Pacific Heights

☆★☆★☆★☆★

Ebert gave the film two stars and described it as a yuppie horror story in which the villain attacks the owners’ building. The panel accepts his complaint that Keaton spends too much of the early film behind a closed door.

The hotel-room investigation is selected as the strongest scene. The opening encounter, renovation and rental sequence, Carter’s separate pitches, Drake’s casual racism, Carter taking possession, garage reveal, cockroach attack, preemptive-police-call confrontation, ruined apartment, and final fight are also discussed as rewatchable scenes.

Patty recognizing the danger sooner and handling it more intelligently than Drake is praised. The tenant-from-hell premise and the villain’s incriminating scrapbook remain effective thriller devices.

Drake mailing a letter while Carter’s curtain opens behind him is nominated. The falling ice cube and the rotating doorway shot are additional choices.

Carter Hayes is proposed before the panel searches the supporting cast for stranger names.

The Victorian house is praised as a memorable San Francisco location even though its neighborhood and value prompt debate.

The Tenant is rejected as already taken; Broken Lease and Eviction Quest are proposed.

Carter’s dry correction after Drake calls Patty his wife is selected.

Carter’s final death scene is selected as the weakest element. A more forceful lawyer is suggested as an improvement to Laurie Metcalf’s role.

The panel argues that the opening encounter is already so effective that the movie may have needed a worse sex scene rather than a better one.

The photograph of Carter with two children is criticized as an unexplained and unsettling detail. Drake’s repeated dismissal of Patty and his casual racism are criticized.

Matthew Modine’s drunken and enraged outbursts win the award.

Patty is jokingly urged to consider leaving Drake for the more ambitious Carter.

Christopher Reeve’s reported effort to secure the Carter Hayes role is discussed as the sole casting what-if.

Dan Hedaya, Nobu McCarthy, Carl Lumbly, Jerry Hardin, and Tracy Walter are discussed as candidates.

Beverly D’Angelo wins over the Watanabes and the exterminator.

Brian De Palma is the preferred alternate director; young Denzel Washington and Samuel L. Jackson are proposed for the rejected tenant.

Carter’s car is identified as a 1977 Porsche 911 Carrera Targa. A story about Joanne Woodward giving teenage Melanie Griffith three life goals is recounted, including that Griffith achieved two but not an Oscar win.

Michael Keaton is judged to be at his Apex with Batman and this villain role; Full Metal Jacket is preferred for Matthew Modine.

Tom Cruise is selected for Carter, with the panel imagining his physical preparation and intensity in the role.

Evil Tenant, Jim Danforth, and Luxury Kite Company are proposed as racehorse names.

The panel questions how Carter moved in without payment and why Drake did not use his keys before the locks changed. Carter’s scrapbook and a con man sending a return-address postcard are challenged as implausibly careless.

A prestige series, prequel, sequel with Carter escaping, and an all-Black remake are all considered viable.

Michael Keaton is the reluctant sole Oscar choice; Hans Zimmer is rejected.

The panel asks how long Drake and Patty had been together and whether the relationship survived the film.

The model house and Carter’s false identity documents are selected.

The lessons are to avoid becoming a landlord and never admit a tenant without signed terms and money.

Mr. Mom, Unfaithful, The Money Pit, War of the Roses, Single White Female, and Transformers are separate choices.

Michael Keaton is the repeated winner for following Batman with a memorable villain performance.