Recognizable Los Angeles locations make repeat viewing richer; the city’s filming history prompts frustration about current production incentives. — Bill Simmons
Long Beach doubles for the coast nearer Los Angeles, while backlots, auditions and deliberately artificial locations reinforce the film’s interest in constructed appearances.
Young Griffith and the enduring Barney’s Beanery are praised; Wasson’s Maher/Meyer resemblance is a running joke.
Linda Shaw receives overdue praise through joking basketball-star comparisons. — Bill Simmons
A relapse at the bar and the horrified bartender’s questions are enjoyed, leading to a tangent about knowing regular bartenders.
The neighbor’s stripping music and Holly’s Peter Meter dance routine hold up; the score’s later use in Air is noted.
Sam claiming creative differences with the Seattle repertory company is enjoyed as an obviously convenient excuse.
The fake Vampire’s Kiss title reportedly inspired the later film; American Psycho’s Bateman obsessively rents Body Double, and an adult performer takes Holly Body as her name.
Sam applying elaborate disguise makeup himself is briefly admired, though the stereotyped identity is immediately challenged as having aged badly. — Sean Fennessey
