Ebert is said to have refused a written review; the hosts instead found the television review.
The clip dismisses the film as a waste of electricity and an interchangeable loop of wisecracks, explosions and guns.
The clip mocks the mice and obsolete TV screens; the hosts still call the movie amazing.

Patrick Swayze reportedly left for Road House; both resulting casting choices are celebrated.

In the discussion (4)

Approx. transcript time · 00:53:15Read transcript

The script was originally The Setup; Swayze reportedly dropped out to make Roadhouse and Russell replaced him.
Swayze here and Russell in Roadhouse is an appealing counterfactual, but both films are thought slightly worse in that swap, especially Russell’s leg-fighting credibility.
The swap is compared with Van Damme leaving Predator for Bloodsport; Face and the Cockney henchman reportedly gained scenes during rewrites at Stallone’s request.
Face’s broken-jaw recollection implies earlier clashes with Tango beyond the opening arrest; Stallone is reported to have fired the original cinematographer.

A critical producer reaction prompts Willis, Ford, Douglas and Schwarzenegger alternatives, but Stallone is retained.

In the discussion (4)

Approx. transcript time · 01:01:15Read transcript

Producer Craig’s invited response finds Stallone’s comedy unsuccessful in contrast with his action roles; the other response strongly objects.
Stallone’s awkward comedy may itself be entertaining. Willis is proposed, countered as another Cash rather than a Tango, then defended as capable of a rich suited character.
Harrison Ford and Michael Douglas are proposed; Douglas lacks the desired physical size, while Ford has it.
Schwarzenegger’s comic ability is disputed, and the final preference keeps Stallone.

A sequel report, expanded henchmen, dangerous quarry shoot, heroin branding and a Danish joke are recounted.

In the discussion (5)

Approx. transcript time · 01:04:09Read transcript

A September 2019 report says Stallone has a sequel story and has spoken with Russell; the hosts want Netflix to fund it.
Robert Zadar as Face and the Cockney henchman were given additional lines.
The quarry climax is reported filmed in Irwindale with at least eleven cameras and single-attempt dangerous stunts.
A dangerous Bronx heroin batch reportedly used the movie’s name, prompting police warnings.
The hate-Danish line is explained as a dig at Brigitte Nielsen during divorce.

The plea, prison transfer, survival, absent surveillance and quarry office make little sense.

In the discussion (3)

Approx. transcript time · 01:11:23Read transcript

A no-contest murder plea and eighteen-month sentence threaten police careers; no one notices or investigates the maximum-security transfer.
The cops should die quickly in prison, yet the escaped men’s only close relative is not watched; Hatcher’s non-stripping performance is also questioned.
The quarry office’s remote commute is mocked; Taken and Reacher illustrate quarries as useful action locations.

FUBAR’s origin and Cash’s relationship with Kiki are revisited.

In the discussion (2)

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

The hosts repeat the speculative claim that the film invented FUBAR.
A Cash/Kiki marriage could start a sequel, with her kidnapping and Tango’s disapproval drawing the pair together.

In the discussion (1)

Approx. transcript time · 01:18:33Read transcript

Lockup continues 1989 Stallone-in-prison viewing; watching it second allows an imagined darker continuation in which Tango remains imprisoned.

Craig enjoys the distinct simplicity, cheese and stars of 1980s action films.

In the discussion (2)

Approx. transcript time · 01:20:25Read transcript

The addressed response finds older action films refreshing and treats Lethal Weapon as a favorite, unlike The Grey Man.
The discussion contrasts distinctive older stars with interchangeable modern casting and films driven by intellectual property.