Lockup continues 1989 Stallone-in-prison viewing; watching it second allows an imagined darker continuation in which Tango remains imprisoned. — Bill Simmons
The film initially seems impossible to remake or convert to prestige TV; Stallone’s sequel is the preferred alternative. — Bill Simmons
Michael Mann is imagined making eight Heat-style episodes, with Tokyo Vice as precedent. — Shea Serrano
Heat 2 is praised as a novel beginning after the film; delayed viewing of Heat and affection for the film transcribed Dana Thieves are recalled. — Shea Serrano
Stallone is rejected; Russell’s influence is placed later, around Tombstone and the Escape from LA sequel. — Bill Simmons
No major actor seems at an apex: Face is countered with Maniac Cop and the henchman actor with 48 Hours. The film ranks highly as unintentional-comedy buddy-cop entertainment. — Bill Simmons
The fictional Los Angeles Chronicle is endorsed for its many front pages. — Bill Simmons
Lockup wins among Stallone prison films, with its muddy football game praised. — Bill Simmons
The grunts, hanging, fighting and football power-I play are praised, with Stallone a believable athlete. — Bill Simmons
Lethal Weapon rip-offs are endorsed; actor/character crossover moments are proposed with the overall apex unresolved. — Bill Simmons
Last Action Hero’s Stallone-as-Terminator poster is a comparison, but the Rambo joke remains a strong candidate. — Bill Simmons
Producer Craig’s invited response finds Stallone’s comedy unsuccessful in contrast with his action roles; the other response strongly objects. — Craig Horlbeck
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. — Bill Simmons
The script was originally The Setup; Swayze reportedly dropped out to make Roadhouse and Russell replaced him. — Bill Simmons
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. — Bill Simmons
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. — Bill Simmons
Face’s broken-jaw recollection implies earlier clashes with Tango beyond the opening arrest; Stallone is reported to have fired the original cinematographer. — Shea Serrano
The opening highway truck stop is said to borrow from an unnamed Jackie Chan movie, with windshield action, a badge demand and cocaine revealed by gunfire. — Bill Simmons
The Rambo insult breaks the actor/character boundary; a personal first encounter is compared to Vanilla Ice in Ninja Turtles 2 and Boys to Men on Fresh Prince.
Jack Palance and his fellow villains drive by; the exaggerated villainy is compared with Brad Wesley in Roadhouse. — Bill Simmons
The billion-dollar operation’s dark television-filled lair, tiny henchman crew and convenient villain drive-by make little sense. — Bill Simmons
Desert scenery is compared with Another 48 Hours and Lethal Weapon. — Bill Simmons
The trial, laundry-chute trip and prison electrocution are nominated; the apparent pain and obligatory Stallone groan are enjoyed. — Bill Simmons
The prison escape includes apparent betrayal later revealed as help, a dead helper, a villain bossing guards, rain, a fan obstruction and an improbable cable jump. — Bill Simmons
Huge survivable drops and the lavish strip club with Hatcher drumming lead to Cash evading police in a wig. — Bill Simmons
The Cockney henchman is recalled from 48 Hours and its sequel; dangling him from a building and grenades echo other action films including Commando. — Bill Simmons
The simultaneous final fights are praised as a device also used in Double Impact. — Bill Simmons
The arrival at prison, with litter, fire and relentless jokes despite fear, is a favorite; another selection picks the escape. — Shea Serrano
Cash being shot, chasing the assailant and confronting him at the station is recalled as an omitted scene candidate. — Bill Simmons
Rapaport is near a strong run of Zebrahead, True Romance, Beautiful Girls, Kiss of Death and this film, but Beautiful Girls is preferred. — Bill Simmons
Pre-comedy De Niro is considered, with Heat too close for a firm choice; the initially overstated 1997 output is corrected to Cop Land, Jackie Brown and Wag the Dog. — Sean Fennessey
Emmerich is rejected here; The Truman Show and The Americans compete as his peak, with Pride and Glory also praised.
Pre-Sopranos Jersey cop scumbags wins as the narrow affirmative topic, with no performer receiving a clear yes. — Bill Simmons
The renamed Teddy KGB category considers Liotta, Stallone, Patrick and Moriarty, but Garofalo is the only sustained mismatch choice; the others fit the ensemble.
