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The Good Son poster
The Good Son

Top Ten List

1. The Exorcist; 2. The Shining; 3. Orphan; 4. We Need to Talk About Kevin; 5. The Omen; 6. The Bad Seed; 7. The Good Son; 8. Brightburn; 9. Late Night with the Devil; 10. Village of the Damned

In the discussion (12)
Approx. transcript time · 00:02:03Read transcript
  • The segment is introduced as a top-ten list of movies in which something is wrong with a child.
  • Village of the Damned is number ten, covering both the 1960 film and the 1995 remake.
  • Late Night with the Devil is number nine for its possessed girl on live television.
  • Brightburn is number eight and is described as an evil-Superman premise.
  • The Good Son is number seven.
  • The Bad Seed is number six and is identified as a major influence on The Good Son.
  • The Omen is number five.
  • We Need to Talk About Kevin is number four, ahead of The Omen.
  • Orphan is number three.
  • The Shining is number two, with Danny initially framed as a possible source of danger.
  • The Exorcist is number one for the observed Reagan.
  • Children of the Corn and Mikey are proposed as omissions after the ranked ten.
The Good Son poster
The Good Son

Roger Ebert's review

In the discussion (7)
Approx. transcript time · 00:20:50Read transcript
  • Ebert is described as hating the film with unusual intensity and questioning what Macaulay Culkin’s parents were thinking.
  • The panel argues that Ebert often let moral revulsion toward slashers, juvenile comedy, and mean-spirited films outweigh craft.
  • The episode states that Ebert awarded one-half star, described as unprecedented across roughly 440 covered movies.
  • Siskel is kept distinct: his objections focus on plot logic around Mr. Highway and the absent investigation.
  • Ebert asks who would want to see the film and calls it creepy and unpleasant because very young children enact horrible behavior.
  • Ebert proposes the alternate title Henry: Portrait of a Future Serial Killer.
  • Ebert calls the cliff climax unconvincing, contrived, meretricious, and manipulative; the panel rejects the severity of that judgment.
The Good Son poster
The Good Son

What’s Aged the Best?

Macaulay Culkin breaking from his sweetheart image, both child performances, practical stunt work, the untouched dead-child bedroom, unsupervised childhood danger, and high-end direction

In the discussion (7)
Approx. transcript time · 00:16:14Read transcript
  • Casting the Home Alone star as a murderous child is praised as an effective break from his public image.
  • Culkin can appear sweet or eerily malevolent, making the role credible.
  • Elijah Wood preserves some doubt that grief may be making Mark unstable.
  • Practical cliff work, wide shots, and physical stunt staging give the film tangible danger.
  • The untouched dead-child bedroom functions as a recurring wound that the story can reopen.
  • The abandoned-building vandalism and freedom to roam recall unsupervised childhood play.
  • Henry playing taps for the dead dog and adjusting his weapon after missing a cat sharpen his characterization.
In the discussion (4)
Approx. transcript time · 01:04:35Read transcript
  • Mark’s opening soccer goal uses clustered children and tight shots rather than credible play.
  • The panel jokes that the scene indicts American player development.
  • A touch-football or hockey scene could have shown Henry channeling aggression.
  • The category later asks whether Henry needed his own random sports scene.
The Good Son poster
The Good Son

What’s Aged the Worst?

The score, the father’s unexplained Tokyo trip, Mark’s restrained response to a cruel taunt, David Morse’s absent parenting, and the abrupt lack of aftermath

In the discussion (5)
Approx. transcript time · 01:05:52Read transcript
  • Elmer Bernstein’s score and opening titles are called generic early-1990s work despite his stature.
  • The father prioritizing an unexplained Tokyo deal immediately after his wife’s death is heavily criticized.
  • Mark’s restrained response to the maggot-food taunt is criticized.
  • David Morse’s character is called an extraordinarily uninvolved parent.
  • The ending gives Mark a coda when Susan’s loss and legal exposure need attention.
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