Roger Ebert gave the film four stars, calling it often satirical despite its undertones, frequently very funny, and quietly observant in its performances; a host agrees.
It was Gene Siskel’s favorite movie of 1997.

In the discussion (3)

Approx. transcript time · 01:01:00Read transcript

Natalie Portman reportedly turned down Wendy, which would have come shortly after The Professional and Beautiful Girls.
That casting would have been a third sexualized role for her before 18; Ricci is judged more authentic, with a darker, more withering energy that Wendy needs.
Portman in an Ang Lee film would still have been interesting.

Sharon Stone for Weaver; Harrison Ford for Kline; a Culkin for Elijah Wood or Sandy; Philip Seymour Hoffman anywhere; a bigger name for Jim Carver

In the discussion (9)

Approx. transcript time · 01:05:41Read transcript

Sharon Stone for Sigourney Weaver is posed as a thought exercise.
Weaver is judged better because she is believable as a suburban housewife while Stone would read as there to tear up the suburbs. — Chris Ryan
Agreement that Weaver is more believable. — Sean Fennessey
Harrison Ford as Ben is floated; objections say horny Ford is awkward and his sex scenes tend to be under duress.
Swapping Elijah Wood for a Culkin is suggested. — Sean Fennessey
A Good Son flip with any Culkin, including Kieran as Sandy, is added.
Wood is knocked as a one-move bulging-eyes actor, then defended for Lord of the Rings and The Faculty.
Philip Seymour Hoffman in any role, such as the Reverend, Jim Carver, or Paul, would elevate the film.
The Jim Carver role is the one to upgrade to a Jeff Bridges or Nick Nolte, though top stars would not want to play a premature ejaculator.

Real ice storm; Ang Lee’s attraction to the climax; magazine-cutout prep; MTA and Marlboro Lights anachronisms

In the discussion (3)

Approx. transcript time · 01:10:33Read transcript

The ice storm depicted was a real December storm.
The director reportedly said the book moved him at the climax and the next-morning family reunion, and he gave the cast stacks of early-1970s magazine cutouts.
The MTA did not exist yet, and Marlboro Lights were not introduced until 1977; menthols are judged period-plausible.

Nixon poster; no follow-up about the death; key-party invitations; marked keys

In the discussion (5)

Approx. transcript time · 01:18:12Read transcript

A 1973 boarding-school student having a Nixon poster seems unlikely unless ironic.
Jim Carver never asks whether the drunk Ben hit his son with a car.
The key party guest list is questioned: one woman brought her son, and a single reverend attended.
Early key-party rules are compared to early fantasy football and salary-cap stretch provisions.
Proposed rules bar solos, reverends, and kids, and call for a blind draw so no one can mark their own keys.

Families’ futures; Sandy’s fate; Jim Carver’s preparation; worst movie night; Paul and Libbets

In the discussion (6)

Approx. transcript time · 01:23:26Read transcript

Both families are expected to divorce.
Sandy is imagined in jail, having killed someone driving drunk, or jokingly becoming president.
Why Jim Carver did not take precautions before the key party is asked, citing Ben Stiller’s and Matthew McConaughey’s movie examples.
His silicone invention may have made him rich, with jokes about his efficiency.
Whether anyone had a worse movie night without jail is asked; After Hours is the competition.
Whether Paul and Libbets ever got together, and where the name Libbets comes from, are left for a sequel.

Hated the movie

In the discussion (3)

Approx. transcript time · 01:31:42Read transcript

The hosts call this the most negative response they have ever gotten from Craig.
The reaction offered for the segment sits the movie out, indifferent to its cultural moment and unwilling to watch children drinking vodka in bed; the speaker is not identified in the transcript.
The closing credit says he hated this movie.