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Film credit

James Remar

Also referred to as James Raymar, James Ramirez, James Ramire, Raymar, Remar, Ajax

Stats

Episodes featuring their films
5
Movies in this archive
6

Rewatchables episodes featuring James Remar’s films

What Lies Beneath

2000 film

Bill Simmons · Chris Ryan · Mallory Rubin

Aired January 14, 2026

Cruising

1980 film

Bill Simmons · Chris Ryan · Wesley Morris

Aired November 8, 2022

The Warriors

1979 film

Bill Simmons · Shea Serrano · Sean Fennessey

Aired February 5, 2019

48 Hrs.

1982 film

Bill Simmons · Chris Ryan

Aired December 7, 2017

Displaying all 5 episodes

Mentioned in discussions

Aliens The Rewatchables
Aliens

Casting What-Ifs

Weaver negotiations; Paxton and Remar/Biehn casting

In the discussion (4)
Approx. transcript time · 01:33:29Read transcript
  • Weaver’s salary negotiation is recounted
  • Paxton’s prospective Police Academy 2 role and Bobcat Goldthwait are discussed
  • James Remar’s removal and Biehn’s quick arrival are recounted
  • Pacino visiting a neighboring set leads to imagined roles for him; those are jokes, not casting history
To Live and Die in L.A.

Recasting Couch

Melanie Griffith as Bianca; multiple Vukovich alternatives

In the discussion (4)
Approx. transcript time · 01:26:53Read transcript
RoboCop The Rewatchables
RoboCop

Casting What-Ifs

Peter Weller ultimately won the role after a long search; the discussion covers many alternate Murphy, Lewis, and Boddicker choices.

In the discussion (5)
Approx. transcript time · 01:15:34Read transcript
  • Jonathan Kaplan left to direct Project X, and Verhoeven initially dismissed the script. — Bill Simmons
  • Schwarzenegger, Ironside, Rucker Hauer, Tom Berringer, Armin Asante, Keith Caradine, and James Remar were Murphy possibilities. — Bill Simmons
  • Steven Seagal appears among possible Murphy headshots and is developed as a comic alternate. — Bill Simmons
  • Stephanie Zimbalist was cast as Lewis but a Remington Steele pickup prevented it. — Bill Simmons
  • Michael Ironside declined Boddicker and Kurtwood Smith moved from auditioning for Dick Jones to Boddicker. — Bill Simmons
Cruising The Rewatchables
Cruising

Apex Mountain

S&M leather scene in movies

In the discussion (7)
Approx. transcript time · 01:34:46Read transcript
Cruising The Rewatchables
In the discussion (2)
Approx. transcript time · 01:29:15Read transcript
Cruising The Rewatchables
Cruising

What’s Aged the Best?

Erotic engagement; New York; killer voices; soundtrack; apartments; clubs; Mercedes; police critique; Ted; Remar; costumes; title card

In the discussion (13)
Approx. transcript time · 00:05:00Read transcript
  • The club scenes are praised for erotic engagement and reciprocal looks rather than detached tourism, illustrating cruising through eye contact. — Wesley Morris
  • The movie captures layered New York nightlife and the descent from ordinary streets into unknown enclosed spaces; it is praised as of a place rather than merely shot there. — Chris Ryan
  • The killer or killers are creepy, and the conspicuously different dubbed voices can heighten that creepiness despite sounding bad.
  • The gritty mostly punk soundtrack lends legitimacy despite largely unfamiliar songs; it is distinguished from a disco soundtrack and linked to emerging post-punk/no-wave music. — Bill Simmons
  • Karen Allen’s presence and apartment are appreciated, with real buildings and apartments making the city convincing rather than repeatedly reused sets. — Chris Ryan
  • Burns removing window-fan slats and the informal rules of apartment leasing feel specifically New York. — Wesley Morris
  • The clubs feel authentic: Anvil, Ramrod, Wolf’s Den, Cockpit, Eagle’s Nest/Eagle, plus unnamed policeman and American-flag bars. — Wesley Morris
  • Martino Perry’s Mercedes is admired, including casually parking where a space should not exist.
  • The film’s view of police power and lawlessness remains relevant. — Bill Simmons
  • Ted’s boy-meets-boy play synopsis, ending with an analyst, is enjoyed. — Bill Simmons
  • James Remar’s committed performance is praised alongside The Warriors and 48 Hrs.; a neighborhood sighting prompts an anecdote about being too intimidated to approach him.
  • Burns’s wardrobe progresses from khakis and work shirt to makeup and studded leather, visibly tracking exploration that may go unnoticed on a first viewing.
  • The title card is praised alongside the other Naughty November films’ striking title sequences. — Chris Ryan
In the discussion (4)
Approx. transcript time · 00:57:07Read transcript
  • James Remar as Ugly Owl Hoot on Bounty Law is nominated, remembered from 48 Hours, The Warriors and Sex and the City; Clifton Collins as the vaquero is also mentioned.
  • Other nominees include Rebecca Gayhart, Damon Harriman from Justified, and Clue Gulliger as the bookstore owner, a 1960s western star.
  • Danielle Harris, from Halloween 4 and The Last Boy Scout, plays a Manson family member.
  • The award is given to Remar. — Bill Simmons
King of New York

Casting What-Ifs

Fishburne and Snipes's role swap; James Russo as Jimmy Jump; James Remar and Harvey Keitel as Frank White

In the discussion (7)
Approx. transcript time · 00:33:08Read transcript
  • As told on air, Fishburne was first cast as Flanagan, the Snipes part; Russo turned down Jimmy Jump; Fishburne switched roles, and Caruso, who had done a TV pilot with Snipes, begged the director to give Snipes Fishburne's old part. — Bill Simmons
  • Snipes's performance reads as Diet Coke Snipes until the end; his one Black cop among white cops is called a purposeful inversion of Walken's white boss with a Black gang.
  • The account given: Russo, a Ferrara regular since China Girl, was written Jimmy Jump and Caruso the cop to exploit their rivalry from that film, but Russo turned it down rather than let Caruso spit in his face.
  • Russo is said to have later admitted on Django that turning down the part was idiotic; Fishburne licks the spit and wins that scene.
  • Casting what-ifs is said to be done already, but more stories are being saved.
  • Per the account given, four years earlier Ferrara planned the film with James Remar as Frank White after The Cotton Club; later at Live it was to be Harvey Keitel, who backed out to do Bad Lieutenant instead, and then the part went to Walken.
  • It has to be Walken, with a distancing quality Keitel lacks; it is called the best Walken part of all time, and the whole-movie contest is a three-way dogfight among The Deer Hunter, King of New York and The Funeral.
Displaying discussions 1 - 12 of 24 in total

Films in the archive