The hosts explicitly object that regular Rewatchables panelists know so many character actors that they deny ordinary viewers’ That Guy experience. — Craig Horlbeck
The Dropkick Murphys are a yes: Papelbon used "Shipping Up to Boston" as entrance music and it became the Red Sox song; the Bosstones missed with "The Impression That I Get". — Bill Simmons
"Comfortably Numb" as a song had bigger moments on its original release, but this Van Morrison live-album version is a yes.
After not knowing "Comfortably Numb", quizzed to name a Pink Floyd song and answers The Wall. — Craig Horlbeck
Combat Zone porn theaters are raised, but the area had been cleaned up years before 2006, making them an anachronism; memories of the Combat Zone and a porn theater near the Boston Garden. — Bill Simmons
Alec Baldwin, no (30 Rock); Southie and extended Boston, no, done better; Vera, no (Conjuring, Up in the Air). — Bill Simmons
Kevin Corrigan is the apex mountain of being a cop-magnet cousin; the back porch view recalls Charlestown.
The "Thief's Theme" drive is called a rare great Scorsese hip-hop moment that should have been put in Apex.
Carla Gallo is the probable pick: she comes in red hot, hits a couple threes and goes off the rails, and the ensuing fight has a bottle hitting Patrick.
The homeless guy should probably have been considered for the award. — Sean Fennessey
The first 32 minutes are called unassailable: everything during the day is rewatchable until they get in the car with the guy who hits Jonah Hill and the movie shifts to night. — Bill Simmons
The opening phone call is smart and well crafted; Michael finishes the call five feet away before getting in the car, classic best-friend stuff from the call-only era before texting. — Bill Simmons
The Vagtastic Voyage debuts here, with a co-host joked to be its patient-zero, platinum-club subscriber.
Planning which porn site to subscribe to once he gets to college, including the line about who directs the porn he watches, is singled out as funny. — Chris Ryan
The mom cameo and the tits/teeth exchange are called very high-schooly. — Bill Simmons
A favorite comedy mode, traced to Chevy Chase, is someone doing something inappropriate behind a person who does not know; Jonah's home ec monologue about never needing to make tiramisu is the example.
The dick-drawings confession goes all in; Evan Goldberg's brother drew hundreds of them, and the Ghostbusters lunchbox treasure chest is a classic.
The driver's license scene unleashing McLovin is so funny; it was also the screen-test scene on YouTube, and Jonah's anger ("between that and Muhammad") makes it.
A Ringer piece says Jonah was mad at Mintz-Plasse, who did not care and stepped on his lines.
Seth telling Evan he got invited to the party has the most great Jonah Hill lines in two minutes: calm down Greg it's soccer, iron chef of pounding vag, Seth's own dressing, DTF.
Worked-up Jonah is compared to Chris Farley's energy; he could have done 20 more years of it and does some in Funny People. — Bill Simmons
The whole liquor store sequence could go in; the Seth dream sequence buying vodka is proposed, and at the party Seth coins the verb "perioded." — Bill Simmons
A favorite Hader scene is his bar explanation of his marriage and group sex on the wedding night, guessed to be ad-libbed; McLovin getting cockblocked by the cops, the cops generally, and the ending are also praised. — Bill Simmons
The Coke party with Kevin Corrigan's brother-from-Scottsdale speech is called the most rewatchable scene, better than Boogie Nights, with Cera singing These Eyes compared to Damian Lillard in a fourth quarter. — Chris Ryan
After an invitation to Sean, the dream sequence is chosen for Jonah's line readings such as "That would be lovely."
The stretch of McLovin buying booze, the robbery, Michaels and Slater interviewing Mindy and McLovin, the Seth-Evan lube fight and Joe Lo Truglio hitting Seth is called a favorite 15-minute stint. — Sean Fennessey
The following party scene captures the high school feeling of being somewhere with older kids where you are not supposed to be.
Agreement on the 15-minute stretch, adding the breast-reduction and "warlocks" riff and the plan to go down on her for several hours. — Bill Simmons
Bald know-it-all Denzel; Ethan Suplee and T.J. Miller as the screwups; railroad executives on the golf course; the wage-and-retirement conflict; authentic dialogue between the leads; nuanced family characterizations; Denzel's one rule; the mission-control structure; Tony Scott's mastery
Bald Denzel as a slightly condescending know-it-all works because only Denzel can pull it off. — Bill Simmons
Dewey and T.J. Miller's character are great as the screwups; Miller is unrecognizable without his long hair and mustache. — Bill Simmons
The evil executives seen briefly on a golf course are a highlight. — Bill Simmons
The labor politics have aged best: the company wants to retire expensive veterans and replace them with cheaply paid rookies, which hits harder now; a Saturday Night Live trailer parody mocked the expected old-versus-young cliche.
The reveal that Frank has already been pushed out is handled without a corny countdown scene, letting the wage dynamic emerge mid-movie.
Character-bonding scenes usually fail in action movies, but every line between the leads feels authentic, including "Ask your wife what she thinks".
Compared with the dialogue-driven Taking of Pelham 1 2 3, none of whose versions has a working ending, the dialogue here is functional and good, and the train jargon sells it.
Characterizations are nuanced: Denzel's daughters just work at Hooters through college rather than resenting him, and Pine's marriage is complicated. — Chris Ryan
Denzel's one rule speech to his conductor is cited as not the worst rule in the world. — Chris Ryan
It is a mission-control movie in the vein of Apollo 13, Armageddon, The Hunt for Red October and War Games, with Rosario Dawson's scenes a favorite; the Tony Scott version is looser, letting Kevin Corrigan's outsider interject. — Chris Ryan
Tony Scott's mastery, an answer the speaker also gave for Dunkirk, gets better on every viewing; it being his last movie adds weight.
Great last movies are rare; examples include Phil Carlson's Framed with Joe Don Baker and a director's final Japanese-set film that he narrates himself.
Christopher Nolan reportedly screened Unstoppable while planning Dunkirk, and Tony Scott appears to have drawn on Apocalypse Now's rule that helicopters must fly through every shot to keep the energy alive.
The same idea was applied to the ranch scenes in Once Upon a Time in Hollywood, keeping dogs crossing in the background of every shot; the scene was not the hardest to shoot.
Are there really 17 tells for a lying man and 20 for a woman? Why wasn't Patricia Arquette a bigger star? What is Alabama doing right now? Where did Dick Ritchie and Floyd live? Did the Italians kill Floyd?
Is it true there are seventeen things a guy does when he lies and a woman has twenty; googling turns up nothing but this scene, Tarantino may have been talking out of his ass, why seventeen, and listeners are asked to email the mailbag if there is truth in it.
Why wasn't Patricia Arquette a bigger star: she has a wholly distinctive vibe, voice and look that did not translate to Julia Roberts type movies; she was on Medium a long time, was a star of Ed Wood and Flirting with Disaster and was in Lost Highway, but never a blockbuster; summoning the spirit of Wesley Morris, she was market-corrected by Drew Barrymore with the rom-coms and Charlie's Angels, weird but not too weird for guys, while Arquette is cool, a little weird and more hard-bitten.
What is Alabama doing right now: working in the boatyard with Red in Mexico, Clarence definitely dead, probably from complications of poor eye surgery; a deep-web Tarantino database supposedly has her hooking up with Harvey Keitel's Reservoir Dogs character and going on the run as a professional bank robber, which was the plan when Clarence died.
Where exactly did Dick Ritchie and Floyd live: honestly Los Feliz, or up Beachwood in the hills since the directions say go down Beachwood, around the Beachwood Cafe, looking like the Los Feliz or Franklin Hills; a Ringer video series visiting movie locations is wished for.
Did the Italians kill Floyd, the most important question of the movie and maybe of a host's life: they leave the first time, Gandolfini leaves the second after asking whether they want to smoke, they cock their guns and it just ends; in the 1992 draft Floyd's last line is 'well, you go down Beachwood' with no killing; killing him would only leave a trail, so he lives, or dies of lung disease two years later; Kevin Corrigan, one of the most Irish guys of all time, plays an Italian gangster.
