Everyday lines, rather than just famous punchlines, are singled out as endlessly enjoyable in his delivery. — Bill Simmons
The basketball-coach cover story prompts jokes about what system Kimball might run and whether Schwarzenegger ever held a basketball. — Bill Simmons
Explaining that Kimball grew up in Austria is appreciated; Jingle All the Way is contrasted as leaving the accent and physique unexplained. — Kyle Brandt
The plane-to-driving vomit montage is offered; the drug-den shotgun scene with beard and sunglasses is also enjoyed and compared to Terminator’s club attack. — Bill Simmons
The beard is thought to look fake and badly colored, though a real beard or dye is considered; its absurd appearance is still enjoyed. — Bill Simmons
The travel sequence earns praise for the broken-pencil threat, Angela Bassett’s brief flight-attendant appearance and Schwarzenegger’s confused response to his partner’s vomiting. — Kyle Brandt
The first classroom day is remembered for the anatomy line, ocean warning, chaos, shouted orders and resort to the ferret. — Bill Simmons
The father/job questions and tumor exchange let the children become distinct personalities; more material like the overalls/bathroom gag is desired. — Bill Simmons
Reducing Crisp’s screen time to add a children’s play or rehearsal is proposed; Schwarzenegger’s repeated “come on” delivery is enjoyed. — Kyle Brandt
The milk-and-nap scene and nightmare doze-off are liked for their tenderness and comic effect. — Bill Simmons
The scene where he nearly attacks his partner’s fiance leads to criticism of the unexplained post-sex pasta and overused eating jokes. — Bill Simmons
The child-abuser confrontation and approving principal are celebrated as forceful entertainment while recognized as unlikely to survive modern studio notes. — Bill Simmons
The principal’s praise of him as a teacher is described as unexpectedly moving. — Bill Simmons
The climax is enjoyed despite mocking Crisp’s plan to start a library fire, grab a child amid the chaos and go upstairs without an escape. — Bill Simmons
Final choices favor the tumor exchange and opening classroom speech/first day. — Kyle Brandt
The unnamed ferret is questioned because children would immediately give it a name. — Bill Simmons
Ebert’s reported three-star review praises the improbable combination of the film’s parts and Schwarzenegger. — Bill Simmons
Three stars surprises one participant, who expected two and a half; another stresses how many different elements Schwarzenegger carries. — Bill Simmons
Arnold is explicitly called at his apex, followed by agreement. — Kyle Brandt
Total Recall and Kindergarten Cop in the same year, followed by Terminator 2, are offered as evidence of his range and prominence; his Bush White House role is also mentioned. — Kyle Brandt
His relationship with Maria Shriver is added to the discussion of this peak period. — Kyle Brandt
The first-time viewer calls the film a culmination of Schwarzenegger-era action, contrasts its physical spectacle with computer-heavy modern action, and argues that unpolished acting fits its unserious tone. — Chris Ryan
Tom Arnold’s unusually extensive dialogue and near-co-lead role surprise the first-time viewer, particularly given his lack of prior familiarity with the performer. — Chris Ryan
The producer-review exchange ends with enthusiastic approval of the film’s entertainment and excess. — Chris Ryan
A sequel reportedly reached a completed script with Cameron and Schwarzenegger returning, but was abandoned after 9/11 because its light treatment of terrorism no longer seemed appropriate. — Bill Simmons
The television adaptation is mentioned, followed by uncertainty about its availability and a joking proposal for Gene Hackman to return as the Heston character. — Bill Simmons
Neither Cruise nor Hanks is considered an improvement over Schwarzenegger. Hanks is interesting because he rarely plays this type of action hero, but the final choice is Cruise.
Glass elevators are explicitly affirmed at Apex Mountain, with In the Line of Fire offered as a comparison. — Chris Ryan
Schwarzenegger’s overall Apex is rejected, but True Lies is affirmed as the best of his standalone, non-franchise films after debating whether remakes and sequels disqualify other titles. — Van Lathan
An anecdote says a frightened horse nearly threw Schwarzenegger off the roof and a stuntman saved him; the discussion expressly questions how reliable the story is. — Bill Simmons
The near-fatal horse stunt anecdote is recalled for research, with explicit skepticism that it has grown exaggerated. — Bill Simmons
Cameron and effects supervisor John Bruno reportedly planned to place a model plane on a real rooftop for a more convincing action sequence. — Bill Simmons
Cameron’s founding of Digital Domain during this period is discussed as part of his continued drive to invent new filmmaking technology.
The hotel is identified as the Westin Bonaventure. — Bill Simmons
The body count is reported as ninety, below the initial guesses.
The discussion reports a $100 million budget, third-place annual box-office finish, and one visual-effects Oscar nomination. Its gross figure is transcribed as “$378 billion,” an apparent scale error retained as uncertain. — Bill Simmons
Schwarzenegger reportedly rehearsed the tango for six months to match Al Pacino in Scent of a Woman, with the same music used. — Bill Simmons
A rumor that Jodie Foster declined Helen to make Nell is explicitly unconfirmed and doubted. Cameron’s familiarity with Curtis through Kathryn Bigelow’s Blue Steel is offered as context. — Bill Simmons
Tom Arnold reportedly auditioned mainly to meet Cameron, displayed chemistry with Schwarzenegger, and won the role after joking he could beat him up. His failure to repeat this career peak is discussed; uncertainty about McHale’s Navy is corrected. — Bill Simmons
Carrere reportedly said she replaced Karina Lombard after shooting began; Lombard is identified through her role in The Firm. — Bill Simmons
The conspicuous Schwarzenegger stunt double is nominated for aged worst, although the visible substitution is also enjoyed as a period artifact.
The cartoonish terrorists are discussed as a pre-9/11 stereotype that already drew protests; The Siege and changing wrestling stereotypes are offered as later points of resistance.
The opening score and graphics are selected for aged worst. — Bill Simmons
Dana listening to Cream in 1994 is questioned; Nirvana or Soundgarden seem more plausible, with Audioslave corrected as too late. A counterexample recalls schoolchildren embracing older bands such as the Doors.
Heston’s performance and once-impressive stunt casting are selected for aged worst, with his eye patch compared to the comic-book Nick Fury.
The flat terrorists are selected for aged worst and prompt comparisons with weak villains in otherwise good films. Beverly Hills Cop’s villains are criticized, with Victor Maitland receiving a defense.
The discussion recounts Eliza Dushku’s allegation that stunt coordinator Joel Kramer molested her and later endangered her in retaliation, and says Schwarzenegger, Cameron, and Curtis supported her. These are reported allegations, not independently established film metadata. — Bill Simmons
The portrayal of Middle Eastern people and treatment of women are selected for aged worst, particularly Juno being struck twice without warning.
The oversized suits are selected for aged worst. — Van Lathan
