Arnold is explicitly called at his apex, followed by agreement.
Total Recall and Kindergarten Cop in the same year, followed by Terminator 2, are offered as evidence of his range and prominence; his Bush White House role is also mentioned.
His relationship with Maria Shriver is added to the discussion of this peak period.
The plane-to-driving vomit montage is offered; the drug-den shotgun scene with beard and sunglasses is also enjoyed and compared to Terminator’s club attack.
The beard is thought to look fake and badly colored, though a real beard or dye is considered; its absurd appearance is still enjoyed.
The travel sequence earns praise for the broken-pencil threat, Angela Bassett’s brief flight-attendant appearance and Schwarzenegger’s confused response to his partner’s vomiting.
The first classroom day is remembered for the anatomy line, ocean warning, chaos, shouted orders and resort to the ferret.
The father/job questions and tumor exchange let the children become distinct personalities; more material like the overalls/bathroom gag is desired.
Reducing Crisp’s screen time to add a children’s play or rehearsal is proposed; Schwarzenegger’s repeated “come on” delivery is enjoyed.
The milk-and-nap scene and nightmare doze-off are liked for their tenderness and comic effect.
The scene where he nearly attacks his partner’s fiance leads to criticism of the unexplained post-sex pasta and overused eating jokes.
The child-abuser confrontation and approving principal are celebrated as forceful entertainment while recognized as unlikely to survive modern studio notes.
The principal’s praise of him as a teacher is described as unexpectedly moving.
The climax is enjoyed despite mocking Crisp’s plan to start a library fire, grab a child amid the chaos and go upstairs without an escape.
Final choices favor the tumor exchange and opening classroom speech/first day.
The unnamed ferret is questioned because children would immediately give it a name.
Astoria is praised as an idyllic-looking place to raise children and compared with the appeal of Notre Dame in Rudy and its appearance in The Goonies.
Jason Reitman’s kissing-child cameo and Schwarzenegger’s beard are listed.
The abuse plot triggers a sarcastic contrast with present-day intolerance and memories of issue-driven sitcom episodes teaching children about danger.
The strong poster and surname-only star billing are praised; Project Hail Mary’s Gosling billing and uncluttered Sports Illustrated covers are comparisons.
Ponytailed villains are celebrated: Crisp, Ben Kingsley in Sneakers, Julian Sands in Warlock, Sam Jackson in Jackie Brown and Terry Silver in Karate Kid3/Cobra Kai.
A ponytail’s ability to change someone’s perceived personality leads to a roommate anecdote.