the original's Tina Fey punchline comedy.
“the edges are sanded off the plastics. And most of the jokes don't have the same bite.”
unmapped (star power):
Renee Rapp → Rachel McAdams.
The 2004 film's success depended on the anti-chemistry and star power of Lindsay Lohan and Rachel McAdams, which the new cast lacks.
“the absence of Lindsay Lohan and the Lindsay Lohan, Rachel McAdams kind of anti-chemistry and star power is a big part of why that movie is so successful.”
people (performance contrast):
Angourie Rice → Renee Rapp.
Rice is a subtler actress, which is not the skill a musical wants, so she cannot hang with Rapp's outsized, absurdist performer energy.
“She's actually a much subtler actress, which is not actually the skill you want in a musical.”
people (performance contrast):
Avantika → Amanda Seyfried.
Avantika plays Karen as a big over-the-top performer, which a fan of the original may not accept after Seyfried's version.
unmapped (backstory):
Mean Girls → The Sex Lives of College Girls.
Rapp's earlier show is where her feud with millennial women allegedly started, per the hosts' gossip.
“I think those are the millennial women in question, who she doesn't like.”
unmapped (autobiographical):
All of Us Strangers → Andrew Haigh.
The film is filmed in Haigh's childhood home and blends his own romantic experiences with those of his partner's parents.
“The movie is literally filmed in Andrew Hayes' childhood home.”
unmapped (emotional core):
All of Us Strangers → Claire Foy.
Amanda watched this as a mother for the first time and Foy's mother, regretting her failures, devastated her.
“This was the 1st movie I think I've ever watched where I was watching it as a mother.”
theme (comparison):
Poor Things → Barbie.
Both arrived as feminist coming-of-age stories about a created girl learning about the world, six weeks apart.
“it was about 6 weeks after the Barbie wave and there are some really obvious comparisons to be made here.”
craft (craft):
Poor Things → Holly Waddington.
A host raves that the clothes in Poor Things are out of control and credits the costumes to Holly Waddington.
theme (genre per Lanthimos):
The Killing of a Sacred Deer → Poor Things.
Sacred Deer is framed as Lanthimos's horror movie, in a run of one-per-genre films ending with the monster movie.
career (career shift):
Alexander Payne → Yorgos Lanthimos.
A host is a fan of both directors and felt both The Holdovers and Poor Things were shifts away from what she loved.
“these movies felt like shifts that I didn't vibe with as much, ultimately.”
programming (programming):
Heat → The Rewatchables.
Chris listened to the Reheat Rewatchables episode, celebrating 100 episodes, the morning of recording.
craft (craft):
Ferrari → Killers of the Flower Moon.
Ferrari's quick impressionistic opening flashback recalls the silent-film-style opening of Killers of the Flower Moon.
“it reminded me a bit of the opening sequence of the Killers of the Flower Moon, where it's kind of shot in this old school, like silent film style.”
theme (theme):
Collateral → Once Upon a Time in Hollywood.
Collateral is part of Amanda's movie map of Los Angeles, with Clueless and Once Upon a Time in Hollywood.
“my movie map of LA is probably like clueless collateral, uh, once upon a time in Hollywood”
craft (craft):
Collateral → Miles Davis.
Collateral features Miles Davis and Audioslave, and Cruise talks about jazz in one of the weirdest scenes of the 2000s.
“Tom Cruise talking about his appreciation for jazz”
people (auteur persona year):
The Killer → Killers of the Flower Moon.
2023 was defined by films that force conversation about the filmmakers (Gerwig, Scorsese, Nolan, Fincher) and their pasts.
“this year has really been defined by these movies with by filmmakers who have such towering personas.”
unmapped (promo absence):
The Killer → Killers of the Flower Moon.
Because actors weren't doing press during the strike, audiences were thinking about Marty rather than DiCaprio appearances.
“we didn't get hit with like 10 Leonardo DiCaprio TV and podcast appearances before Killers of the Flower Moon.”
lineage (genre lineage):
The Killer → Gone Girl.
It is the closest Fincher has come to a pure thriller since Gone Girl, maybe Dragon Tattoo.
“he hasn't made a movie quite like this, I guess, since Gone Girl, but even, I mean, you could maybe even going back further to Dragon Tattoo is maybe a little closer to this kind of a pure thriller.”
unmapped (pop-culture decay):
The Killer → Private Benjamin.
The 70s sitcom aliases riff leads Sean to say nobody under 35 knows even Private Benjamin.
“We were talking about private Benjamin on the rewatchables the other day and I was like, they're not a single person under 35 knows what Private Benjamin is.”
unmapped (streamer master-work):
The Killer → The Irishman.
The Killer, Roma, The Irishman and Killers of the Flower Moon are master filmmakers' self-reflective work enabled by streamer power.
“those are all films from quote unquote master filmmakers who are responding to their own work and life and experience and they're using the outsized corporate power of a streaming service to do so.”
career (Netflix career):
The Killer → Marriage Story.
Baumbach used Netflix to elevate his status, whereas Fincher and Scorsese use it to brand-manage their legacies.
“he's somebody who used the system to elevate his status in some way, whereas Fincher and Scorsese in a handful of these other people are almost like facilitating and kind of brand managing their legacies”
theme (thematic echo):
The Killer → The Pigeon Tunnel.
John le Carre's remark about reaching the room and finding nothing in it fits Fincher's lockbox characters and this film.
“The room be on the room, and then when you get there, there's nothing in it.”
programming (paired double feature):
The Killer → Fight Club.
Both are very funny first-person-narrated films about sociopaths who rationalize brutal violence as a personal mission.
“This movie would make a neat pairing with Fight Club. Two very funny films about sociopaths whose inner monologues rationalize brutal violence as expressions of a personal mission.”
“I thought a lot of Wolf of Wall Street. While doing it because that is a guy who is too smart for his own good, but also doing a lot of really dumb shit.”
contrast (inverts):
Killers of the Flower Moon → Goodfellas.
Same crimes by white men but with no romance or good life, a deliberate answer to Goodfellas' seductiveness.
“there's a romance to Goodfellas that does not exist here.”
contrast (contrast):
Lessons in Chemistry → Killers of the Flower Moon.
Greenwald's critique of anachronistic righteous modern politics in a period piece is contrasted with Killers refusing pop morality.
people (same director):
The Eternal Daughter → The Souvenir.
Amanda says the character is named Julian, linking it to Hogg's Souvenir project as a coda.
“this is a part of her souvenir, I guess, trilogy now, or like the project.”
verdict (ranking):
Happening → Saint Omer.
Amanda places Happening at four as a clear-eyed thriller structured week by week; Adam later places Saint Omer, another French film, at two.
“it almost like becomes a thriller of her trying to get the abortion and it goes like week by week”
contrast (contrast):
Happening → Blonde.
Amanda says Andrew Dominik should be made to rewatch Happening's abortion scene as penance for Blonde.
“I think that Andrew Dominic should be sentenced to rewatching the abortion scene in this movie for the rest of his life is penance for what he did in blonde”
verdict (ranking):
The Fabelmans → The Eternal Daughter.
Amanda ranks The Eternal Daughter at five and The Fabelmans at three, noting a taste for directors making movies about themselves.
“But I like all of the director projects of let me just make a movie about myself.”
people (performance):
Tenoch Huerta → Black Panther: Wakanda Forever.
Amanda says Huerta is really dynamic as Namor, and the film picks up once he emerges as the main rival.
unmapped (backdoor pilot):
Black Panther: Wakanda Forever → Ironheart.
Amanda feels the Riri Williams plot turns the movie into a backdoor pilot for the Ironheart show, which weighs down an already crowded film.
“the movie also simultaneously kind of becomes like a backdoor pilot for the Ironheart TV show.”
unmapped (CGI weakness):
Black Panther: Wakanda Forever → Black Panther.
The first film's video-game-looking CGI showdown is doubled down on in the sequel, with flying robots and an aircraft-carrier fight.
“You know, it just kind of looked like a video game a little bit.”
craft (craft praise):
Ruth E. Carter → Black Panther: Wakanda Forever.
Amanda says Carter's costume design and the production design are the electrifying part, even though she did not like the film, and that Carter should win another Oscar.
“I think Ruth Carter should win another Oscar, even though I didn't really like this movie.”
unmapped (action set piece):
Black Panther: Wakanda Forever → Black Panther.
Amanda rewatched the first film's casino fight, built around Okoye, and found nothing in the sequel as exciting.
“I really loved the casino fight. I think that's like a really great action set piece.”
unmapped (parody target):
Walk the Line → Walk Hard: The Dewey Cox Story.
Amanda argues effective parody must work from something that works, and watched the two back to back; the buzz-saw brother incident mirrors Walk Hard's setup.
“for something, to be an effective parody, it has to be working from something that actually works.”
unmapped (parody of a parody):
Elvis → Walk Hard: The Dewey Cox Story.
Elvis seems to parody Walk Hard's parody of women ripping open shirts at the star.
“somehow this movie is doing a parody of the Walkhard parody of the scene of like women like busting open.”
unmapped (missing scene):
Elvis → Respect.
Respect's songwriting-in-the-studio scene always works; Elvis disappointingly has no 'they're writing Jailhouse Rock' moment.
“there's no point where they're just like, oh my god, they're writing Jailhouse Rock or whatever.”
contrast (structure contrast):
Love and Mercy → Elvis.
Love & Mercy splits its story across two Brian Wilsons (Cusack, Dano) rather than a cradle-to-grave Wikipedia run.
“it gives you kind of 2 lenses to, to go through the 60s and the creation of the Beach Boys”
contrast (contrast of approach):
Amadeus → Elvis.
Amadeus conveys Mozart's genius without answering who he was; Elvis also skips interiority but fails to fill the gap.
“it's smart that Elvis doesn't do that, even though you feel the lack of it because Elvis doesn't fill anything else in.”
people (double bill, auteur):
I'm Not There → The Velvet Underground.
Both show Haynes's fascination with originating power: where it came from and how pieces assembled into a singular figure or band.
“the thing that it fascinates him is originating power. It's like, where did this come from and how did it come together?”
career (career arc):
Oblivion → Top Gun: Maverick.
Oblivion has a football scene mocked as Cruise loves sports in films; Sean rewatched it to prep for Maverick.
“I did just rewatch oblivion to prep for Maverick”
unmapped (transformation):
Tropic Thunder → Born on the Fourth of July.
Cruise's wig and transformation in Tropic Thunder was for laughs, the opposite of Born on the Fourth of July.
verdict (ranking):
A Few Good Men → The Firm.
The hosts treat them as the two lawyer movies and only one can survive the final Hall of Fame cut; A Few Good Men wins.
“I didn't realize that this was a one lawyer only hall of fame.”
verdict (ranking):
Born on the Fourth of July → Rain Man.
Two Oscar-bait Cruise films; the hosts prefer Born on the Fourth of July and cut Rain Man despite its Best Picture win.
verdict (ranking):
Collateral → Edge of Tomorrow.
Collateral and Edge of Tomorrow are the self-indulgent last picks; the group questions whether the list reflects Big Picture taste.
career (career arc):
Rain Man → Born on the Fourth of July.
Rain Man, Born on the Fourth of July and The Color of Money are grouped as his Oscar bait run defining an era.
industry (industry):
Ghostbusters: Afterlife → Marvel's Avengers.
Afterlife and the 2016 film both chase the Marvel model of serialized connected stories to succeed at the box office.
“trying to recreate what Marvel has done and just that's the only way you have success at the box office now is by latching onto that serialized story.”
career (career):
Andrew Garfield → Under the Silver Lake.
Speaker will follow Garfield wherever he goes, citing Silence, Under the Silver Lake, Tammy Faye.
fun, about
Father of the Bride:
The film's catchphrase-adjacent scene: the dad's opening monologue to camera. Dobbins hates talking to camera as a device but says it works here because the monologue is excellent, and it sets up voiceover narration that lets George say what he cannot say to the family.
“It works in this one because the monologue's really good and he's really good in it.”
fun, about
Father of the Bride:
Steve Martin's dinner list of consolations: Paul Simon tickets at the Forum, a Lakers game, and 'independent communications consultant' as code for unemployed. Dobbins used the line on her in-laws.
“Independent communications consultant is still...”
fun, about
Father of the Bride (most rewatchable scenes):
Cutting the wedding list: the crossing-off gag where they ask if someone died last year is a Simmons favorite. Also the blender box scene with Martin grappling a blender.
fun, about
Father of the Bride (hot dog buns):
The hot dog bun math gag still persists: Dobbins had a meltdown ordering curtain rings (7 holes, packs of 9) and thought of the scene; Simmons tells his daughter that tips and hot dog fractions are the only math adults need.
“All I could think about was the hot dog, hot dog bun scene and father of the bride.”
fun, about
Martin Short:
Worst-aged: the whole fake-accent wedding planner gag is one note, and Simmons's teenage daughter just found him annoying; Dobbins says the gag is not comedy in 2021. Both think B.D. Wong is funnier.
fun, about
Diane Keaton:
Casting what-if: Keaton says Disney's Jeffrey Katzenberg did not want to work with her after The Good Mother flopped, and Shyer and Meyers had to beg to get her into the film.
“Charles Shire, Nancy Myers, who'd worked with me before, had to beg to get me into Father of the Bride.”
fun, about
Father of the Bride (remake as series):
Unanswerable: Dobbins talks Simmons into a 10-episode series called Grandfather of the Bride with Kimberly Williams and George Newbern as the parents and Martin and Keaton as grandparents, and no Zoom version.
“Kimberly Williams and George Newburn would be the parents.”
fun, about
Annie Banks:
Unanswerable: is Annie a good daughter? Simmons prosecutes (never told them for 3 months, ignored dad at the wedding, only called to say goodbye); Dobbins defends: she is 22, and the call is a great movie moment. Verdict: Simmons says bad daughter.
“Is she a bad person or is she just inexperienced?”
fun, about
Father of the Bride (who won the movie):
Who won the movie: Steve Martin. Nancy Meyers is the alternate, though it comes together more for her later.
fun, about
Skyfall:
Severin scene: Bond sneaking up on her in the shower after she says she was in a sex ring, flagged as the film's worst-aged moment.
“It really jumped out at me last time I watched it when he's like, I'm going to sneak attack you in the shower”
fun, about
Mean Girls:
Mean Girls is dated April 30, 2004, but fans celebrate Mean Girls Day on October 3rd, after the line about the date; Simmons only learned of it while researching.
“People think Mean Girls Day is October 3rd, but actually it came out on April 30th.”
fun, about
Lindsay Lohan:
The rewatchables crew remembers an MTV 'Diary' episode filmed right before Mean Girls, plus a hosted SNL with Debbie Downer, and a 2005 return whose monologue was about her problems.
fun, about
Mean Girls:
Best quote picks: 'Stop trying to make fetch happen' is the iconic line; others include 'I'm a cool mom' and 'On Wednesdays, we wear pink'.
fun, about
Marriage take:
Sean's hot take that past a certain tax bracket people should not marry, because marriage is a business arrangement propped up by the tax code.
“past a certain tax bracket, you just like should not get married anymore.”
fun, about
The Strangers:
Amanda admits the film gets under her skin without being gory or supernatural, because her horror problem is irritation, not fear.
fun, about
The Strangers:
The final line: asked why, the masked woman answers because you were home. The hosts debate whether no answer would be better.
fun, about
The Strangers:
Self-defense riff: the hosts argue about whether you can kill an intruder and why the couple never barricades the door with furniture.
“It's just a real like barricade the home situation.”
fun, about
The Strangers:
The couple's vinyl collection includes Joanna Newsom, Merle Haggard, Gillian Welch, Billy Bragg and Wilco and Richard Buckner; later the strangers put on the Merle Haggard record, with Mama Tried as the closing jam.
fun, about
Mamma Mia! Here We Go Again:
Amanda applauded alone at the Arclight when Fernando played in the sequel and has told Sean what happens before.
“I maybe did start applauding at the arc light, like, alone when Fernando shut up.”
fun, about
Pierce Brosnan:
Brosnan's long residence near Hanalei on Kauai and a rumored $100 million Malibu property turned up in an Architectural Digest search.
“he lived like outside Hanalay for like 25 years in on the north shore of Kauai”
fun, about
Mamma Mia!:
The who's-the-father debate: Sean and Amanda both pick Pierce Brosnan; the director and screenwriter reportedly say Stellan Skarsgard, and Amanda offers a diary-order ovulation argument for the middle man.
“the middle person is going to be the closest to ovulation.”
fun, about
Mercy:
Reenacting the closing line: Pratt says we all make mistakes and learn, then the AI judge appears on a lobby screen and says yes, we do.
“Human or AI, we all make mistakes, and we learn.”
fun, about
Amy Adams:
The pair argue over whether Amy Adams is to blame for her roles, with a roll call of Hillbilly Elegy, Justice League, Woman in the Window and Dear Evan Hansen.
“Hillbilly Elegy Justice League, woman in the window.”
fun, about
Amanda Dobbins:
After Chris takes Top Gun first, Amanda announces she needs a meeting with herself, then admits she was being a petulant brat.
“I had to have a meeting with myself about not being a petulant brat for the rest of the thing”
fun, about
Downton Abbey: A New Era:
Amanda pitches it as Singin' in the Rain: Lady Mary dubs a silent star, and Lady Violet inherits a French Riviera house from a torrid affair.
“Lady Violet, a.k.a. the dowager countess, like had a torrid love affair, and she got left a house.”
fun, about
Minions: The Rise of Gru:
Amanda saw it alone at her childhood theater in Atlanta; a minions choir appears from nowhere and sings, which made her crack up.
“There's a minions choir that shows up from nowhere and they just start singing.”
fun, about
Jennifer Lopez: Halftime:
Amanda says cameras caught Lopez backstage devastated after losing the Golden Globe, the most defeated moment, and she's the third most thought-about 2022 movie.
“the most defeated, disappointed, like, I can't believe like I let you guys all down for a fucking golden globe”
fun, about
Steve Madden:
Dobbins tells of 90s Steve Madden four-inch chunky loafers on Long Island, towering over 13-year-old boys, and the pump-and-dump that sidelined him.
fun, about
Brad Pitt:
Opening of the film: old playoff footage, then Pitt alone in a stadium turning a radio on and off. Riveting because he holds the frame.
“him sitting alone in a stadium just turning a radio on and on. And it is riveting.”
fun, about
Challengers:
An audience member suggests Challengers as a sports movie they should have done; the hosts say it is not on the list and Amanda jokes about her own list.
fun, about
Spike Jonze:
Great cameo in a beautiful peaceful living room, in sandals; Amanda owned similar sandals at 15 and wore them in March to Long Island high school.
fun, about
Amanda Seyfried:
Sean's fan trivia: her Vogue get-ready-with-me discussing her eczema, a Jimmy Fallon clip singing Joni Mitchell, an Architectural Digest tour full of hiding places.
“doing her get ready with me, talking about her eczema.”
fun, about
Kinda Pregnant:
Amy Schumer steals a pregnancy bump from Hatch, the noise-machine company, pretending to be pregnant to keep up with her friend; one sex scene, harder than you'd expect.
fun, about
Babygirl:
The film opens on Kidman's orgasm sounds piped in loud; in one screening nobody made a noise for a long time, in another people laughed.
“And those sounds are like piped in loud and there's nothing else, no one else was making any noise for a very long time.”
fun, about
Secretary:
Jesse Eisenberg's date to Secretary: his future wife put her coat over her head the whole time and he decided he wanted to marry her.
“And I believe his wife was so uncomfortable that she just put her coat over her head throughout the thing and he says, and then I was like, wow, she's so weird.”
fun, about
Poor Things (toddler performance):
Amanda says Stone's baby-to-toddler stages matched her son Knox's development between viewings, six months apart.
“I was like, wow, we've really charted the development here over 6 months.”
fun, about
Poor Things (Lisbon):
The first section is black and white; the Lisbon title card cuts to color and the 'furious jumping'. Bella wears yellow silk shorts (maybe Victorian underwear) with white heeled ankle boots, costumes by Holly Waddington.
fun, about
Poor Things (the three things she can say):
At dinner Bella is told to say only 'delighted', 'how marvelous', and 'so flaky, so crisp' about the pastry, then yells that she must go punch a wailing baby.