The stated three-star review is contrasted with hostile critical reception; its defense of moral consequences is quoted.
The panel jokes that Ebert liked the Keener scenes and might have wanted more of her holding the baby.

Andrew Kevin Walker’s rejected screenplay and Joel Schumacher’s career

In the discussion (3)

Approx. transcript time · 00:29:46Read transcript

The panel reports that the studio wanted a less dark film, Schumacher sided with that approach, and Walker disowned the resulting movie; the disputed devil line is nevertheless defended.
After reading the earlier screenplay, the main difference is described as more explicit child-exploitation material. The panel argues that omitting it was defensible and the released film was already disturbing enough.
Schumacher’s uneven career is discussed with affection for his studio filmmaking style; Batman & Robin is identified as a turning point, while The Lost Boys is requested for a future episode.

The investigator finds evidence the police missed

In the discussion (1)

Approx. transcript time · 00:40:10Read transcript

The bedroom search is mocked for conveniently revealing a crucial hidden diary after a long police investigation.

David Fincher; Russell Crowe; disputed casting rumors

In the discussion (5)

Approx. transcript time · 01:02:11Read transcript

Fincher is discussed as an initially approached director. One view thinks it would repeat Se7en and The Game; another expects fundamentally different choices and a more lasting sensory impact.
Crowe is described as an earlier intended lead for a lower-budget version and is preferred by one speaker; Cage’s greater contemporary star power is said to explain the change.
An internet claim that Mark Wahlberg turned down Max California is treated as uncertain; he spends too much time in the gym for the role.
Friedkin, Verhoeven, and Gibson are mentioned as internet rumors whose reliability the panel questions.
Travolta in the lead is proposed as a way to make the film even stranger through overacting.

Remove the wife character

In the discussion (1)

Approx. transcript time · 01:07:59Read transcript

The recasting proposal is to eliminate the wife and her scenes entirely; another suggestion is deferred until later.

Eddie’s Stutz Blackhawk

In the discussion (1)

Approx. transcript time · 01:08:18Read transcript

Eddie’s car is described as a prestigious model associated with Elvis and Sinatra and surprisingly expensive for the character.

The lawyer’s inaction; image technology; awkward dialogue; score; implausible behavior

In the discussion (8)

Approx. transcript time · 01:10:34Read transcript

The lawyer could have destroyed the reel, claimed it was unusable, or hired a sham investigator rather than enable the real inquiry.
The image-enhancement technology is questioned as too advanced for 1999; a counterargument notes the stated expense and effort for one usable image.
The discussion places this beside contemporary films exaggerating internet and surveillance capabilities.
Max’s extensive underground knowledge is questioned.
The greeting about the wife’s textbook business is criticized as unnatural exposition.
The score’s Middle Eastern flavor is considered an odd fit; a noir approach is preferred.
The investigator’s professed dislike of Miami is doubted; his concealed smoking is then considered a revealing detail about the marriage.
His failure to disguise himself during undercover work is mocked, and the lack of conventional detective narration is noted.

What follows Machine’s death? Why is the shop simply called Adult Bookstore?

In the discussion (2)

Approx. transcript time · 01:17:50Read transcript

The panel questions who discovers Machine, whether an investigation follows, and whether the investigator must answer for the killings before resuming suburban life.
The generic bookstore name is mocked and more distinctive fictional names are proposed.