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 601–700 of 854 claims.
unmapped (same-year coincidence):
Mission: Impossible → The English Patient.
Binoche/Scott Thomas would have starred in two big 1996 films had Binoche taken Claire.
“this is the same year as the English patient, and that would have just been a funny coincidence.”
people (regular collaborator):
Stephen Burum → Brian De Palma.
Cinematographer Burum is named as a De Palma collaborator with hits such as Rumble Fish and The Outsiders.
“What about Stephen Burham, who's the palm is... Stephen Burham hits.”
unmapped (audience anticipation):
The Departed → Gangs of New York.
Simmons felt the same big-names anticipation for Gangs of New York as for The Departed.
“the other time I remember feeling it was gangs, gangs of New York in 2002”
unmapped (too satisfying):
The Departed → No Country for Old Men.
Seeing something that is exactly what you want, like this cast or No Country, can feel weirdly unsatisfying.
“I had it too when I saw No Country for Old Men because I love that book so much.”
career (career peak):
The Departed → Boogie Nights.
1997 was a better year for Leo, Damon, Nicholson and Wahlberg than 2006: Boogie Nights, Good Will Hunting, Titanic, As Good as It Gets.
verdict (favorite performances):
Leonardo DiCaprio → The Wolf of Wall Street.
This, Wolf and Django are Ryan's three favorite Leo performances, not The Revenant.
“I would say this Wolf and Django are my 3 favorite Leo performances.”
unmapped (greatest hits):
The Departed → Goodfellas.
Ryan says The Departed recycles Scorsese's camera moves from his career like a greatest-hits album, with no single shot to rival the Copacabana tracking shot or the Goodfellas freeze frames.
“there's not one single shot in the departed that you would put up against like the Copacabana tracking shot or any of the slow-mo freeze frame stuff and Goodfellas or Raging Bull”
what-if (what-if):
Martin Sheen → J. Gianoni.
A host suggests the production should have had the accent coach voice Martin Sheen's lines while cutting to reaction shots.
“get, you know, JG and Oni in there to do his accent”
unmapped (real-life model):
Jack Nicholson → Whitey Bulger.
Nicholson is basically playing Whitey Bulger, a Boston crime lord who would not refuse a Red Sox hat.
unmapped (creep vs sweetheart):
Matt Damon → The Martian.
Damon's best work is the creeps like Ripley, and Ryan prefers that to his America's sweetheart phase in The Martian.
“Matt Damon's best performances are always the one where he plays the creeps, like Ripley”
people (same actor, different result):
The Departed → A Few Good Men.
Nicholson nailed every line of Sorkin's watertight script in A Few Good Men but is all over the place in The Departed.
“he nails every line of Sorkin dialogue. It's like watertight script.”
unmapped (Whitey Bulger movie):
The Departed → The Irishman.
Scorsese's next gangster movie with De Niro, Pacino and Pesci would be de-aged digitally and paid for by Netflix.
unmapped (perfect vs rewatchable):
The Departed → No Country for Old Men.
No Country is note perfect but he has watched it far fewer times than The Departed, because flawed movies leave room to check out and ask questions.
“I have watched it 80% less than the departed because the departed, it actually feels like a roller coaster ride when you're on it.”
craft (crafted vs improvised):
The Departed → Heat.
Heat is long and full of huge stars like this, but Mann's decisions were all considered while The Departed feels like flying by the seat of its pants.
“I felt like heat was crafted. Every decision he makes is really well thought out”
people (performance comp):
Austin Abrams → Michael J. Fox.
Abrams recalls Michael J. Fox in Back to the Future: spirited, snarky, sweet, outlandish situations, gumption.
“the actor that Abrams reminded me of most is Michael J. Fox and Back to the Future.”
lineage (influence):
Resident Evil → John Carpenter.
Carpenter looms over the movie; it sits in a lineage with Romero, 28 Days Later, Alien, Cronenberg.
“It's very obvious the way that Carpenter looms over a movie like this.”
contrast (structure contrast):
Resident Evil → Weapons.
Weapons chopped the story across perspectives; Resident Evil is linear through one guy's eyes, but both make you want to recap the beats.
contrast (contrast):
Evil Dead II → Scary Movie.
Evil Dead 2 fuses comedy with horror history rather than upending it; making fun of horror usually leads to Scary Movie, not an actually funny and scary film.
“making fun of horror usually leads you down the road to scary movie.”
craft (structural comp):
Resident Evil → Get Out.
Chris cites Get Out's opening lonely-road accident as a box-checking scary space like the film's opening.
“get out very famously, more or less opens with an accident like that on a lonely road”
industry (box-office comp):
Resident Evil → Obsession.
Obsession was also disgusting and a huge sensation, showing gross horror can have a high ceiling.
“obsession is also disgusting at times, and it is a huge sensation.”
career (career-position comp):
Resident Evil → Jackie Brown.
Resident Evil is to Cregger as Jackie Brown (third film, stripped-down, source material) was to Tarantino.
unmapped (audience-clout comp):
Zach Cregger → Christopher Nolan.
Cregger has already done what Nolan did, smashing through online fan concern-trolling.
“he's already done what Nolan did, which is apparently just like smashed through the, like, fake concern control online.”
career (career parallel):
Zach Cregger → Jordan Peele.
Cregger's first three films resemble Peele's: a short window, escalating ambition, genre with Carpenter influence; both come from sketch comedy.
“The thing that it reminds me of the most is Jordan Peele.”
unmapped (near-miss production):
Jordan Peele → Weapons.
Peele reportedly wanted to produce Weapons or Barbarian and changed management companies when he did not.
“Peel wanted to produce, was it weapons or barbarian?”
unmapped (respectability):
Resident Evil → Weapons.
Weapons made a witch-flesh-tearing movie respectable; Resident Evil may do the same for movies like it.
“this is like gonna kind of make movies like this respectable.”
lineage (adaptation hope):
Alex Garland → Elden Ring.
Garland loves Elden Ring and that is why he is adapting it; the lesson may be to give great filmmakers license.
“Garland loves Elden Ring, and that's why he's doing the movie.”
craft (ending montage):
Babylon → Avatar: The Way of Water.
Chris thinks it cheap that Babylon's montage of cinema moments includes Avatar, which Sean defends as part of cinema's evolution.
“It feels cheap that he would put that movie in the like montage of the greatest film moments ever”
people (performance):
Kerry Condon → The Banshees of Inisherin.
Chris says Keoghan's longing for Condon's character stayed with him and calls Keoghan's best performance there.
“the underlying plot about Keegan's longing for the Carrie Condon. character is the thing that really stayed with me.”
lineage (homage):
Ambulance → Heat.
Chris says the first half of Ambulance is Michael Bay trying to make Heat, before the second half becomes a great chase movie.
“The 1st half of this movie is basically like Michael Bay being like, I want to make heat.”
unmapped (reboot):
Confess, Fletch → Fletch.
Chris describes it as a riff on the long-promised Fletch franchise reboot, with Jon Hamm taking the role Chevy Chase made iconic.
“Chevy Chase did an iconic turn as a Fletch character, a journalist come detective in Los Angeles.”
theme (era vibe):
Emily the Criminal → Straight Time.
Chris says Emily the Criminal has a bit of the vibe of 70s character-portrait crime movies like Straight Time.
“a little bit of a vibe of like 70s movies, like straight time, where it's just like a very, very cool character portrait”
fun, about
Beverly Hills Cop II:
Best that guy winner: the gun club receptionist (Valerie Wildman), later Dylan McKay's father's fiancee on 90210, who turns out to be an FBI agent.
fun, about
Beverly Hills Cop II:
Apex Mountain: the cement truck shows up 12 seconds after Axel says go get us a car, which Ryan calls one of the worst edits in an Eddie Murphy movie.
fun, about
Beverly Hills Cop II:
Eddie's wearable memorabilia: Ryan picks the Detroit Lions jacket as the easy, era-defining choice; Simmons would take the Testarossa and Dean Stockwell's mustache.
fun, about
Die Hard 2:
Sadler did not realize the naked Tai Chi scene meant fully naked, asked to film it near the end of the shoot and trained for two months; the bureau is positioned to hide his package.
“He didn't realize he had to be naked, so the actor William Sadler was like, can we film this near the end?”
fun, about
Die Hard 2:
What aged best: airports at Christmas, with parkas, Jameson, chaos and misery; also what aged worst since nobody waits at the airport or smokes inside anymore.
“Everybody's just pounding away at Jameson's and waiting to get on the flight.”
fun, about
Panic Room:
The slow-mo phone scene: Whitaker talks in slow motion so you can't hear him but see the words mouthed while Foster searches the covers.
“You see the words being mouthed, which is amazing.”
fun, about
Panic Room:
Memorabilia: Chris and Sean pick the bearer bonds and the ski mask; the Blu-ray finally arrived on the 20th anniversary and Sean has the Superbit DVD.
fun, about
Jodie Foster:
Cherie Currie link: Foster costarred with her in Foxes (1980); Kristen Stewart later played Joan Jett to Currie in The Runaways.
fun, about
Forest Whitaker:
Winner of 'Best That Guy' / scene stealer: Whitaker as Amos takes over the movie for three minutes; Scorsese hands it to him.
“I need this guy to take over my movie for 3 minutes.”
fun, about
The Color of Money:
Streetlights pass Newman's windshield in time to Werewolves of London as he drives to Chalkey's; also no camera is visible in the final scene's room of mirrors.
“the fucking street lights go past in the windshield, like in time to the music.”
fun, about
Richard Price:
Chris's quick Price rundown: novelist of Lush Life and Clockers, writer of Sea of Love and Kiss of Death, Wire season 3, The Night Of. Bill says Kiss of Death would warrant raised ad rates.
fun, about
Child World:
Tangent: the hosts debate whether Child World was a real Toys R Us rival (it was, 1962 to 1992) and pitch a nine-part true crime podcast.
“We got to pitch our nine-part child world pod true crime.”
fun, about
Wes Anderson:
The cast's wrist bands and Margot costumes: after the movie every dude they knew started wearing wristbands; the movie shaped dress, music and eyeliner.
“every dude I knew started wearing wristbands after this movie.”
fun, about
The Royal Tenenbaums:
Production ran on scale pay: Paltrow gave three weeks, Stiller ten days; the line producer scheduled it to look like a family together.
“Is the MVP the line producer who scheduled this to make it seem like they were a family all at the same time.”
fun, about
The Royal Tenenbaums:
Most rewatchable scenes pick: opening character-intro montage over Hey Jude; Margot's play review; Royal meets grandkids at the Y; Eli on mescaline.
“The pre-credit character introductions that you mentioned is scored by, hey, Jude.”
fun, about
Kumar Pallana:
Dion Waiters Award pick: Pagoda, whose best moment is walking to the window during the intervention and saying 'there he goes'.
“Kumar just walks to the window and says, there he goes.”
fun, about
Gene Hackman:
Closing riff on Hackman's retirement: a posthumous 27-episode Jack Del Rio biopic, a one-man show at Santa Fe Rec called Del Rio Grande.
“It's called Jack of all trades. It's Del Rio Grande.”
fun, about
Fletch:
Rewatchable scene: Fletch as the buck-toothed airplane mechanic demanding a set of 30 weight ball bearings; Chris's favorite character.
fun, about
Fletch:
Chris notes the autopsy scene with the camera tight on the doctor's face, and the Rosen, Rosen, Rosen doctor gag; Sean loves Dr. Dolan and the Babar spelling bit.
fun, about
Fletch (what's aged worst):
Alan Stanwick's plan is ridiculous: scout a lookalike, have him shoot you, kill and burn him, with no DNA or dental checking.
“there's no such thing as DNA or dental evidence yet.”
fun, about
Val Kilmer / The Saint:
Bill's love of The Saint (budget 70M, grossed 169.4M, great Moby/Chemical Brothers soundtrack) becomes a running joke ending with power rankings of who cares.
fun, about
Ferris Bueller's Day Off:
The Cameron-destroys-the-Ferrari debate: Bill loves the car and sees no excuse; Chris in his 40s says Cam is getting executed by his dad; Sean sees it as angsty teen anger.
“Cam's gonna get a socket wrench to the eye if his dad is coming home, man.”
fun, about
Ferris Bueller's Day Off:
Hosts argue the film may be the best use of pop music in a movie: The Smiths-style museum cover, the English Beat chase, and the Yello opener.
“is this the best use of pop music in a movie ever?”
fun, about
Ben Stein:
Ben Stein ad-libbed the lecture off camera; the extras laughed so hard that the voodoo economics bit stayed in even though it was not in the script.
“the student extras were laughing so hard that they decided to actually just keep in the voodoo economics, that whole scene.”
fun, about
Ferris Bueller's Day Off:
Costume-change nitpick: nearly ten outfit changes in the first twenty minutes, Chris notes, which also strains the timeline.
fun, about
Ferris Bueller's Day Off:
Unanswerable question: Cameron in 2016 would have written first-person trauma essays and co-hosted Chapo; Ferris becomes a software billionaire in a hypothetical 2001 sequel.
fun, about
Once Upon a Time in Hollywood:
The Bruce Lee scene as unreliable narrator: the people around the fight vanish when the frame changes, signaling Cliff's false memory.
“you see that all of the people that were surrounding the fight have disappeared.”
fun, about
Boogie Nights house:
Chris tracked the Boogie Nights house price and its distance from The Ringer's office using Waze; it was 10 minutes too far.
fun, about
Lee Van Cleef:
Why there is a giant painting of Rick in his own driveway: Tarantino toured Lee Van Cleef's house, a museum with a huge painting of himself in the garage.
“this is fucking weird that this guy has a painting of himself in his garage.”
fun, about
Beverly Hills Cop:
Stunt doubles do not match: the truck driver has a mullet and the guy who jumps out has a bald spot, and Eddie going through plate glass is not Eddie.
fun, about
Victor Maitland:
Maitland's bodyguards: four huge guys carry Axel through the building while a fifth small guy just walks in front, apparently to open doors.
“One of those guys looks like a little mouse in the front.”
fun, about
Beverly Hills Cop:
Magazines stand in for mobile phones: Rosewood reads Time, Banks reads National Geographic, Maitland flips through one in the gallery.
“Jonathan Banks is reading National Geographic at one and it's just like, this is just what people did to pass time in 1984 was like, read a magazine.”
fun, about
Michael Madsen:
The ear scene cuts away to the 'watch your head' graffiti for about 10 seconds; the hosts like that Tarantino rarely shows violence.
“they pan and they just show the watch your head graffiti above the doorway for about 10 seconds.”
fun, about
Tim Roth:
The accent: dialect coach on set all movie, yet he sounds Dutch, Rhode Island or Minnesota: 'rare, bad accent, great performance.'
fun, about
Reservoir Dogs:
Most rewatchable scene pick: Roth's commode story, with its cut between the practiced script and the set; 'I didn't know you could do that with writing.'
“I was just like, I didn't know you could do that with writing.”
fun, about
Lawrence Tierney:
Bill's rewatch verdict: Tierney is bad and was reportedly fired after day three; you can see him blow a line during the naming scene.
“you can watch him in a take that's in the movie, miss the line.”
fun, about
The Dan Band:
Aged-the-best: the wedding band that swears its way through 'Total Eclipse of the Heart' and 'Every now and then I get a little bit terrified', with Ferrell and Reeves' faces worth freeze-framing. LA bar legends in the 2000s.
“If you freeze frame the look on Will Ferrell and Perry Reeves face.”
fun, about
Old School:
Category winner for most iconic and aged-best bit: 'earmuffs'. The guys realized the word entered everyday speech from this movie and are sure they owe Vince Vaughn royalties; Bill says it's like Kleenex.
fun, about
Seann William Scott:
Nominee for Dion Waiters Award: he plays Peppers, the animal trainer, yanking a goat's chain and telling it to shut up; 'You just took one in the jugular, man' after the dart-gun party.
fun, about
Mission: Impossible:
The film started shooting without a finished script. Premiere's Tom Friend described 4 a.m. faxes begging Towne for revisions. De Palma hated Towne's boxcar-reveal ending and pushed for the top-of-the-train chase, which cost millions. Cruise sided with De Palma.
“There were 4 a.m. last minute faxes volleyballed to town kept to town again, begging for revisions, and all were mostly Depalma's doing.”