Categories & segments

Rocky The Rewatchables
Rocky poster
Rocky

Who Won the Movie?

In the discussion (3)
Approx. transcript time · 01:44:56Read transcript
  • Sylvester Stallone wins emphatically, with a suggestion this might be the greatest movie win ever.
  • Writing and starring as an unknown, then building a long franchise, makes the achievement unusually difficult to repeat.
  • Tarantino, Palminteri, Roberts, Pacino and Welles are discussed as comparisons, with prior visibility limiting several parallels.
Podcast choices
Speaker not identified
Sylvester Stallone
Crash The Rewatchables
Crash poster
Crash

Roger Ebert's review

In the discussion (4)
Approx. transcript time · 00:35:59Read transcript
  • Ebert gave four stars and named it the best film of 2005, believing it could increase sympathy for others.
  • The discussion speculates that Ebert’s interracial marriage may have made its everyone-has-bias argument resonate; this is conjecture about his motive.
  • Ebert’s defense preferred Crash to Brokeback and praised challenging self-congratulating liberals and minority viewers.
  • Coates’s 2009 worst-film-of-the-decade critique is presented as the opposing view.
Crash The Rewatchables
Crash poster
Crash

Perfect Age to See This Movie

15; 23–24; 65; 72-year-old rich white man

In the discussion (5)
Approx. transcript time · 00:38:43Read transcript
  • Sixty-five is one choice.
  • Fifteen is another choice, described as baby’s first racism.
  • Twenty-three or twenty-four is proposed for recognizing the flaws during the drive home after initial admiration: the ten-minute regret.
  • Seeing it young and then reconsidering it older is defended.
  • A seventy-two-year-old rich white man is proposed, joking about the Academy voters.
Crash The Rewatchables
Crash poster
Crash

Most Rewatchable Scene

Peña and daughter; Fichtner and Cheadle

In the discussion (11)
Approx. transcript time · 00:40:29Read transcript
  • The carjacking is nominated.
  • The locksmith scene exposes Bullock’s racism and Peña’s distress, followed by a second difficult call at the shop.
  • Fraser confusing Black and Iraqi identities is singled out as an underrated racist moment.
  • The Dillon/Newton assault is affecting rather than pleasurable to rewatch; Newton and Howard’s performances are praised.
  • Howard’s Hustle and Flow role is said to counter the weakness associated with this character; Orlando Bloom in Troy is the comparison.
  • The Tony Danza scene works, and his unexpected casting is praised; Howard’s oral-history recollection explains the workplace pressure behind it.
  • The rescue is well filmed but morally nauseating; one response would rather the character die than be saved by her assailant.
  • Howard resisting the carjacking and police has implausible logistics but recognizes someone dangerously asserting dignity after enduring humiliation.
  • Peña and his daughter’s invisible cloak scene is a final choice.
  • Fichtner and Cheadle’s negotiation is another final choice, watched three times and praised as a legitimately great scene.
  • The mother protecting her troubled son and blaming her responsible son is effective, including the Whole Foods bags detail.
Crash The Rewatchables
Crash poster
Crash

What’s Aged the Best?

Peña; MCU cast; LAPD/insurance critiques; cast; Bullock range

In the discussion (7)
Approx. transcript time · 00:48:39Read transcript
  • Michael Peña’s breakout and continuing appeal are praised, with a wish for more roles.
  • The MCU benefits from both Rhodey actors, Peña and the Iron Man helper appearing in this ensemble.
  • The indictment of the LAPD is a choice, with discussion of its stronger association with 1990s controversy.
  • The health-insurance critique has aged well.
  • Recognizing Shaniqua as the woman in the final collision is a newly noticed detail.
  • Keith David and the ensemble are praised; his career-protecting authority figure provides a more convincing systemic-corruption scene.
  • Bullock’s attempts to stretch beyond rom-com casting are admired, including angry roles, The Blind Side and Gravity.
Crash The Rewatchables
Crash poster
Crash

The Great Shot Gordo Award for Most Cinematic Shot

Peña reverse zoom; car rescue; Phillippe burning car

In the discussion (3)
Approx. transcript time · 00:55:25Read transcript
  • Dillon extracting Newton from the car is grudgingly nominated, despite criticism of the film’s low-budget appearance.
  • The reverse zoom on Peña believing his daughter was shot is the film’s notable visual flourish.
  • Phillippe burning the car and removing his gloves is another candidate, echoing Dillon’s warning about corruption.
Crash The Rewatchables
Crash poster
Crash

Top Five List

Driving Miss Daisy; The Help; Crash; A Time to Kill; The Blind Side

Flex pick · Van Lathan

In the discussion (3)
Approx. transcript time · 00:57:09Read transcript
  • The explicitly ranked white-people-solve-racism list begins with The Blind Side at number five and A Time to Kill at number four. — Van Lathan
  • Number three is described as everyone being racist and beautiful, referring to the current film in context; The Help is second and Driving Miss Daisy first. — Van Lathan
  • The Help and Driving Miss Daisy are mocked as self-congratulatory, while The Help’s actors are praised; a bookstore colleague deliberately called the book The Hep.
Crash The Rewatchables
Crash poster
Crash

The Butch’s Girlfriend Award for the Weakest Link in the Film

Persian shopkeeper; Ryan Phillippe; Larenz Tate

In the discussion (6)
Approx. transcript time · 00:58:55Read transcript
  • The Persian shopkeeper is nominated because his arc is difficult to understand.
  • The blanks objection is rebutted: he explicitly cannot read English, and the claimed explanatory packaging cartoon is disputed.
  • The family simply returning indoors after the shot is questioned; a response notes they could call police offscreen.
  • The language barrier seems too extreme for a man capable of running a store; his angel explanation is criticized.
  • Phillippe is miscast because his face is already untrustworthy, and the murderous turn needs another transitional beat. — Joanna Robinson
  • Tate is too visibly mature and established for a wide-eyed young man; actors from The Wire are suggested, including Bodie’s performer and Omar’s performer.
Displaying discussions 2845 - 2856 of 6801 in total