Roadhouse dialogue, throat-ripping and a crude prison taunt are jokingly transplanted into Kindergarten Cop rather than reported as actual scenes. — Bill Simmons
Reported DeVito consideration is questioned because the police role seems implausible despite the opposite height joke; a Roadhouse crossover with Sam Elliott is imagined. — Bill Simmons
Catherine O Hara is reported unavailable because of Home Alone; Sandra Bullock and Elijah Wood are said not to have landed parts. The speaker’s identification of Joyce as the abused child’s mother is uncertain. — Bill Simmons
Christian Slater is said to have been considered for Crisp after Heathers but to have chosen Pump Up the Volume, which receives approval. — Bill Simmons
A story that Audrey Hepburn rejected Eleanor Crisp because she loved children is explicitly treated as unverified; the thermometer scene is joked about.
Jimmy wins against Sam Elliott and Terry Funk. Elliott's entrance is superb, but his later material feels cut down; the missing Wade and Funk deaths are regretted.
The performer playing Steve's Saturday-night date receives a special mention for an apparent one-credit film career; her ASR-rendered name is unresolved in this note. — Kyle Brandt
Chris chooses the apparently cocaine-fueled men at the opening bar and their 'moose lips' dialogue. — Chris Ryan
Kyle loves the pre-internet fame of bouncers, imagining trading cards, Cooler Illustrated and a fantasy league despite the premise's implausibility. — Kyle Brandt
Bands protected by cages and the action-film premise of recruiting 'the best' share a top preference. — Bill Simmons
The gratuitous monster-truck destruction of the dealership exemplifies beloved expensive action excess, even though Wesley's villainy is already clear. — Kyle Brandt
Elliott's timeless appearance and ability to call someone 'mijo' remain appealing; Swayze himself is missed, and Kevin Tighe's shift from Emergency! lead to character actor is appreciated. — Bill Simmons
The closing song When the Night Comes Falling and swimming-hole ending are praised; the singer is clarified as Jeff Healey rather than Swayze. — Kyle Brandt
Shirtless tai chi, Jimmy Reno, uncertainty about whether Dalton is a first or last name, 'Nobody wins a fight' and the nipple-to-nipple invitation all retain appeal.
The hero's hidden Memphis past is an appealing trope, though his shame needs explanation; the hosts imagine a missing confession scene. The throat-rip move still shocks. — Bill Simmons
Julie Michaels's stunt background and later Point Break fight, the Family Guy tribute and Jeff Healey's performance are additional pleasures. — Bill Simmons
Swayze's effortless cigarette flick and drifting smoke are praised as hall-of-fame movie smoking, despite the real-life tragedy discussed. — Bill Simmons
The money-covered sex scene after the first successful Vegas day is considered as another scene candidate, with objections deferred. — Mallory Rubin
The billiards proposition is praised for its iconic premise-setting line, riveting conversation and insight into Gage’s psychology. — Mallory Rubin
Diana answers before David, and Gage insists on hearing from him, deliberately opening a wedge between the couple.
Pool-ball continuity undermines the scene’s metaphor: a scratched cue ball reappears, and the play lacks coherent eight-ball or nine-ball rules. — Bill Simmons
The lawyer’s contract negotiation is a favorite, particularly payment without consummation and the John Garfield death-during-sex clause.
Jeremy’s insistence that he could have negotiated at least two million dollars adds to the lawyer’s appeal. — Mallory Rubin
The boat scene is praised, including Gage’s assurance that nothing will happen without Diana choosing it; it is called one of the film’s last good scenes. — Bill Simmons
The argument about whether the sex was good gives Diana an effective explanation that neither praise nor denial can satisfy her husband.
Her affirmative answer is disputed as unnecessarily hurtful; suggested reassuring lies draw the objection that he would not believe them. — Mallory Rubin
Redford’s speech about the woman on the train is nominated, with Moore appearing genuinely moved by his performance. — Bill Simmons
The supposedly relatable missed-connection story is mocked for justifying a billionaire’s extravagant pursuit of another man’s wife. — Mallory Rubin
The million-dollar-club revelation is praised for Shackleford’s visible effort to support Gage’s improvised story without exposing it. — Mallory Rubin
Sam Elliott is suggested as a cooler version of Shackleford who could appear more convincingly complicit. — Bill Simmons
Gage’s billiards offer is the agreed final most-rewatchable scene despite the pool continuity errors. — Mallory Rubin
Busey is good, but unlike Die Hard with Rickman the film and series lack a true big bad; the South African villains in the sequel are good but no Rickman. — Chris Ryan
The character, the General, was played by Mitchell Ryan, whose credits include Halloween: The Curse of Michael Myers and TV work. — Bill Simmons
It feels like someone better, like Sam Elliott, called in sick; more was wanted from him. — Bill Simmons
What happened at Bo's birthday party; why Bo's website needs a sign-in; who the real-life Brian Drew is; what career Bo Callahan had; how many people Bo slept with each week; what PEDs Brian Drew is on
An unanswerable question: what happened at Bo's 21st birthday party, since not one of 85 scholarship teammates showing up would have come out in draft prep. — Mallory Rubin
More a question than a nit: whether the blog embeds a full sex tape and why it requires a sign-in; a scout character bookmarked the page. — Mallory Rubin
The real-life Brian Drew is nominated as Alex Smith and Dalton, with Dalton too young in 2014; Smith is called a good one. — Bill Simmons
Bo Callahan is read as a pocket passer with Matt Leinert's career; the film invites a Ryan Leaf comparison, and Carson Wentz is floated. — Mallory Rubin
A hot take says Bo Callahan had a great career; a debate follows over whether the birthday story happened, with Sam Elliott's anger taken as evidence it did. — Mallory Rubin
How many people Bo slept with weekly: one scout character says 20 and another 10; one answer is one a day, with a missed Joe Namath joke and Mark Sanchez as a comp. — Mallory Rubin
What PEDs Brian Drew is on, given his late-career strength gains; the only other theory is that Tom Welling is again playing Superman, and he should be in the stands serving a four-game suspension. — Mallory Rubin
The Browns' strength and conditioning coach comes in hot and hits a couple of threes in one scene. — Bill Simmons
Chadwick Bozeman is named as a pick for being great in only about four scenes.
Sam Elliott dominates his one scene with charisma and the "Don't overthink this like your dad would have" line, which affects Sonny the rest of the way. — Mallory Rubin
Frank Langella is floated, but he is thought to have too many scenes; Sam Elliott is confirmed as coming in hot, with a wished-for Wisconsin sequel. — Mallory Rubin
Redford was not the original Sundance: Jack Lemmon was offered the part, at Goldman's suggestion, and turned it down feeling he had played too many aspects of the character; Warren Beatty turned it down as too similar to Bonnie and Clyde; Steve McQueen was in, and the title was to become The Sundance Kid and Butch Cassidy because McQueen considered himself the bigger star than Newman.
The fight over whether McQueen or Newman would be billed first drove McQueen off the movie; asked whether this is true, one participant confirms that kind of nonsense happens all the time, over billing and over parts not taken.
Fox president Daryl Zanuck (as transcribed) made the unusual suggestion that half the prints bill Newman first and half McQueen, McQueen refused and left, and they got Redford, a handsome theater actor nobody knew, known if at all for urbane Neil Simon comedy like Barefoot in the Park; he has maybe a hundred words in the movie, becomes a giant star in four expressions, gives a great performance, and played men of few words for the rest of his career, even as Bob Woodward.
The long sepia close-up when Redford is first met, held while someone else talks, is one of the all-time close-ups and became a Redford signature, a good editing-room decision; Goldman wrote that Newman's people, not Newman himself, were upset by all the Redford close-ups and worried Redford would steal the movie.
Catherine Ross was in The Graduate, the biggest movie of the year before, then in this, the biggest movie of its year, and was in pole position as the good-looking actress of choice, but did not want that power, toned it back, did some stage work and the moment left; Anne Bancroft was only three or four years older than her in The Graduate.
Goldman was unsure whether the real Etta was a schoolteacher or a prostitute and, from how pretty and cleanly dressed she was in photos, chose to believe schoolteacher, though the historical record is fuzzy; it would have been unusual for a woman of about 24 to be unmarried.
Ally McGraw (as transcribed) of Love Story was the market correction, though Ross, the better actress, could have corrected her back and instead gave up, with Mia Farrow and Ellen Burstyn the other big actresses; research suggests Ross was difficult and disliked making movies; she met Sam Elliott, a card player with a very small role here, did not date him, and married him fifteen years later.
The opening geography, Jackson’s contemporary arena-level fame, the instant “Shallow” arrangement, unaccounted-for night hours, and the effort to make Sam Elliott a plausible brother
