Prizes practical blockbuster filmmaking, big star performances and Scorsese-era craft; an unabashed defender of late-period Ridley Scott. Dislikes messy modern blockbuster scripts and over-reliance on CGI. A sucker for Denzel and for horror and sci-fi legacy sequels.
Stances
Was entertained but rates Gladiator II well below the original
Denzel Washington is the reason to rewatch it
The film wanted the original's pyramid structure without doing something different
Wanted Gladiator II to have the guts of Before Midnight
Humor: Mock-aggrieved nitpicking and tangents about food, friends and money.
In their words
“I was entertained.” (0:13:17)
“I'm mostly in the bag for everything he does.” (1:12:12)
The most openly critical voice on Babylon: admires the virtuosity but says the opening party rings hollow, and that the film holds together less well than he remembered. Relates to P.J. Byrne's character. Fan of scene-level filmmaking, Brad Pitt's persona work, golf and public courses, and menswear (J. Crew, Uniqlo). Sucker for bits like Trump impressions and Zyn.
Stances
Babylon is a collection of great scenes that does not quite congeal
Hive-adjacent, not in the hive
Seeing movies in theaters with a crowd adds to the experience
Humor: Slow-burn self-deprecation and bit commitment (the Zyn pouch, Trump voice, the J. Crew detour).
In their words
“and it rings hollow to me, which is perhaps the point” (0:26:34)
“The scenes the individual scenes are popping, but the actual movie is maybe not holding together as well as it did in the theater that I remember.” (2:12:00)
Heat is his number one and Manhunter his yearly rewatch; likes messy reclamation projects like Miami Vice. Loves Ferrari and thinks Mann went out on a high note. Big on the 'fusion' of classical and digital Mann.
Stances
Ferrari is a deeply satisfying film in his top five of the year
Miami Vice's mess is the point
Mann's themes are men and their obsessions
Humor: Grand and self-mocking, with extended comic metaphors.
In their words
“I'll never give birth, but it's the closest. It's what I imagine it's like.” (0:03:50)
Loves being manipulated by filmmakers and Fincher's subjective craft; adores the Smiths-as-joke and the sound design. Reads the film as the ultimate control-freak movie and Swinton's character as the life the killer could not have. Dislikes nothing here and calls it possibly his favorite movie of the year.
Stances
Fassbender's killer is an unreliable narrator lying to himself
The film is about the fallacy of control
The killer kills Swinton because she has a normal life
Humor: Excitable and self-aware, jokes about shaking in his chair and fashion and food habits.
In their words
“I love being manipulated by filmmakers.” (0:05:42)
“I think he killed her because no loose ends.” (0:44:38)
Loves big-screen Hollywood entertainment and communal theatrical experiences, with a horror streak (Barbarian, Speak No Evil). Loves Cate Blanchett, Martin McDonagh and Top Gun: Maverick as his number one. Admits being a little embarrassed by how populist his list is.
Stances
Hollywood theatrical experiences fired him up this year
Speak No Evil is the most effective horror film of the year
Top Gun: Maverick delivered after two years of hype and is better than the original
Humor: Boisterous and profane; fond of analogies like Stairway to Heaven and quoting Boogie Nights.
In their words
“I'm almost like at once defiantly excited about my list, but a little bit embarrassed by it.” (0:23:50)
“And it still fucking rocks.” (1:26:04)
“it's probably the most effective horror movie I've seen this year.” (0:48:20)
Loves The Firm, Collateral, Edge of Tomorrow and a Hollywood ensemble movie; thinks Born is Cruise's best performance and Jerry Maguire his most appealing.
Stances
Pushes for The Firm
Cruise now treats himself as the Rock
Fallout is exceptional
Humor: Big physical impressions and dad-style tangents; keeps asking about the rules.
In their words
“I am going to say the firm just because I also think that that is in a lot of ways, like among the best casts he's ever been a part of.” (0:40:33)
He loves cheap, anxiety-heavy genre pieces, B-minus horror movies and anything that makes him squeeze the popcorn box. He picked events that freaked him out over big hits, leaving Get Out and the Blumhouse hits off his top five. He can't stand Black Swan-style foot-breaking discomfort and doubts that Cabin in the Woods is scary at all.
Stances
Horror should dominate the audience
Genre lines (thriller, horror, terror) matter
Directors drift away from horror naturally
The B-minus horror movie is the best B movie
Humor: Cheerful self-deprecation and tangents, such as confessing to spoiling Cabin in the Woods in an NBA post.
In their words
“The B minus version of a horror movie is my favorite kind of B minus movie.” (0:34:47)
“I like that, I like feeling things.” (0:52:03)
“I spoiled Cabin in the Woods in like an NBA blog post for like 1000s of people.” (0:41:38)
A TV-first critic who came to Disney through Marvel and Star Wars rather than the legacy titles, and who loves teen entertainment and character actors such as Mark Maron. Dislikes late revival movies and fan-service compression; a sucker for crowd-roar moments like the Endgame hammer.
Stances
Will send his streaming money elsewhere than Disney+
Skeptical of Eternals and of revival movies
Counterprogramming may be dead
Moviegoing is about circumstances and shared reactions
Humor: Wry and conversational, setting up riffs such as the 1992 podcast called Smells Like Teen Spirit.
In their words
“And I will be sending my streaming money elsewhere.” (0:02:08)
“I think he takes his craft really seriously.” (0:19:29)
Reveres Spielberg's craft (lighting, camera movement, editing, music) and calls him a film school; picks Empire of the Sun as a personal favorite. Loves rewatchable, tightly made movies like Jaws, Raiders, and Jurassic Park and likes Munich, A.I., and Tom Cruise in War of the Worlds. Cold on Spielberg's explicit kids' movies.
Stances
Spielberg is his film school
Jaws is the perfect movie
Spielberg's kid-targeted films (Tintin, BFG) don't work
Munich's opening is the best
Humor: Warm, enthusiastic riffing and impressions; walks the line between sincere and goofy.
In their words
“It's my film school.” (0:03:04)
“Jaws is a perfect movie.” (0:35:06)
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.
Blank Check with Griffin & David
The box office game: Guessing the film's opening weekend and what it was up against.
The sung theme: "Blank Check with Griffin and David", sung; the transcriber garbles it.
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 501–600 of 854 claims.
people (people):
Sam Mendes → Roger Deakins.
Mendes shoots Silva's entrance with Deakins right behind Bond's shoulder.
“But the fact that he shoots it, the Mendy shoots it the way it is with Deacons, where it's just right behind Bon's shoulder”
contrast (contrast):
Reservoir Dogs → Do the Right Thing.
Chris argues Do the Right Thing is a 1989 film that feels like a 1990s one from its influence.
“the influence that movie had for everything that happened in the 1990s makes it feel like it was a 1990s movie”
contrast (contrast):
Reservoir Dogs → Guardians of the Galaxy.
The soundtrack was a cultural moment of the kind Marvel and Guardians of the Galaxy are for kids today.
“They may feel that way about Guardians of the Galaxy”
industry (industry):
Reservoir Dogs → Video Archives.
Tarantino distilled the video-store aesthetic into the film; he programmed shelves like a film festival.
“he talks about how he used to program shelves at the video story worked at as if it was like a film festival.”
lineage (lineage):
Reservoir Dogs → The Farewell.
The slow-motion group walk in The Farewell echoes the Reservoir Dogs shot, which remains influential.
theme (theme):
Reservoir Dogs → Top Gun.
Tarantino's Sleep With Me riff on Top Gun mirrors the pop-theory talk that opens Reservoir Dogs; Tony Scott's Top Gun and artist intent come up again with Madonna.
“Yeah, nobody cares what Tony Scott thinks Top Gun is about.”
career (career):
Tom Sizemore → Natural Born Killers.
Sizemore plays Jack Scagnetti there, called one of the most fucked-up characters in movie history.
“characters in movie history is Sizemore's character in natural board killers.”
contrast (contrast):
Singles → Reality Bites.
Reality Bites is the aggressive real-time generational movie; Singles only reads Gen X through its soundtrack.
“it seemed like a much more aggressive attempt to be generational.”
verdict (verdict):
Ethan Hawke → Before Sunrise.
Hawke owned a more likable variation of Troy in Before Sunrise, which is why Ryder 'won' Reality Bites.
“play a variation of the, a much more likable version of somebody who's in the sphere of this character and kind of own that movie.”
lineage (character origin):
Will Ferrell → Old School.
Frank the Tank is an extension of his SNL Dodge Stratus guy, the suburban insanity of domesticity.
“Frank the Tank is kind of the Dodge Stratus extension.”
contrast (era contrast):
Old School → Adam Sandler.
Old School has a maturity and more ideas than the earlier silly Sandler/Carrey era, despite being juvenile.
“Old school has like a maturity to it, even though it's really juvenile”
career (career obsession):
Todd Phillips → Project X.
Phillips' recurring subject is how young men, and later aging men, mess up, running from Frat House through Project X to The Hangover.
“he has an obsession with young, how young men fuck up”
lineage (remake trend):
Starsky & Hutch → The Dukes of Hazzard.
TV remakes started well with Brady Bunch and Addams Family but failed as pure comedies later.
“Those movies didn't work as well because they were trying to just make them pure comedies”
contrast (role contrast):
Juliet Lewis → Natural Born Killers.
Lewis was previously known as a killer in Natural Born Killers; Old School is her first real comedy.
verdict (career apex):
Vince Vaughn → Wedding Crashers.
Chris argues Vaughn's apex is Wedding Crashers, a year after Old School, when he is clearly a star not a fluke.
career (career run):
Luke Wilson → Legally Blonde.
Old School is part of Wilson's mainstream bankable run from Legally Blonde through Charlie's Angels.
“it's like legally blonde to Charlie's Angels, this.”
what-if (career what-if):
Luke Wilson → Harrison Ford.
Chris says Wilson had an action-lead path like Ford if he had stayed in game shape; the others mock it.
“I think if Luke Wilson had stayed in game shape. I think there's a there is like an action movie path for him.”
career (career comparison):
Elisha Cuthbert → The Girl Next Door.
Cuthbert's best film work, with a cast Chris wanted more from; Cuthbert's movie career stalled after rom-coms died.
“She pretty much never made another comedy after the girl next door.”
industry (industry):
George P. Cosmatos → Sylvester Stallone.
Russell says he got the ghost director through Stallone, who had done the same on Rambo II.
craft (craft):
Tombstone → The Godfather.
The Oriental faro takeover shows the Godfather-like business side Russell wanted.
“You could see the godfather thing that Russell's talking about when he moves into Tombstone and immediately takes over the Faro game at the Oriental.”
unmapped (TV-to-film precedent):
Mission: Impossible → The Fugitive.
The Fugitive proved a classic TV property could be a big-screen box-office hit, which opened the door for Mission: Impossible.
“the fugitive proved that there was box office potential and television IP on the big screen.”
career (career context):
Brian De Palma → The Bonfire of the Vanities.
Paramount hired De Palma despite his having just burned a pile of money on Bonfire of the Vanities.
unmapped (promo tour):
Tom Cruise → Knight and Day.
After MI, Cruise's brand turned on stunts, such as riding a motorcycle across Europe for Knight and Day.
“when he like rode a motorcycle across Europe for night and days promo tour”
unmapped (market timing):
Mission: Impossible → GoldenEye.
Cruise and Wagner picked MI because Bond was reaching an expiration and a new cool spy was needed.
“it's around the time of Golden Eye and Brosnan, who had some success as Bond, but Bond was sort of reaching an expiration, and we needed a cool new spy character.”
unmapped (IP attempt):
Tom Cruise → War of the Worlds.
Cruise's other IP efforts, War of the Worlds and The Mummy, are fine but will not make his Hall of Fame plaque; MI will.
“Those movies are fine. They're never going to go on his Hall of Fame plaque. The Mission Impossible movies do.”