Ebert’s two-star review criticizes an unsatisfying ending despite praising the cast and music; the panel splits between loving Eddie’s survival and questioning what it changes.

Wendell’s happiness; the overdose; Maggie’s future; Eddie and Joanne’s relationship; the tapes’ value and release

In the discussion (4)

Approx. transcript time · 00:59:26Read transcript

Questions ask whether Wendell enjoyed the band or missed jazz and whether Frank plausibly failed to recognize the heroin overdose.
Unanswerable questions speculate about Maggie moving to New York television or a national publication after her report.
Questions ask why Eddie and Joanne never had a child and why Frank expected no retaliation after pursuing Joanne; artistic obsession is offered as one possible explanation.
Questions ask what Doc earned for the tapes and how the album would be released; predictions favor a disappointing reception rather than a masterpiece, with possible fraud consequences and reuse of concert footage for videos.

Rick Springfield as Eddie

In the discussion (1)

Approx. transcript time · 01:13:54Read transcript

Paré reportedly faced replacement by Rick Springfield unless the initial performance worked; Springfield’s possible box-office value is considered, and Paré’s discovery while working as a chef is reported.

In the discussion (1)

Approx. transcript time · 01:16:46Read transcript

Barkin wins Dion Waiters over the angry record executive; Michael Keaton is proposed as Kenny in recasting.

Instrument training; extras; locations; Schneider’s music career; Joey Balin; disputed Beatles scene

In the discussion (2)

Approx. transcript time · 01:17:47Read transcript

Research covers Berenger’s keyboard practice, Laurance learning bass, enthusiastic concert extras, filming locations, Schneider’s German music career and Joey Balin as the lounge singer; more of Joanne’s late unraveling is desired.
Berenger’s claim that a scene showed the band mocking the Beatles on Ed Sullivan is contradicted by Davidson, who says it was never shot; the disagreement prompts jokes about unreliable production memories.

Disappearance coverage; polished concert footage; conventional Season in Hell; unlikely friendships

In the discussion (5)

Approx. transcript time · 01:23:49Read transcript

Nitpicks question the limited attention to Eddie’s disappearance without a body; local news reach and the band’s uncertain fame are counterarguments.
The polished, multi-camera color footage of the early-1960s college concert is considered implausible.
Season in Hell sounds too conventional to justify its supposedly shocking avant-garde reputation.
A complaint that Frank learns piano impossibly fast is corrected: he already plays and Eddie teaches a rock approach rather than the instrument itself.
The band members are considered unlikely friends outside music, with Sal and Doc the possible exception.

In the discussion (2)

Approx. transcript time · 01:32:10Read transcript

That Thing You Do! is the initial double feature; winner discussion favors Beaver Brown, with HBO offered and Paré considered then set aside.
The Legend of Billie Jean is added as a double feature for its regional phenomenon; a comparison with disposable streaming films questions how nostalgia develops.

Likable, compact musical entertainment

In the discussion (5)

Approx. transcript time · 01:32:34Read transcript

The first response describes a great time and a very likable movie. — Craig Horlbeck
An unsuccessful attempt to persuade Liz to join the viewing becomes an anecdote about how much she might have enjoyed it.
The others joke that sponsorship or Bill appearing in the movie might have persuaded her.
The compact running time and music are offered as reasons the movie is reliably enjoyable.
Modest expectations make enjoyment easier; LA Confidential is contrasted as a movie liked less than its reputation led the viewer to expect.