Sheridan replaces an initial written Del Toro choice because the film launched his powerful career. — Bill Simmons
A second answer explicitly agrees on Sheridan. — Bill Simmons
Criticism of Sheridan’s later work is qualified as frustration at wasted writing talent, while his desire for control is understood. — Bill Simmons
Another initial Del Toro choice acknowledges the Sheridan case; Sheridan is then reaffirmed, without a clearly countable additional voter. — Bill Simmons
Villeneuve’s contribution is defended through the editing and refinement of the screenplay. — Craig Horlbeck
The others distinguish artistic achievement from career impact, citing Villeneuve’s other breakthroughs and larger hits.
Villeneuve’s early disturbing films divide preferences, with Enemy a one-timer for one host. His later run and forthcoming work prompt an early apex assessment. — Bill Simmons
Blunt’s apex is assigned to A Quiet Place; her recent choices divide opinion, with The Fall Guy defended. — Bill Simmons
Juárez is qualified as a film-location apex; Brolin’s apex splits among the post-No Country run, Sicario and Infinity War.
Cartel-film apex is disputed against Scarface; vats of acid face a Batman counterexample.
Traffic is Del Toro’s apex; Kaluuya and Bernthal are rejected here. Bodies in walls receive an affirmative. Tunnel examples form an unranked Mount Rushmore; dinner executions and Donovan in Shot Caller are considered. — Chris Ryan
