Boof’s loyalty, missing media and recruiters, unclear setting, game mechanics, wolf height, a dog whistle, Lewis, dance attire, and absent police drive the section.
The questions cover disappearing wolf hair, Scott’s mother, historic sports events, comparable NBA games, an all-movie basketball team, and the regional-final box score.
The pottery scene is iconic, erotic and now comically explicit. Its collapsing pot is reported as unplanned; a tentatively identified Naked Gun 3 parody and revived Unchained Melody are discussed.
Sam’s shooting and his realization he is dead are praised as tense and well performed.
Sam foiling Willie’s apartment intrusion, using the cat and learning ghost powers is another choice.
Otomey first hearing Sam improves a scene that could have sunk the film; her attempted meeting with Molly gets honorable mention.
Carl’s attempted seduction and coffee spill are a choice, followed by both Willie and Carl being dragged to hell.
The farewell is disputed: one host finds it too long with weak effects, while another cannot avoid crying at Molly’s final ditto.
The possession/dance scene is a favorite; critics’ suggested Whoopi-visible version sparks debate over 1990 tolerance, present representation and preserving the lovers’ reunion.
The Rita Miller bank sequence is a favorite for its banter and Goldberg’s performance, alongside Goldwyn’s sweating tension. — Chris Ryan
Amanda enjoys the Swayze/Goldberg buddy chemistry but definitively chooses pottery. — Amanda Dobbins
Moore reportedly arrived with an unannounced haircut that surprised the director but renewed her screen identity; Swayze’s exaggerated faces and passing-through reactions are enjoyable.
The high-ceiling loft and newly discovered space are praised, with a reverse-Conjuring comparison; Moore’s crying is another strength.
A Victoria Jackson/Swayze SNL parody of Molly’s private habits is recommended.
Goldwyn is so convincingly sweaty and evil that the hosts think it limited his subsequent roles until Scandal; The Pelican Brief is called great and a good-guy lead career imagined.
The non-spooky ghost with unfinished business is praised as an enduring pop-cultural premise, distinguished from The Conjuring and Harry Potter.
Soho’s streets and emptiness are praised; After Hours is explicitly liked as another use of the area.
Opening credits and dated CGI are criticized; a Lucas-style effects touchup is imagined.
Old green-font account computers seem insecure; the Arsenio Hall cameo and contagious-elevator joke age poorly in the current context.
Swayze’s early death and reported relationship with Lisa make the farewell painful. Career and illness chronology are speaker reports, not verified biography.
Willis reportedly declined playing a dead lead opposite Moore, later regretted it and accepted the film transcribed six cents partly for that reason.
Fifteen further names are read as alleged Sam rejections with an explicit half-ass-research caveat; Paul Hogan/Almost an Angel is asserted confidently. Travolta is rejected as a disastrous fit.
Swayze reportedly won the audition; a garbled Jackie/Jackee Harry identity was reportedly replaced when Whoopi’s schedule opened. The role is misnamed Rita May in the transcript.
Kidman reportedly auditioned but lacked fame; the hosts cannot imagine replacing Moore. Ken Olin allegedly could not leave thirtysomething, opening Carl to Goldwyn.
Schiavelli qualifies as that guy and is suggested to double with Waiters.
Another speaker chooses the performer transcribed Ricka Viles/Willie Lopez for being recognized by that character rather than by name; Luis Guzman resemblance is only an analogy.
Stephen Root’s early detective part is another nomination, described as the birth of that guy.
