Prohibition is an amusingly productive setting for stories; hidden liquor compartments in old Los Angeles homes illustrate the era. — Bill Simmons
Capone is a great villain, and De Niro’s opulent public performance is compared with Trump. — Chris Ryan
Connery’s conspicuously non-Irish accent has become enjoyable comedy, despite also being an aged-worst choice. — Bill Simmons
The Armani wardrobe credit, period clothes and hats, and young Costner’s hair are admired. — Bill Simmons
Billy Drago has an ideal villain’s face, prompting curiosity about his later character-actor career. — Bill Simmons
The dead-man-talking line and limited meetings between Ness and Capone are compared with Heat, inspiring a hypothetical diner conversation. — Bill Simmons
Building a trusted crew outside the usual system prompts a joke about founding The Ringer. — Bill Simmons
Real Chicago locations, accessible Mamet dialogue, and both the opening and romantic Morricone themes are admired. — Chris Ryan
Rapaport is near a strong run of Zebrahead, True Romance, Beautiful Girls, Kiss of Death and this film, but Beautiful Girls is preferred. — Bill Simmons
Pre-comedy De Niro is considered, with Heat too close for a firm choice; the initially overstated 1997 output is corrected to Cop Land, Jackie Brown and Wag the Dog. — Sean Fennessey
Emmerich is rejected here; The Truman Show and The Americans compete as his peak, with Pride and Glory also praised.
Pre-Sopranos Jersey cop scumbags wins as the narrow affirmative topic, with no performer receiving a clear yes. — Bill Simmons
Mangold’s hometown Washingtonville, especially Worley Heights with current/former NYPD residents, reportedly inspired Garrison. — Bill Simmons
Two deleted scenes concern chasing Black motorists and disproportionate ticketing; the hosts wish both had remained. — Bill Simmons
The end-credit disclaimer about officers living outside New York conflicts with the fictional transit-authority loophole, while real Long Island cop enclaves seem plausible. — Bill Simmons
Randone’s motorcycle is identified as a 900 cc Hinckley Triumph Thunderbird.
Keitel’s high-energy scolding seems wrong for a controlled character, with his performance compared to a declining star coasting; the counterargument is that his yelling is enjoyable.
The staged bridge panic is deliberately exaggerated within the story, while Liotta and De Niro’s intensity is defended as appropriate.
Randone’s Bulls wager is defended through a speculative 1996 Knicks playoff reconstruction: a 13-point loss nearly covers 12, countered by the rule against betting on Jordan. — Chris Ryan
A top-ten De Niro performance claim is narrowed to top-ten rewatchability after a formidable career list, with the “You blew it” scene more tempting to revisit than Raging Bull. — Sean Fennessey
Stallone’s weight gain is speculated to have changed his face after weight loss and prompted later cosmetic work; this is a personal theory, not a documented explanation. — Bill Simmons
The producer judges the De Niro take the hottest of the three. — Bill Simmons
Freddy’s Gould records, opera recommendations and Springsteen taste invite speculation about hearing loss or loneliness; future online music and conspiracy interests are imagined. — Sean Fennessey
More background on the imprisoned chokehold officer and his potential to expose Ray would help, especially when other events already receive flashbacks. — Bill Simmons
Switching Keitel and De Niro could improve the larger Ray role but would lose the iconic tirade. — Bill Simmons
De Niro's reason for taking the small part is unknown; liking the script is suggested.
Figgsy’s cocaine use is inferred throughout despite never being shown directly; the allergy excuse is recalled.
The lost era of ambitious indie ensembles working for scale is fondly remembered. — Bill Simmons
De Niro and Stallone sharing scenes felt monumental before De Niro’s later commercial comedies; Jackie Brown and Wag the Dog enhance his 1997 run.
Firing beside Freddy’s good ear is an effective escalation of cruelty, compared with targeting a wrestling injury or McClane’s bare feet.
Mid-1990s New Jersey clothes and atmosphere are enjoyed. — Chris Ryan
Falco smoking is an especially enthusiastic attraction choice. — Chris Ryan
Falco and Liotta’s convincing smoking and intimacy are singled out, with the cast’s general familiarity with cigarettes praised. — Chris Ryan
Freddy’s Carlton cigarettes and Lethal Weapon pinball establish character economically: he wants to be a supercop.
The portrayal of a closed white-cop community has disturbing contemporary resonance; reportedly cut racism scenes and the bridge exchange about saving Black children deepen the critique, though it is not nuanced.
Mangold's sustained career is an aged-best choice. — Bill Simmons
Young muscular Berg and the returning fashion of Randone's shoes and motorcycle are enjoyed. — Bill Simmons
The rare, well-chosen Springsteen uses and restraint with needle drops keep the score effective.
Six future Sopranos performers are listed: Falco, Ventimiglia, Patrick, Sciorra, Sirico and Nascarella. — Bill Simmons
The satellite town and bar feel authentic to childhood experience of cop bars: welcoming to children yet increasingly boisterous and intimidating.
The diagonal speech, wordless Keitel–De Niro coffee-shop tension and ensemble bar scenes are early favorites. — Sean Fennessey
Superboy’s shooting and staged jump launch the plot with enjoyable bar, bridge and evidence-planting details; Calderon’s suspicion and the bottle causing the blowout are praised.
Keitel and De Niro’s reunion and guarded Amish exchange make the hosts want more scenes together.
The bar sequence moves from Berg’s gambling dispute through Patrick’s dart confrontation and Figgsy’s demand not to be shut out; it is a leading choice.
Ray’s attempted pool drowning of Superboy is a strong dramatic candidate despite upcoming nitpicks. — Bill Simmons
Both Stallone–De Niro confrontations work, especially the famous “You blew it” tirade and the immediate realization that Freddy has revived the case.
Figgsy rejecting Freddy’s justice and warning that being right is not a bulletproof vest is another favorite.
The final shootout and De Niro’s shouted “Go to lunch” case closure are nominated.
The rooftop sequence with Berg is praised for Serpico-like tenement geography and dead ends.
The whole Figgsy bar sequence is explicitly selected as a Sopranos precursor; “You blew it” receives the other explicit final choice. — Bill Simmons
Weinstein’s editing reputation prompts speculation about cuts, and the opening/closing De Niro voiceover is criticized for explaining what the images already establish.
Ray’s plan to hide Superboy, stage a funeral, then display him at a large party before deciding to kill him is criticized as incoherent; a hoped-for mob-funded relocation partly explains the initial plan. — Chris Ryan
The cover-up’s public party, sudden murder decision and failure to pursue a simpler self-defense account are debated; Ray’s corrupt network risks collapsing if any participant flips.
The Four Aces should show more Yankees, Devils or other sports on television. — Bill Simmons
Casual drunk driving, including taking a blacked-out Freddy to his car rather than home, now looks especially bad. — Bill Simmons
Young Freddy’s flashback casting is unconvincing, and Moriarty’s changed appearance since Raging Bull surprises. — Bill Simmons
Stallone’s later belief that this hurt his career disappoints the hosts, who think he should value its cult following and his established achievements. — Bill Simmons
