An absent Craig is explicitly introduced for a recorded review; he calls it an easy watch that leaves him feeling good despite cheesy-line eye rolls with his wife. — Kyle Brandt
He credits1990s earnest obliviousness and Schwarzenegger’s effort, questions Richard Tyson’s identity/mother relationship and motive, and praises the ponytail/hair-and-makeup look. — Kyle Brandt
The unelaborated Austria exchange is his favorite line; he concludes the film succeeds as Schwarzenegger entertaining children. — Kyle Brandt
The hosts thank Craig, then jokingly claim he hated the film and mentioned runtime, contrary to the inserted review’s positive conclusion. — Bill Simmons
The Catherine Tramell award prompts willingness-to-risk-everything choices of Catherine, Beth and Roxy; Roxy receives an emphatic preference. — Bill Simmons
Ebert’s rating is two stars; his crossword-puzzle dismissal is quoted and challenged as too harsh. — Bill Simmons
The panel argues that the craftsmanship deserved more credit, speculates the ending lowered Ebert’s rating and notes that other critics also disliked the film.
The first house visit is a scene candidate, praised for the drive, house, landscaping and Catherine’s commanding dialogue; the house receives the scene-stealing-location pick, with the nightclub offered as an alternative. — Bill Simmons
The opening murder and police arrival are scene candidates; the stained sheets and acknowledged maid prompt competing jokes about whether the bed was unwashed or the victim unusually prolific. — Bill Simmons
The opening murder’s bodily logistics prompt further speculation, including repeated encounters that night.
The panel identifies Stone as the opening-scene performer, with concealed hair or a wig creating uncertainty about the killer. — Chris Ryan
The manner of Johnny Boz’s death prompts a comic comparison with Tyrion Lannister’s preferred death and appreciation of the opening police dialogue. — Bill Simmons
The first house visit is a scene candidate, praised for the drive, house, landscaping and Catherine’s commanding dialogue; the house receives the scene-stealing-location pick, with the nightclub offered as an alternative. — Bill Simmons
The second visit and car ride are scene candidates, with Catherine controlling the cigarette exchange and describing her detective novel; Stinson Beach is contrasted with the house’s reported Carmel filming location. — Mallory Rubin
The interrogation is praised as an iconic 1990s scene; Wayne Knight’s possible Jurassic Park casting connection is explicitly uncertain, and Catherine’s provocative dialogue and leg-crossing are highlighted. — Bill Simmons
The interrogation is argued to establish both Catherine’s intelligence and danger while using sexual attraction to make Nick’s continued pursuit believable to the audience. — Van Lathan
The assistant district attorney’s disappearance prompts an unanswerable-question joke; the interrogation’s lighting and staging are likened to a gallery display that places the men under Catherine’s control. — Mallory Rubin
Stone’s memoir account says she removed underwear for lighting without knowing the intended shot, considered legal action after seeing it and ultimately accepted it with reservations; the discussion presents the filming story as contested. — Mallory Rubin
The car chase is praised; Catherine’s ice-pick use, kiss with Roxy and knowledge of Nick’s past make another house visit memorable. — Bill Simmons
The nightclub is a favorite scene: Nick’s relapse into cigarettes and drinking, his age and sweater, the crowded cocaine-filled bathroom, Roxy’s presence and Douglas’s awkward attempt to appear sexy drive the comedy. — Bill Simmons
The central sex scene is praised for mirroring the opening murder’s scarf and bed imagery, maintaining danger amid erotic spectacle; a later-life rewatch also prompts concern about the performers’ backs. — Mallory Rubin
The following-day visit is a scene candidate because Catherine punctures Nick’s pride by calling the encounter only a good beginning and revealing Roxy has seen other partners. — Mallory Rubin
Nick’s next-day confidence and styling are compared with Danny Zuko before Catherine deflates him. — Bill Simmons
Final scene preferences split among the nightclub, the central sex scene and the interrogation; the ending is also a candidate, with no unanimous choice. — Van Lathan
The Beth encounter is acknowledged as problematic while being interpreted as an immediate sign of Nick’s transformation after meeting Catherine.
Period markers include the Bart Simpson keychain mistaken for a gun, attractive characters monopolizing sex scenes, a three-month cocaine abstinence, green police computer screens and the word rubber for condom. — Van Lathan
Stone’s April 1992 SNL appearance with Pearl Jam’s first performance is another period marker. — Chris Ryan
San Francisco locations are an aged-best choice; locals’ objections to the nickname San Fran prompt discussion of SF and other names. — Bill Simmons
The film’s cigarette smoking is an aged-best choice; Douglas wins the smoking award because smoking appears to unlock Nick’s other destructive impulses. — Van Lathan
Aged-best picks include Catherine’s introduction on the dangerous rocky deck, the score, nudity, Stone and plot-driving props such as ice picks, scarves, mirrors and matching Picassos.
Men pursuing women who could destroy them is an aged-best theme, extended into a joke about dating Kardashians. — Mallory Rubin
Aged-best picks include Boz’s apartment and Picasso, Douglas’s hesitant flirtatious laugh, the Nick–Catherine dialogue, Gus’s colorful lines and pre-tech San Francisco. — Bill Simmons
Beth’s broken lock is praised as a subtle clue that Catherine has entered her home and planted evidence, although the ending is still considered fragile. — Van Lathan
The film’s cigarette smoking is an aged-best choice; Douglas wins the smoking award because smoking appears to unlock Nick’s other destructive impulses. — Van Lathan
The push-in on Catherine explaining that copying her own murder plot would be stupid is the great-shot choice, almost addressing the audience directly. — Chris Ryan
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