Categories & segments

Post-prime Cruise and Joseph Kosinski; Connelly debated

Altman, Cynthia Stevenson, Leeza Gibbons, double-breasted suits, and several performers receive distinct apex judgments.

De Niro, Pesci, Sharon Stone, golf-course landings, Las Vegas details, and skimming receive distinct apex judgments.

The panel runs apex judgments across Scorsese, gangster movies, a director rivalry, the Copacabana, gangster names, De Niro, garlic, Lufthansa, Pesci, mob codes, pistol-whipping, wigs, prison sauce, Bracco, Sorvino, profanity, Cutty Sark, and Pittsburgh drug dealers.

Stallone’s 1985 global stardom was the clearest apex; Cold War cinema, Dolph Lundgren, Warner Wolf, Barry Tompkins, Vince DiCola, sit-ups, wet-blanket wives, robots, and montages were also assessed.

Mann’s moments of creative command

Harrison Ford is the decisive Apex Mountain selection; John Williams, Karen Allen, Nazis, Cairo, fedoras, and even bad movie monkeys receive secondary cases.

Predator was called the apex Arnold movie though not Arnold’s personal apex; Carl Weathers, Ventura, Landham, helicopter drops, jungle aliens, body butter, death scenes, self-sacrifice, Alabama ticks, and closing-credit smiles were assessed.

Petersen, Noonan, profiling, Mann, Joan Allen, Captiva, and stylistic details receive separate apex judgments.

Mid-1980s Los Angeles is the strongest playful apex, while Cameron, the time-travel device, hotel-room sex, Ray-Bans, and Tech Noir receive qualified cases.

The movie was treated as a late-career “still got it” peak for Damon rather than his apex; potatoes and botany were clear apex cases, while Mars went to Total Recall.

Michael Bay’s post-Armageddon freedom makes this the unanimous “Baypex,” with Bruce Willis and Billy Bob Thornton receiving substantial secondary cases.