Del Toro’s Oscar omission is challenged; alternatives remove Hardy or Stallone, with Harrison Ford also proposed. Hardy’s Fury Road work is preferred to The Revenant.
One-Oscar choices are Del Toro, Deakins and Jóhann Jóhannsson’s score.
The interrogation’s unseen actions are debated, including a Reddit sexual-assault interpretation raised by Craig; the hosts remain uncertain and do not establish what occurred.
Kate killing Alejandro is rejected as an improvement. The Mexico soccer ending is defended for showing nothing has changed and ordinary people bear the cost, despite a joking objection to the children’s play. — Chris Ryan
An unanswerable question imagines the concealed bodies as an awful Halloween costume, with horror-film alternatives. — Bill Simmons
The Watney next-day question considers Kate’s future relationships and work, with police, desk job, post office and crafts suggested; no outcome is established. — Sean Fennessey
Early life lessons concern degrees of wrong, personal revenge defeating business logic and the failure of an expected hero. Kate’s final understanding is qualified as acceptance. — Bill Simmons
The life-lesson choice is Alejandro’s warning that doubt will eventually become understanding. — Bill Simmons
Double-feature choices are Sicario: Day of the Soldado, King of New York, Fast Five and Happy Gilmore. Fast Five is placed first; adding Furious 6 is proposed then rejected.
Sheridan replaces an initial written Del Toro choice because the film launched his powerful career. — Bill Simmons
A second answer explicitly agrees on Sheridan. — Bill Simmons
Criticism of Sheridan’s later work is qualified as frustration at wasted writing talent, while his desire for control is understood. — Bill Simmons
Another initial Del Toro choice acknowledges the Sheridan case; Sheridan is then reaffirmed, without a clearly countable additional voter. — Bill Simmons
Villeneuve’s contribution is defended through the editing and refinement of the screenplay. — Craig Horlbeck
The others distinguish artistic achievement from career impact, citing Villeneuve’s other breakthroughs and larger hits.
Craig corrects his earlier claim of seeing Sicario theatrically: he first watched on a laptop and was underwhelmed, then loved the full television-and-sound rewatch. Aerial shots and the plane shadow are praised.
Scene candidates include the divorce/car exit and Jacob meeting Hannah. Lady Bird is compared to the car exit; Jacob’s confidence under rejection divides interpretation. — Bill Simmons
The friends choosing sides in divorce and John Carroll Lynch’s breakup scene are praised as an underexplored social dynamic. — Bill Simmons
The male makeover montage is praised for humor, effective styling and Cal’s renewed self-respect; other makeover films are compared and the already-attractive-woman trope criticized. Carell changing weight is explicitly speculation. — Bill Simmons
Scene candidates include pickup training, Robbie raising Bacon’s chair, Tomei’s bar encounter and the teacher reveal. Tomei receives a playful long-term-crush honor. — Bill Simmons
Hannah returning to Jacob’s house is praised for the Dirty Dancing lift, humor, surprising vulnerability and a believable connection built in minutes; whether they have sex remains inferred rather than shown. — Bill Simmons
The actors’ chemistry prompts discussion of on-set relationships and spouses, including Mr. & Mrs. Smith as a comparison; speculation is not film fact. — Bill Simmons
The converging backyard fight and Bacon’s arrival are praised. The graduation speech is rejected by one host as too sweet, with other school-ending films discussed. — Bill Simmons
The romantic Dirty Dancing sequence wins the scene majority, with a dissenting preference for the backyard fight. — Mina Kimes
A late scene candidate is Cal’s nighttime phone call while looking through the window; Talking Heads during lawn watering is an additional needle-drop choice, with no song title stated here.
The pickup-artist character is treated as a period marker. Mina argues his approach is less harsh than The Game, while others point to explicit negging; the disagreement remains. — Bill Simmons
Most-2011 choices include the cast’s career moment and Jacob’s metrosexual styling; the reversal of fashion makes Cal’s original loose clothing more current.
Driving the teenage babysitter home is proposed as a 2011 marker, with rideshare as the current alternative; a personal callback follows. — Bill Simmons
Further 2011 markers are Twilight alone, the Moore/Kutcher text, an older phone, answering machines and the babysitter-photo plot. — Bill Simmons
Jacob’s account of his parents explains his behavior and why Cal reminds him of someone, praised as an effective interlocking script rather than forced exposition. — Bill Simmons
Choosing sides after a couple’s divorce ages well and prompts a proposed game-show idea. — Bill Simmons
Westfield Century City Mall is strongly praised as aged best, alongside the film’s Valley/Los Angeles setting; the attraction ranking is not a complete top-ten list. — Bill Simmons
Jonah Bobo’s performance, Bacon’s romantic-antagonist skill, the Scarlet Letter complaint and the pole-dancing line are aged-best choices. — Bill Simmons
The use of cuckold and bang and the small jokes age well, while saying nobody uses cuckold anymore ages poorly.
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