A third installment ought to be approaching; early-eighties Hollywood or Mexico would offer settings, and Gosling’s present stature is thought sufficient to revive it.
One participant calls this Crowe’s best performance, with The Insider the main rival, because he combines action, comedy and emotional warmth.
Others debate Gladiator’s irreplaceable star presence versus a conventional role overshadowed by Joaquin; The Insider remains a strong counterexample.
Crowe is compared with Shaquille O’ Neal: an early dominant peak, later conditioning/career frustrations and this film as a strong sidekick championship.
Misty Mountains and Blueface are considered, but the one-scene child performance is called a legendary heat check; the spoken performer name is incomplete.
A compact opening featuring otherwise unconnected characters is enjoyed, as are brief party conversations suggesting other lives beyond the central plot.
Crowe is an apex only for the participant defending that personal preference.
Nice Guys plus La La Land support Gosling’s2016 apex, challenged by post-Barbie stature; a post-apex comeback interpretation is offered for Barbie.
1977 itself is praised as a great year, with Star Wars and Reggie Jackson cited.
Keith David’s fight-scene apex remains They Live; a momentary Avery Brooks confusion is corrected.
Black’s apex is rejected here: Iron Man3 is floated, then writing Lethal Weapon is preferred.
Rice and Qualley are too early to judge; father-daughter movies and Basinger are rejected. The auto show receives support, while John Boy belongs to The Waltons.
Window-breaking going wrong and the red1967 Mustang receive support.
A thirteen-year-old steering a heavy car seems difficult even for1977.
Amelia’s fall is explained by a fire escape, but her long barefoot running and pristine dress remain questionable.
The accessible crime-scene evidence and police failure to detain the protagonists despite many bodies are questioned.
The inability-to-smell backstory is questioned and compared with a bizarre tragic anecdote in Gremlins; the speakers do not establish medical or gas-safety facts.
The convoluted plot and suit-based deduction strain belief, though repeated lucky breaks and failure to save Amelia are appreciated as antiheroic choices.
