Coogler receives affirmative Apex for unprecedented leverage after success, with exaggerated hypothetical budgets illustrating it. — Bill Simmons
Jordan's Apex is disputed as either his strongest moment so far or merely the beginning of a coming prime; available scripts remain crucial.
Vampire films overall are not clearly at peak; vampirism as political metaphor receives support, while Black vampire films prompt Blade/Blacula objections and twin-film success is considered. — Wesley Morris
Steinfeld, pickled garlic juice and cunnilingus advice receive affirmative Apex support, qualified as best so far or best recalled. — Bill Simmons
Blues in film, drooling and characters named Cornbread receive support, distinguished from blues generally. — Wesley Morris
Apex rejects Coogler and Thompson; Jordan receives explicit yes after Black Panther is considered. Jawn is affirmed within cinema.
Apex: Bellew’s championship is preferred, but another suggests the film for wider recognition; Stallone is rejected. Paulie’s absence is jokingly the peak. HBO 24/7 receives a qualified could-be discussion, not firm consensus.
Apex: Tone Trump’s episode prominence is joked about, then qualified by community work; Lampley and Kellerman are rejected. Creed movies and real boxers acting in films receive explicit affirmative selections. — Van Lathan
A present-day dating-app remake is favored, with App of Love, Swipe Dead and Last Swipe floated as titles.
An all-Black cast is proposed, with disagreement over Michael B. Jordan and concern that Helen requires an older actor than Sydney Sweeney. — Wosny Lambre
An undercover-cop restaurant operation could support its own scripted series. — Craig Horlbeck
The transcript is ambiguous about whether the original is untouchable; a television prequel about young Markinson and Jessup rising through the Vietnam-era military is proposed.
A predominantly Black recast with a white Dawson and judge is proposed, with Michael B. Jordan imagined in the courtroom. — Sean Fennessey
Zazie Beetz or Tessa Thompson are proposed before the idea expands to a full gender flip.
Jay Ellis is imagined in the spouse role, with concern about audience response to him obstructing a woman’s career; Michael B. Jordan and Jayson Tatum are floated as seductive alternatives. — Van Lathan
Sam Jackson remains appealing, while Viola could have fun giving the fan-of-man monologue.
All-Black remake endorsed: Fox and Vivica Fox as couple, Rames as Cady. Current mobility questioned versus Undisputed-era Rames; Idris alternative. — Bill Simmons
Current Brown and Regina King couple preferred; Fox or Abdul Matine as Cady, Kalua interesting with accent challenge. Michael B. Jordan villain casting called worst case.
The modern recasting proposal pairs Affleck and Lopez, defended through his Tender Bar performance, her underserved romantic-comedy ability and a chance to redeem Jersey Girl; objections focus on age and the need for Sam's young family to have a future. — Amanda Dobbins
Lopez is challenged as insufficiently daffy for Annie; updating Annie's stalking behavior is proposed in response.
Krasinski is another first-choice Sam, prompting strong disagreement over preferring him to Affleck. — Juliet Litman
Jake Lacey is the second Sam choice, defended through Obvious Child; dissent casts him as Walter and prefers established movie stars. Affleck directing is floated without agreement.
Teller is introduced as another Sam choice; Powell was also considered but rejected as too cocky.
Teller is defended as Sam for age, ability and Top Gun emotion; Lawrence is proposed as Annie with the grounded quality of Silver Linings Playbook rather than her recent unusual roles. — Bill Simmons
Stone is another Annie choice, reportedly named with Lawrence by Ryan as an heir; objections call Stone predictable or too neurotic, while a defense emphasizes physical comedy. Lawrence being too glamorous is countered with wardrobe and makeup changes. — Bill Simmons
Woodley is considered for a Teller reunion and an appealing unconventional, makeup-free Annie, though Lawrence remains preferred by another voice. — Amanda Dobbins
A Smith and Michael B. Jordan sequel was reportedly announced before the Oscars, with returning screenwriter; Smith’s return conflicts with the theatrical death. — Bill Simmons
A large-budget television version could begin with the virus’s creation and develop the collapse over multiple episodes. — Bill Simmons
Joking and mutual mockery in frightening situations are enjoyed and believed. — Bill Simmons
The badge demand and Jack Palance’s later City Slickers Oscar are highlights; his exaggerated performance seems far removed from Oscar prospects. — Bill Simmons
The villain’s elaborate non-killing plan, prison diversion and convoluted trap for Cash are mocked affectionately. — Bill Simmons
Fubar is speculatively said to originate with this movie and its 90s TNT exposure. — Bill Simmons
Young Terry Hatcher is praised as a breakout, with later Seinfeld and Lois & Clark visibility recalled. — Bill Simmons
Insult nicknames and repeated jokes about the men’s bodies form part of the appeal. — Bill Simmons
Owen and the prototype armored vehicle exemplify the gadget-guy and supercar era; Stripes is compared. — Bill Simmons
Kurt Russell is selected, with the missing modern Russell/Swayze type of witty, resilient action star contrasted with current actors. — Bill Simmons
Michael B. Jordan is urged toward a buddy-cop franchise; Without Remorse scenes show potential, while a vaguely recalled Jamie Fox film illustrates overly serious modern action. — Bill Simmons
