The garbage bag is disliked as another embarrassing Philadelphia image and its usefulness is questioned; a pickle-juice alternative is joked about.
Jacki Weaver is called good in the role but questionable casting because the mother could have supplied a convincing Philadelphia accent; Melissa Leo is proposed instead. — Andy Greenwald
De Niro’s Oscar nomination and comeback narrative are questioned even while his performance and renewed engagement are appreciated. — Zach Baron
Randy’s behavior is considered implausibly tolerated: a Cowboys fan flirting with Pat Senior’s wife and threatening the family’s livelihood would face confrontation. — Chris Ryan
Tiffany is provocatively compared to the Joker for manipulating Pat through the forged letter and promise of his estranged wife’s presence.
The characters feel psychologically Philadelphian without sounding local; avoiding accents has defenders, while a genuinely local actress is imagined and Nikki’s actor is identified as being from Philadelphia.
The opening hotel scene and Nadine Velazquez’s nudity made a striking theatrical impression; its importance later in the story and the abrupt cocaine-to-Feelin’ Alright transition are praised.
The takeoff toward a sliver of sunshine and the nine-minute crash are praised, especially Whip’s calm amid the copilot’s panic and technical dialogue.
Whip’s instruction that Margaret record a farewell to her son gives the crash its human center and displays his extraordinary awareness. — Van Lathan
A flight attendant’s death while helping a child is distressing, with her body thrown about during inversion. — Bill Simmons
The crew member’s tumbling body seems almost like an Airplane gag despite the tragedy; the clipped church cross and baptism water foreground religious symbolism. — Bill Simmons
Whip’s bloodshot, concussed hospital awakening contrasts the crash’s noise with stunned silence and grief over the deaths.
The stairwell meeting with the gaunt cancer patient is an admired philosophical center; James Badge Dale’s Departed role prompts a desire for more setup there.
Cheadle confronting Whip over the toxicology report punctures his entitlement and warns both protagonist and audience about the stakes.
Margaret’s funeral confrontation and the intensely religious hospitalized copilot/wife are favorites; even survivors’ serious injuries are frightening.
Cheadle’s desperate warning beside the reconstructed aircraft highlights Whip’s continued drinking; the plane’s incomplete reassembly mirrors his broken state. — Van Lathan
The adjoining hotel room’s temptation, relapse and morning discovery create unbearable suspense even on repeat viewings. The minibar’s abundance seems almost supernatural, and the whole stretch through Goodman is one vote.
Goodman’s first hospital visit with cigarettes and magazines is another nominee; his later Banana Boat rescue dominates through furious energy, expertise, payment demands and exit. The nickname’s origin inspires mock training-course jokes.
The testimony confession and I’m drunk right now line complete the collapse of Whip’s lies; addiction audiences reportedly find the minibar especially truthful. — Bill Simmons
Melissa Leo’s recurring Washington collaborations are wondered about, and the prison speech about sobriety and freedom is praised. — Van Lathan
Final preferences split among the hotel-to-Goodman stretch, the crash and the opening; one apparent crash vote immediately changes to the opening. — Bill Simmons
Van confirms the opening as his honest choice; Craig’s family-viewing anecdote illustrates its awkwardness. Thus the three core choices remain hotel stretch, crash and opening.
DiCaprio might accept the role and Pitt might try it; Hanks is doubted and Cruise imagined turning it comic, as American Made treats Barry Seal more lightly. — Chris Ryan
Amy Adams is floated as a potentially stronger Nicole, disputed by a Reilly defender.
Gosling is imagined as the copilot; Viola Davis as the surviving attendant is disputed as too small a role, then Davis in Melissa Leo’s authority role is accepted.
