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James Horner

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Rewatchables episodes featuring James Horner’s films

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Aliens The Rewatchables
Aliens

What’s Aged the Worst?

Vasquez casting and omitted Ripley backstory

In the discussion (6)
Approx. transcript time · 01:25:52Read transcript
Apollo 13 The Rewatchables
Apollo 13

What’s Aged the Best?

Houston, we have a problem; the score; and collective problem-solving

In the discussion (13)
Approx. transcript time · 00:54:40Read transcript
  • The famous line’s cleaned-up wording and lasting use in sports are discussed
  • The film’s use of the number thirteen leads to a superstition debate
  • Paxton’s rhinoceros line is enjoyed and its Busey/Point Break connection is reported
  • James Horner’s score and Annie Lennox’s vocals are praised
  • Supportive spouses are discussed
  • Harris’s hairpiece and military haircuts are enjoyed
  • The Hanks–Sinise reunion and Clint Howard’s role are praised
  • Walter Cronkite’s archival reactions give history emotional weight
  • Astronaut longevity is discussed with reported fitness and continuing medical monitoring, not verified health conclusions
  • Slingshotting around the moon is admired as comprehensible science
  • Lovell’s polo shirts are praised
  • Switching equipment on in the right order remains relatable
  • Gathering to watch a non-sports world event is missed
Sneakers The Rewatchables
Sneakers

What’s Aged the Best?

Information-age paranoia, Redford’s car, comic dialogue, and James Horner’s score

In the discussion (12)
Approx. transcript time · 00:57:29Read transcript
  • The political jabs are reconsidered in the context of 2025.
  • The information-age paranoia and unstable Silicon Valley power figures feel prescient.
  • Giving an antagonist the name Dick creates a reliable insult in the dialogue. — Kyle Brandt
  • Crease’s stumble and the familiar aging-action-hero complaint are praised as a comic stunt. — Bill Simmons
  • Mother’s conspiracy theories are compared with Aykroyd’s own public persona, despite his reported attribution to his brother. — Joanna Robinson
  • The Kennedy conspiracy exchange and the Desert Storm friend joke are praised.
  • Marty’s orange car is admired; it is identified as a 1967 Volkswagen Karmann Ghia rather than a Porsche. — Joanna Robinson
  • Crease rapidly reversing his refusal to shoot his friend is praised.
  • Cosmo’s repeated immediate threat over the box is praised for its direct wording. — Kyle Brandt
  • Crease’s silent reaction to Carl’s camouflage face paint is praised. — Joanna Robinson
  • Poitier’s unexpected profanity and response to a racist guard are praised for their force.
  • Horner’s distinctive mix of saxophone, voices, and piano is praised; the panel cites Nicholas Britell’s admiration for the score.
Field of Dreams The Rewatchables
Field of Dreams

What’s Aged the Best?

James Horner's score; Shoeless Joe's 'I would have played for nothing'; late-80s Fenway Park; the Kinsella house; Ray's chemistry with the White Sox ghosts; Gabby Hoffman as Karen; the Terrence Mann character; the Annie and Ray relationship; the van scenes; Busfield walking across the field; Costner's hair and jeans; the disgruntled writer as plot point; the themes of hope and purpose

In the discussion (16)
Approx. transcript time · 00:41:19Read transcript
  • James Horner's score, unequivocally, arguably who won the movie: stolen over and over by sporting events, documentaries and trailers across thirty years, it plays five seconds and you need to excuse yourself; heard in surround sound for the first time it feels like a stadium; it has to double and triple the emotional climax in the last twenty minutes, like Shawshank's iconic score.
  • Shoeless Joe's I would have played for nothing, against today's spoiled players like Bryce Harper getting cash and checks.
  • Late-80s Fenway Park, a personal thing: the caterer, two dogs and two beers for seven bucks, few movies filmed there, the Morgan Magic 88 team with Ellis Burks and Mike Greenwell before the A's kicked their ass.
  • The Kinsella house is a top seven or eight movie house, still standing as it was, worth a fortune if moved to LA; the White Sox ghosts busting Ray's balls during the call to dinner show his chemistry with them, and it would be amazing if he plowed the field and told the cheaters to go back to hell.
  • Gabby Hoffman as the daughter is all-time adorable, in a cutest-daughters final with the Remember the Titans girl, with Macaulay Culkin's bee movie ruled out as a non-sports film; a host's own daughter at six was their favorite human ever and their own field of dreams would be going back to that age; Karen's precociousness is winning.
  • Terrence Mann is James Baldwin meets J.D. Salinger; the book used Salinger and the film changed it for fear of a lawsuit; the recited bio, voice of the 60s, marched with MLK, cover of Newsweek, coined make love not war; asked whether we ever had a writer like this, the answer is no, though Baldwin and Norman Mailer were around back then doing that kind of writing; the whole movie could have been Costner and James Earl Jones in the van.
  • The Annie and Ray relationship: a great, supportive, believable marriage with real history, down to her sleeping in one of his old t-shirts.
  • The son of a bitch died before I could take it back scene is gut-wrenching, Joe Jackson's a criminal being the meanest thing you could say to your dad; the van exchange about the falling out and it's not my fault you wouldn't play catch with your father; all their scenes are high level, high PER.
  • Busfield walking across the field and interrupting without knowing the ghosts are there, the pitch just missing him and the batter swinging through, timed with no visible special effects.
  • Costner's hair and everything about him, worth bottling; the tightness of the jeans, which they don't make like that anymore.
  • Disgruntled writer as plot point has aged well: the recluse found at a pivot point between influencing everyone and being influenced, the aura pulsating over every conversation about him, a stand-in for baseball and tradition in American life; more broadly the themes of the movie.
  • The retort that the themes could equally have aged the worst is greeted as a holy shit take and parked for the next category, with a promise to explain why fathers and sons aren't as interesting as you think.
  • Asked for a pick, the answer is Annie and Ray, first misspoken as Amy and Ray. — Chris Ryan
  • Another pick is the blend of magic realism with hope and purpose as a driving force in a life, which Bill is expected to try to dissuade.
  • Late 80s Fenway Park, a selfish pick for just one person. — Bill Simmons
  • The show missed its chance to get a Ray Liotta walking off the field yelling Karen.
48 Hrs. The Rewatchables
48 Hrs.

What’s Aged the Best?

Young Eddie Murphy's performance as Reggie Hammond

In the discussion (6)
Approx. transcript time · 00:28:30Read transcript
  • Nominees are young Eddie Murphy, James Remar as Gans, and James Horner's soundtrack crossed with San Francisco; the score is one of the all-timers, and some of it was reused in Commando three years later to one host's annoyance; Horner likes his steel drums and scored much of one host's movie childhood, including, as recalled, Alien, Aliens and Terminator.
  • The three-minute cue before the subway stakeout, when they wait outside the parking garage in the morning, with the clarinet, is wanted as the theme for the BS podcast, with an appeal to James Horner's estate to hand it over. — Bill Simmons
  • The Torchy's scene has aged phenomenally; the Police's Roxanne is a time capsule that would have been a baffling intro if the song had fallen out of popularity, but it turned out to be one of the most iconic songs of the era; a Walkman-with-microphone memory and the thought that Dexys Midnight Runners there could have gone very wrong.
  • The Busboys have aged really well, leaving the question of why they never made it; the final scene, when Reggie finally gets laid and comes out to find Jack waiting with the car, the exchange about the money ending with Reggie wanting only enough for a new car, and Reggie stealing Jack's lighter and getting caught, is incredibly well written; the pick is Reggie, the Eddie Murphy performance, and the other agrees on young Eddie.
  • A bar-band tangent: every city had its own Huey Lewis ripoff, like the Young Rumblers in Philly, and the Busboys songs all seem to be about going downtown for new shoes or being back in town, written to land a Friday residency at a place like Torchy's or Roman's rather than to write the White Album; both songs could have been Blues Brothers numbers; the country band at Torchy's was pretty good too, and young Eddie is reaffirmed.
  • Without stepping on the Gans section to come, James Remar is one of the great psycho-on-the-loose characters, maybe number one among realistic ones, a man a prostitute character says prefers shooting cops to sex and who has been in jail three years; competition is thin, perhaps Tommy Lee Jones in Under Siege ten years later, since eighties villains were slick businessmen like Alan Rickman in Die Hard.
Titanic The Rewatchables
Titanic

Who Won the Movie?

In the discussion (4)
Approx. transcript time · 00:53:28Read transcript
  • Asked whether Kate Winslet won the movie, the host who could not take their eyes off her says she definitely wins it, she and the iceberg, which is called the big boss of the movie.
  • Another says you have to go with Leo: not peak Leo, which is Romeo and Juliet, but close; he is charming, and the role made him so famous he can do whatever he wants.
  • The third host is torn after both cases, wanting to say Winslet to support a breakout but swayed by Leo's charm; reminded that her breakout was Sense and Sensibility, the host is absolved to like Leo; someone then says that ultimately, for them, it is the chemistry, since the romance is all they care about.
  • Calling it a toss-up between Kate and Leo, the wrap-up turns to 'Doesn't James Horner win?', answered 'You're right, James Horner. And Celine Dion', whom the hosts have barely discussed.
Podcast choices
Speaker not identified
Kate Winslet
Speaker not identified
Leonardo DiCaprio
Titanic The Rewatchables
Titanic

Most Rewatchable Scene

Jack at the bow yelling 'I'm the king of the world'; the string quartet scene; the dinner Jack gets to attend

In the discussion (7)
Approx. transcript time · 00:27:11Read transcript
  • The pick is 'I'm king of the world': it has to be. — Amanda Dobbins
  • The bow scene is defended as tiny Leonardo DiCaprio standing at the front of a ship yelling one of the most iconic film lines: cheesy and a little funny, but the essence of the movie, sweet and pure; a host notes slacking the others when the broadcast was about to reach it.
  • Being very sentimental, the favorite is the saddest scene, when the string quartet starts. — K. Austin Collins
  • The quartet scene is called cathartic, the music beautiful and one of the most underrated parts of the film, and James Horner's score phenomenal before it gave way to one of the biggest hit songs ever.
  • The dinner Jack gets to attend is another pick: Cal and Rose's mother try to embarrass him but he is unflappable, turns down the caviar, and, like Pretty Woman, cannot work the silverware until Kathy Bates's character tells him to go from the outside in; the clip of the exchange is played.
  • Kathy Bates is very good in the film, yet her commitment clashes with some of the worst dialogue, as the lone liberated, new-money woman, Downtown Molly Brown.
  • The dinner leads into a second favorite, Rose meeting Jack in steerage for the party with Irish dancers, dancing on her toes and chugging beer, like finally kicking off shoes after hours in formal wear, plus Leo telling the little girl she is still his number one girl, Cora.
Displaying all 8 discussions