The supposedly elite assassins run awkwardly and look insufficiently formidable. — Bill Simmons
The limousine sex scene has corny music and unclear positioning. — Bill Simmons
The long-term embedded Russian-spy model feels dated relative to modern technological espionage, although Russian spying itself remains active. — Bill Simmons
Howard Duff is underused in a role lasting roughly a scene and a half.
Young’s reported account of Donaldson requiring her to expose herself at an audition is condemned. — Bill Simmons
The extended overseas rescue and Manila detour seems excessive for its narrative purpose, despite a defense of establishing Tom’s hero status. — Bill Simmons
The phantom-submarine subplot receives too little explanation for its importance. — Chris Ryan
Costner listing Russian authors is proposed as a weakness, with an immediate objection.
Scott participates in an outdated stereotype of the hysterical queer villain, even though the performance remains entertaining. — Bill Simmons
The supposedly sexy film has awkward haircuts for Susan, Tom, Scott and party guests.
A powerful man maintaining a mistress in a Virginia townhouse is praised as an effective movie premise, with joking disagreement about calling it aged best.
Opening on an intense interrogation before jumping six months backward works here, despite objections that television has overused the device.
The landlord’s revelation as Tom’s handler supplies a second twist.
The gradually resolving photograph serves as an effective countdown. — Chris Ryan
Costner and Young’s chemistry remains exceptionally strong. — Chris Ryan
The destructive rivalry between Congress and the executive branch still resonates. — Bill Simmons
Costner and Scully are considered for winner; Costner receives the final choice for his performance and physical commitment, with Scully an honorable mention. — Mallory Rubin
Conflicting explanations for the reportedly deleted nude shower scene include maintaining PG-13 and poor test reactions; the audience-giggling account is challenged and Costner's reported anger is discussed. — Mallory Rubin
A claim that Costner requested Scully is mentioned with uncertainty; the thin research material and prevalence of minor real-baseball casting anecdotes draw skepticism. — Mallory Rubin
The story that Costner persuaded Steinbrenner to allow Yankee Stadium filming despite a Yankees loss is considered entertaining, against the team's real dominance. — Mallory Rubin
Chapel reading The Killer Angels is identified as a nod to Michael Shaara, also the author of the source novel. — Mallory Rubin
Against the Wind is an aged-best choice. — Bill Simmons
The old Yankee Stadium is an aged-best choice. — Bill Simmons
Vin Scully is credited with elevating the baseball from ordinary to exceptional; a reported interview suggests freedom to alter dialogue, and his real perfect-game experience adds authority. — Mallory Rubin
Costner as a baseball player and in various states of undress are praised, particularly the locker-room changing and sensual handling of his glove. — Mallory Rubin
Jane's restrained sexual presentation is criticized in contrast to Costner's, while a defense argues it differentiates her from his usual partners; her museum appearance is praised. — Mallory Rubin
The relationship with Birch, nicknamed Scarecrow, is praised for handling friendship and a player's move for family and money without excessive emphasis. — Bill Simmons
Signing autographs during the couple's argument is praised as realistic for 1999, but also considered dated because phone cameras would now expose the conversation. — Bill Simmons
Gus’s reassurance speech is an aged-best candidate. — Bill Simmons
Obnoxious Yankees fans are an aged-best candidate; the caricatured hecklers remain amusing. — Mallory Rubin
Gus's .184 batting average inspires a joking theory that the Tigers valued pitch framing before its wider recognition. — Mallory Rubin
The catching footage is thought to rely on a double for Reilly, which is considered understandable given the fastballs. — Mallory Rubin
The initial sexual arrangement is praised for honesty about Chapel’s behavior. — Mallory Rubin
The flashback structure is preferred to conventional narration despite the weak romance. — Mallory Rubin
Final aged-best choices split between Clear the mechanism and Costner as a baseball player, with Scully acknowledged as a tempting alternative. — Bill Simmons
The first-inning sequence is nominated, from insisting on Gus as catcher through the confrontation with Sam Tuttle; the manager exchange and J.K. Simmons are praised.
Access to Chapel's thought process makes the pitching duel compelling, contrasting the hostile Tuttle at-bat with his affection for Birch and comparing the mental approach to Bull Durham. — Mallory Rubin
Talking aloud on the mound and the dialogue itself are considered devices that should fail but work because they feel convincing. — Bill Simmons
The apparent full crowd and grandeur of the old Yankee Stadium are praised, with preference expressed over its replacement. — Mallory Rubin
The mound dialogue supplies welcome baseball history missing from the romance flashbacks, but the brief moving-out scene leaves the bond with Birch underexplored. — Mallory Rubin
The masseuse sequence is nominated by both speakers: the suggestive massage, Jane's surprise arrival, his greeting and the masseuse appearing upstairs make the comic situation work. — Mallory Rubin
The established relationship with the masseuse and immediate response to Jane declining the invitation are considered believable behavior for a professional athlete; the massage timing inspires a happy-beginning joke. — Mallory Rubin
Chapel discovering the perfect game and Gus's reassurance are nominated; the speech is praised as Reilly's standout scene despite reservations about the rest of his performance. — Bill Simmons
A veteran pitcher failing to recognize a perfect game is challenged, especially given teammates avoiding him; the distraction is nevertheless accepted as useful for the scene. — Mallory Rubin
The manager warming relievers and insisting he needs the game is considered less believable given the team's losing record and the perfect game in progress. — Bill Simmons
The attempt to replace Gus before what might be Chapel's final Tigers start is criticized as an implausible prioritization of the backup catcher's at-bats. — Mallory Rubin
Mickey Hart saving the perfect game is nominated and praised for its payoff, cap acknowledgment and the manager's reaction; the actual catch is criticized as insufficiently athletic. — Bill Simmons
Mickey's earlier ball-off-the-head error recalls Jose Canseco, but the depicted Fenway wall is challenged as nonexistent. — Mallory Rubin
Chapel discouraging Mickey from becoming a media joke is praised as valuable evidence of his generosity as a teammate and as material that should have formed more of the movie. — Mallory Rubin
Mickey's failed-prospect setup leaves open the possibility that the catch could turn his career around. — Mallory Rubin
Signing the retirement message on the baseball before the ninth is nominated; the delayed reveal, owner's reaction, manager's exclamation and Scully transition are praised. — Bill Simmons
The ninth inning is nominated, but the increasingly spectacular defensive outs culminate in an implausible diving shortstop play against an apparently quick runner. — Mallory Rubin
A strikeout is proposed as the more fitting final out for the story's individual achievement theme. — Mallory Rubin
An alternative ending in which the runner is safe and Chapel loses the perfect game is welcomed as interesting, while the filmed achievement remains emotionally effective. — Mallory Rubin
Scully's climactic commentary is praised, with relief that Steve Lyons recedes from the broadcast late in the game. — Mallory Rubin
The first dinner is nominated for engrossing badness: the notebook and lip-gloss exchange, awkward kissing question and later yes note create unintentional comedy, while Costner's appeal partly sells the moment. — Mallory Rubin
The hand-saw accident and hospital sequence are nominated for their excessive drama, especially Jane's outburst, not joining the helicopter and visibly aggrieved reaction. — Mallory Rubin
The makeup-smashing argument is nominated for unintentional comedy, particularly Chapel's solemn promise to hire a driver. — Mallory Rubin
Mickey Hart's catch is the final scene choice, with the first inning also strongly praised. — Bill Simmons
The ninth inning sealing the perfect game is the other final choice, chiefly for Scully's commentary on baseball history. — Mallory Rubin
Nick Nolte reportedly declined Dennis Peck for Another 48 Hrs.; Gere is considered essential despite a long and questionable list of other purported candidates.
