The locksmith scene exposes Bullock’s racism and Peña’s distress, followed by a second difficult call at the shop.
Fraser confusing Black and Iraqi identities is singled out as an underrated racist moment. — Bill Simmons
The Dillon/Newton assault is affecting rather than pleasurable to rewatch; Newton and Howard’s performances are praised. — Bill Simmons
Howard’s Hustle and Flow role is said to counter the weakness associated with this character; Orlando Bloom in Troy is the comparison. — Van Lathan
The Tony Danza scene works, and his unexpected casting is praised; Howard’s oral-history recollection explains the workplace pressure behind it. — Bill Simmons
The rescue is well filmed but morally nauseating; one response would rather the character die than be saved by her assailant. — Bill Simmons
Howard resisting the carjacking and police has implausible logistics but recognizes someone dangerously asserting dignity after enduring humiliation. — Van Lathan
Peña and his daughter’s invisible cloak scene is a final choice. — Van Lathan
Fichtner and Cheadle’s negotiation is another final choice, watched three times and praised as a legitimately great scene. — Bill Simmons
The mother protecting her troubled son and blaming her responsible son is effective, including the Whole Foods bags detail. — Van Lathan
The novel's characters were not white and Paramount refused an all-black cast; Tony Danza was to play Vermin before taking Taxi, so Terry Michos was cast
In the book none of the characters were white, and Walter Hill has said Paramount did not want an all-black cast for commercial reasons; the hosts would like to see that movie.
Tony Danza was supposed to be Vermin, the slick Italian-American comic-relief guy, but took the sitcom Taxi; Terry Michos got the part and is now a news anchor in Wappinger Falls, New York.
