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Film credit

Christopher Lloyd

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Episodes featuring their films
2
Movies in this archive
3

Rewatchables episodes featuring Christopher Lloyd’s films

Displaying all 2 episodes

Mentioned in discussions

Apollo 13 The Rewatchables
Apollo 13

Casting What-Ifs

Costner and Travolta for Lovell; Pitt and Kilmer for Swigert

In the discussion (8)
Approx. transcript time · 00:07:18Read transcript
Ghostbusters

Casting What-Ifs

Michael Keaton as Venkman; Jeff Goldblum as Egon; other reported candidates (credibility questioned)

In the discussion (7)
Approx. transcript time · 01:33:36Read transcript
Back to the Future Part II

The Stephen A. Smith Hottest Take Award

Real hoverboards and Slamball; Marty is Biff’s son; Lloyd alone carries the acting.

In the discussion (4)
Approx. transcript time · 01:04:28Read transcript
  • Real hoverboards should be released to lure young people away from screens, despite safety objections and existing wheeled devices using the name. — Chris Ryan
  • Marty could be Biff's son, sharing his temper rather than George's timidity; this would make a better Part III twist than the Western. — Cousin Sal
  • The unrealized anti-gravity Slamball concept combining jai alai, handball and roller derby should become a real sport. — Bill Simmons
  • Craig says Christopher Lloyd is the only good actor in the movie and carries it; the others agree Fox and Thompson are less effective here than in the original. — Craig Horlbeck
In the discussion (6)
Approx. transcript time · 01:02:22Read transcript
Back to the Future

Apex Mountain

Fox, Lewis, Lloyd, Wells, Glover, Wilson, Pepsi Free, Zemeckis, and time travel

In the discussion (6)
Approx. transcript time · 01:13:19Read transcript
In the discussion (9)
Approx. transcript time · 00:51:26Read transcript
  • The Goldie Wilson setup and later mayor payoff are praised — Bill Simmons
  • The Power of Love and Back in Time are praised, including Huey Lewis judging Marty’s performance of his own song — Bill Simmons
  • Marty’s horror at Lorraine flirting with him is praised — Bill Simmons
  • The 1950s ice-cream shop and George punching Biff are praised — Bill Simmons
  • Claudia Wells is praised as a supportive Jennifer Parker — Chris Ryan
  • Studio backlots are praised for creating a reusable, convincing town square
  • Christopher Lloyd is jokingly praised for appearing not to age
  • Alan Silvestri’s score is praised as iconic and durable
  • Huey Lewis is selected as the leading Aged Best choice
Back to the Future

Casting What-Ifs

Eric Stoltz filmed five weeks as Marty before Michael J. Fox replaced him

In the discussion (8)
Approx. transcript time · 00:25:52Read transcript
Mr. Mom The Rewatchables
Mr. Mom

What’s Aged the Best?

The overmatched dad handling multiple kids; the film not treating a man at home as a novelty; Jack's real friendships with the other moms; Ann Jillian (transcribed as Angelian); Keaton watching soap operas; the Rocky, Jaws and Chariots of Fire references; the tuna-with-a-heart commercial; the abrupt ending; 1980s parenting; Martin Mull, Jeffrey Tambor and Christopher Lloyd

In the discussion (8)
Approx. transcript time · 00:26:08Read transcript
  • The overmatched dad handling multiple kids at home is always an enjoyable gimmick, and the film does not treat a man at home as a huge novelty, only as a moron at home; the mean, judgy moms still exist in 2019 on mommy boards, and the hosts credit the film for not dwelling on whether a man could stay home.
  • Jack makes real friends with the other moms, playing poker and being taken to a male strip joint; Angelian (as transcribed) was really good, remembered as the breakout star of the sitcom It's a Living about waitresses at a club, with a dance background, playing the horny divorced friend who is in on the joke, though one host cannot defend the character even while liking her.
  • Keaton watching soap operas is both aged best and aged worst: one host watched General Hospital in that era, when daytime TV with only ten channels meant game shows and soap operas and a sick day meant making sure to catch The Price is Right, and Jack goes from mocking the show to yelling at it within five minutes; Rocky training montages are always liked.
  • The pop culture references, Rocky, Jaws and a fake Chariots of Fire during the race, have aged well where timely references usually die and date a film instantly, as Wayne's World 2 does.
  • The tuna-with-a-heart commercial is very 80s but smart, since the idea that brands need a heart is exactly what every brand on Twitter does now.
  • The abrupt ending is a point in its favor: the 80s habit of saying everything and getting out is missed, since comedies now tack on four more scenes, and Night Shift ends abruptly the same way.
  • The parenting seems pretty good: no helicopter freaking out, kids who make their own lunch, the speech about giving up the blanket, no crying or punching, and the film accepts on face value that staying home with the kids is hard full-time work, which is relatively progressive for 1983; Martin Mull, Jeffrey Tambor and Christopher Lloyd are a pretty good troika.
  • To close, one host goes with Keaton watching soap operas, the other with 1980s parenting, which seemed normal and soothing rather than what was expected, prompting a joke about missing peanut allergies, ADD medication and therapists.
Mr. Mom The Rewatchables
Mr. Mom

Most Rewatchable Scene

Jack's house attacking the family: Keaton versus the washing machine, dryer and self-starting vacuum

In the discussion (8)
Approx. transcript time · 00:16:18Read transcript
  • One host's candidates begin with Jack getting fired, where everybody is trying to strangle each other and Jeffrey Tambor and Christopher Lloyd share the scene, which feels very 80s and would not be written that way today; the clip is played.
  • Martin Mull, as Terry Garr's creepy boss, makes his first visit to the house and Keaton comes to the door holding a chainsaw, overalls and a backwards Lions trucker hat, the two men sizing each other up over the 220, 221 wiring line; the clip is played, and the other host decides this is where Michael Keaton and Mr. Mom invented the hipster dad seen in Brooklyn and Silver Lake.
  • A Grantland interview a friend named Daniel did with Keaton, about 12,000 words long, had him recalling the 220, 221 line as an ad lib he was really proud of, and he is fond of the movie generally.
  • The house attacking the family, with the washer and dryer going nuts, the self-starting vacuum chasing the kids and a baby being fed chili, is next; the host who had his kids alone that weekend says being thrown into the fire really is like that, down to a son microwaving three-day-old sushi.
  • The improbable, elaborately built obstacle-course race at a work function, with hundreds of people cheering, is a specific 80s thing that would not happen now, built from borrowed playground equipment for grown men; the concept of letting your boss win because it is better for you professionally is enjoyed, and Keaton throws the race at the end.
  • The Halloween scene, where Carolyn has two hours' notice to fly to Los Angeles after convincing a man to spend $11 million on her idea, is the only time the film confronts Jack losing the family; one host notes she simply stops being a mom for an hour, while the other finds her lack of guilt refreshing against the constant anxiety of content aimed at thirty-something women, and Keaton dressed as a prisoner is good in it.
  • The goofy, abrupt ending, with Angelina (as transcribed) in Jack's room with a drink as he comes out of the shower and Terry Garr arriving, plays like they ran out of film; the other host's pick is the utilities, Keaton versus the washing machine and the vacuum, which leads to the realization that ironing a grilled cheese on the ironing board came from this movie, with Craig asked whether he has done it.
  • One host has ironed a grilled cheese and calls it the best way to make one, except that the butter and cheese ruin the iron, so a dedicated grilled cheese iron would be needed, which is argued to be cheaper than a panini grill.
Displaying all 10 discussions

Films in the archive