Bosco is offered first, then Terry O'Quinn, recognizable as John Locke because Lost was a massive show.
Cruise's brother in the movie (Cruz's brother as transcribed) is also called a pretty big that guy, having been in Hardcore with George C. Scott, which the show has done.
Earlier, Leon, the star receiver, is called a goated (as transcribed 'goaded') Rewatchables that guy for this, Cliffhanger and Above the Rim, a Hall of Fame case who goes by one name only.
Jake and Holly encountering another actress after drinks is identified as a scene where the two film-industry worlds look similar. — Bill Simmons
Sid Goldberg’s adult-industry interview and correction from expressionist to exhibitionist are singled out as comic highlights.
Jake discovering his girlfriend with another man is nominated: his cheerful obliviousness and humiliating retreat establish his weakness, with the staging compared to Boogie Nights. — Bill Simmons
The acting-class sardine exercise is judged important but not especially successful because Sam recognizes Jake’s vulnerability there. — Bill Simmons
The house-sitting offer provides an appealing leap into luxury, prompting an anecdote about temporary loft living after moving to Los Angeles.
Sam introducing the precise nightly striptease is absurd but persuasive to the entranced Jake, who accepts the house and spectacle without the obvious questions.
Jake follows Gloria to the Rodeo collection, behaving conspicuously at a payphone and retrieving discarded underwear; security intervention is deserved. — Bill Simmons
The mall’s moving camera, escalators, payphone staging and Donaggio score make apparently uneventful following mesmerizing, recalling Dressed to Kill’s museum sequence.
The crowded elevator triggers claustrophobia, while the underwear-shop viewpoint and later police rebuke emphasize Jake’s creepiness. — Bill Simmons
The purse-snatch chase offers tiring, realistic running and striking Long Beach terraces, though easy access to Gloria’s phone call and her calm reaction are questioned. — Bill Simmons
The tunnel repeats claustrophobia before an extravagant spinning kiss, whose dreamlike unreality and sweeping camera are connected with Hitchcock and Blow Out.
The drill murder is admired for not showing penetration, comic plugging-in interruptions and blood dripping through the floor, despite its contested phallic imagery.
Sid Goldberg’s program, Linda Shaw’s adult-film titles and his smooth transition to a trailer make the television sequence especially funny. — Bill Simmons
Holly Does Hollywood’s five-minutes joke and lurid review blurbs are praised as meticulously observed adult-film parody. — Bill Simmons
The move into the adult industry is considered a high point across video store, trailer, sets and casting, with strong influence on Boogie Nights; Goldberg is distinguished as a fictional role from real performer Linda Shaw.
The Relax adult-film/music-video sequence is praised as an early successful translation of MTV aesthetics into narrative film, with De Palma studying visual form and choosing Frankie Goes to Hollywood at the right moment.
Holly’s businesslike contract and boundary speech on the date is praised for effortless delivery; Jake’s producer impersonation is compared unfavorably with George C. Scott in Hardcore.
The encounter with Kimberly Hess and her career/body advice is admired as industry satire; the claim that her actor Rebecca Stanley was an adult performer is stated uncertainly rather than verified.
Jake confessing he is not a producer sends Holly away and leads to the visually striking but confusing reservoir confrontation.
Relax is the most-rewatched choice; the following sequence is another favorite, while the stretch from video discovery through Holly’s first date is called elite. — Bill Simmons
The first nightly dance is a late most-rewatchable-scene nomination, emphasizing the uncertainty between Shelton and Griffith. — Sean Fennessey
Who won: Schrader is proposed; a distinct George C.Scott choice cites his performance and the enduring meme. Seedy late 1970 scities are then floated as a playful alternative. — Sean Fennessey
Who won: the cities proposer settles on Schrader, and another explicitly agrees with Schrader while appreciating the Scott argument.
The lawyers are the one place the film could have cast bigger; James Mason as in The Verdict is floated as possible double duty for Joanna's side. — Bill Simmons
J.O. Sanders plays one of Costner's two cohorts who quits and shows up in the courtroom at the end; he has been in a million things and resembles a True Detective character. — Bill Simmons
Peter Maloney, the medical examiner, is also in The Thing and is recognizable once seen. — Chris Ryan
Oswald's wife, played by the actress who was a Russian doctor on Melrose Place (Dr. Katia Petrovna), is named as Bita Posniak (as transcribed); she is said to have read all 26 volumes of the Warren Report.
George C. Scott is floated as a great, angrier X, but Sutherland's bemused X is called perfect.
