Landlines lead into what aged worst: after twenty-one years one host is not convinced any 1996 cell phone was good enough to be a murder prop in wine country around Sonoma, with trees and driveways and nobody near anybody.
A secret favorite part: Drew Barrymore's character says she will call the cops, the killer says they are too far away, and she accepts it even though her boyfriend is bleeding.
A counterpoint cites Michael Douglas's gigantic cell phone on the beach in Wall Street: phones then were for doctors and rich people and may have worked better for that elite group; the hosts wonder whether Wall Street had the first cell phone in a major movie, followed by Zach Morris.
Asked how the movie would be received in the outrage culture era, the hosts expect outrage at two guys killing the mother and calling her a whore before people swung around to its tongue-in-cheek intent; one does not find the movie problematic at all and calls everything problematic about it hilarious.
The sexualized staging of Rose McGowan's death is read as a deliberate joke on the bimbo-who-dies trope; per IMDb trivia she could have fit through the opening and escaped, and she flips the killer like a pro wrestler, part of a slapstick way of fighting the villain that exposes the killers as high school kids getting beaten by teenage girls and makes Ghostface very vulnerable.
The seeds of David Arquette and Courtney Cox falling in love, knowing it ended badly and she went on to date Will Arnett, make their marriage what aged worst, though it is pure in the movie.
Part two is that David Arquette is really terrible, playing Dewey as if brain damaged, and it is unclear why he became a phenomenon afterwards; a defender says Dewey is supposed to be extra dumb and is charming, though his 'I was 24 for a whole year' line is too good for such a character.
The Henry Winkler scenes had more impact at the time because of his fame; the principal putting two fingers on Sidney's chin would be a real problem today, and together with his scissors threat to the two kids in masks suggests a background worth checking.
A Ross tangent: People vs. OJ helped one host like David Schwimmer, but Ross is blamed for turning Friends from a great first season into a rom-com, and another protests that Ross was just a character, a human being sometimes.
On Lori Petty, one host does not know who she is beyond Tyler; her credits come up, League of Their Own, Free Willy, Patty Mayonnaise and Orange is the New Black; one host offers Tank Girl as the apex, as the moment someone thought she could carry a movie, another objects that Tank Girl tanked, and one goes with Patty Mayonnaise, so no yes for this film.
Her look in the film is called a leftover eighties one, like the Legend of Billie Jean, short hair and a little androgynous, and the hosts note she resembles Woody Harrelson, with a host choosing words carefully about a scene with Utah's FBI badge.
Gary Busey is a no: one host offers Surviving the Game, another calls the Buddy Holly story the correct answer because of the Oscar nomination, and another goes with Eye of the Tiger, in which a biker gang kills his wife and daughter after he comes back from Nam and goes to prison.
Keanu Reeves is a no way; his apex is debated as The Matrix or John Wick 2, and one host, expecting the others to be mad, says Speed, the 94 smash hit that created the early-released summer action movie and that he carries in nearly every scene; John Wick 2 is floated again as the global-superstar answer.
In Speed he took a different cop role, cutting his hair and bulking up to look squared away like a Marine, and Bullock is fantastic in it, which makes sense of her becoming a massive star.
Swayze is a yes when asked whether this is his apex: he is in the Milky Way galaxy in this movie, with a box score of 37, 12 and 15 on Isaiah Thomas minutes; a host recalls Michael Douglas on the Ghosts in the Darkness (as transcribed) DVD commentary describing the ideal role, talked about early, appearing a third of the way in and dying at the end, which is what Bodhi was.
A Roadhouse case follows: it still has to be Roadhouse, because watching Roadhouse makes you need to be Patrick Swayze, to become Dalton; another calls it the hardest one, likening Point Break to winning the title on a great team and Roadhouse to Kobe carrying the 2006 Lakers to 48 wins, number 8 Kobe versus number 24 Kobe.
The reboot is proposed as a streaming series that could recruit current young basketball players, including an observed Emmanuel Moodye example, for roles.
One participant volunteers to play a token white player imagined as Ricky Roe's son.
Rick Fox's ability to combine basketball, acting, and later television work is treated as a model for current players seeking a second public career.
A younger coach and an AAU subplot are proposed, with Jamie Foxx as a Shaka Smart-type lead. The scenario is compared to Andy Enfield at U.S.C. and to Shaka Smart moving from VCU to Texas and confronting booster pressure as results worsen.
A Duke and Olympic-team coaching model is outlined, and Jack Nicholson is separately joked about as Jerry Colangelo.
A successful Olympic coach who uses those connections in recruiting, hires a previously sanctioned assistant, and has a persistent retirement drama is outlined as another model.
An uncertain observed Koster or Costa candidate is rejected as insufficiently morally compromised. Alec Baldwin and Michael Douglas follow, but Baldwin is rejected because anything he appears in is said to turn into a sketch rather than a credible performance.
Paul Giamatti receives a positive response followed by a joking demand to stop selling him. Tom Hanks is proposed as Pete Bell and judged capable of making it a different movie, with A League of Their Own identified as the comparable prior role.
