THE CATEGORY
CABINET

The fictionalized treatment of Jack Swigert is singled out as the film's most troubling dated choice.

Hopper’s running was the clearest visibly dated performance choice.

The group identifies several dated elements but reaches no clear choice.

Several dated elements are debated without a final selection.

Chozen’s full-force punch to Kumiko is singled out as brutally dated.

They criticize the Blumhouse logo tag-on and mention the rating debate as the main things that aged poorly.

They single out the corny quote and also note the movie’s tabloid-office world has dated.

They think the jealousy/France material around Maxine is the least durable part of the movie.

They focus on the film's dated racial stereotyping and other early-1990s details that have aged poorly.

They pick the clumsily staged youth soccer sequence as the worst-aging element.

They cite several dated details, including references, real estate, and a few physical beats, without choosing one definitive loser.

They criticize the ending exposition and a few implausible mechanics, especially the overdone dialogue around Hedy's past and the final confrontation.

They agree the intermission and roadshow-era presentation are the biggest relics, with a few smaller future-miss jokes also noted.

They say the angel-devil sequence, together with the underage-sex material, is the hardest part to watch now.

Kyle says the porn-on-the-motorhome joke feels dated now because his generation no longer really gathers to watch porn socially.

They argue the movie survives because it commits to giant comedy risks rather than playing it safe.

They say the film’s back half gets weaker and the action sections are the least durable part of the movie.

They identify Brett Favre's later baggage and, more seriously, the casting of Warren as the biggest thing that has aged poorly.

They mostly criticize the later Ghostbusters franchise entries, while also noting a few visual elements that have aged poorly.

They point to the police work, the interrogation dynamics, and the first sex scene as the biggest modern-day liabilities without settling on one clear loser.

They say the sequel is the clearest thing that has aged badly, along with some story logic issues and outdated details.

The hosts focus on Basinger's out-of-place, overly serious performance as the clearest aging flaw, while also noting the plot can be a bit much.

They flagged a mix of production regrets, period attitudes, and other dated choices as the things that aged worst.

They point to the dated Juarez context, some plotting mechanics, and a few nitpicky realism issues as the main things that have aged poorly.

The group says the underage photo-giving plot would not fly now and is the clearest thing that has aged badly.

The hosts agree the title song is the clearest aging miss, with some extra criticism for the gadget scenes and Bond being lectured for misogyny.

They decide the biggest aged-worst issue is the extended cut material that alters the movie's logic, alongside the broader collapse of the erotic thriller.

They think the movie’s blunt four-years-later transition is the worst-aged choice, with Armstrong’s wig also drawing criticism.

They single out the professor’s recovery line as the ugliest aging issue, while also noting several other dated jokes and customs.

They think the film's erotic-thriller framing and parts of the cheating premise have aged poorly or feel undercooked.

They think the movie would have been stronger if it ended earlier and the Baja epilogue were cut or moved to a post-credit beat.

They land on hitchhiking as the most dated element, with writing workshops joked about as a secondary candidate.

When the category comes back up later, the hosts again emphasize Rob’s behavior and the film’s misogyny as the main aging problem.

The hosts agree Rob’s mean-spirited, misogynistic behavior has aged the worst, with several other dated elements discussed as secondary examples.

Sean says the Paul Simon songs feel corny and weird now, even though some of the more explicit material is also dated.

They mostly land on Pauly as horrible, with the film’s exaggerated brain-damage and old gender roles also drawing criticism.

They say the movie's gambling world feels outdated and unrealistic compared with how sports betting works now.

They call out the prolonged LeBrock-Mitchell Smith kiss as the clearest aging problem, along with some offensive language and bits.

They argue the movie’s elaborate fight-night conspiracy would be much harder to pull off now because of cameras, security, and modern scrutiny.

They thought the early CGI and the thinly sketched real-world consequences were the most dated elements.

The Boston accent drew the sharpest criticism, with Geritol’s fake-medication vibe also singled out as badly dated.

They say Redford is simply too old for Marty, even while agreeing the movie still mostly works around that issue.

They returned to the burial-ground choice as the clearest flaw, with some extra grumbling about how Jeremiah survives impossible injuries.

House leads the crew to focus on Roy's pastel, Miami-Vice-style wardrobe as the biggest aging issue.

They agreed the Vermont dream fantasy feels the most dated, with the bad wig also drawing criticism.

They criticized the movie's looseness with facts, the bad-looking athlete cameos, and Assante's overcooked mobster performance.

They identify the random black-suspect bust as the worst-aged element, while also criticizing the stylized makeout scene.

They clearly agree that the 2002 remake is the worst-aged element, with the Tokyo-team material also called out as rough and racist.

They say the sequel/remake attempts age the worst because the original is already still strong.

They said the ending makes the age difference between Kate Mara and Heath Ledger feel the worst in retrospect.

The film's handling of the government pursuit and empath concept was treated as the worst-aging element.

They argue the worst aging element is Mayor Vaughn surviving Jaws and still keeping power, with Mike Brody's acting also criticized.

Dunne’s unusual unibrow is the clearest aged-worst choice, though they also joke about the changing Soho backdrop and anti-Last Temptation reaction.

They agree the finale is the weakest part, with the reshot ending and the surrounding bombing imagery also cited as dated problems.

They jokingly but clearly settle on Nazi criminals as the thing that has aged worst simply because they no longer exist in the same way.

They single out Seagal’s behavior and image, along with Richie’s ridiculous clothes, as the movie’s worst-aging elements.

They focus on how unreal the quarterback production and protection looks by modern standards, along with several dated social and football details.

They joke about the finale aliens looking dated and also note how little smoking and how much institutional niceness the movie has.

They flag the assault scene as the most obvious aging problem and also criticize the police entering the apartment without a warrant.

They discuss the film's whiteness as the clearest aging problem, along with some discomfort around the Luke/Leia material and a few other dated elements.

They identify the dated visual effects and futuristic tech guesses as the movie's most obvious aging issues.

They identify the offensive language and some now-stale pop-culture jokes as the material that aged worst.

They mostly dislike the grim opening-orphanage setup and note that the movie’s tech and action have dated unevenly.

The strongest answer is the Harvey Weinstein/Miramax hero framing, with several other 1997-era details also called out.

They cite several dated elements, especially the film’s racial language and some clunky period details, without one single agreed loser.

They agree the game adaptation aged terribly, alongside complaints about too much baggage and a rushed ending.

The hosts treat Pauly as the clear worst-aging element, while also nitpicking the crowd shots in the fight scene.

They single out Bullock’s staircase fall and the film’s awkward editing as the biggest aging problems.

The hosts first call out the extended Laverne and Shirley parody and then also discuss how several catchphrases have aged out.

The group mostly finds the film timeless, with only minor nitpicks about Delpy’s cigarette use and Jesse’s book idea.

They said the movie now feels more fantastical because its pre-smartphone spontaneity is so foreign, while also noting the later credit controversy.

They agreed the gross donut-eating cop behavior is the weakest element, while noting some location stand-ins for Los Angeles have aged less well.

They say the biggest age-out is the movie's casual professor-student romance, with Wahlberg's hair also drawing heat.

They call out the CD-ROM-centric plot mechanics as the biggest thing that feels dated and flimsy now.

They call out the film's extended back half as the main thing that has not held up, alongside some implausible action-movie policing and violence.

They identify the movie's treatment of weed, male nurses, and airport security as the clearest aging issues.

They point to the Native American disguise language as the clearest element that has not held up.

They say Myers killing dogs is the main thing that has aged badly in the movie.

They said the face-smashing self-harm bit has since been copied so much that it has become a trope, and mocked the elevated-horror label as well.

They treated the later franchise path and the movie's profiling idea as the biggest age-worst issues, alongside a few smaller dated elements.

They call out the construction-site catcalling scene and the era-specific TV static as the clearest aged-worst elements.

They say the old cameras and their batteries are the biggest thing that has aged badly.

They identify the hospital and mom-backstory material as the main thing that has aged worst, with the kidnapping beat also called out as forced.

The room lands on Shyamalan’s later twist-brand as what aged worst, with Willis’s performance and some mental-health framing also criticized.

They flagged the hooker-with-a-heart-of-gold premise and Billy’s idea-man routine as the most dated elements.

They agree the film’s legacy is hurt most by its ugly treatment of women, even if they contextualize it within the story’s psychology.

They decide Rudy's post-movie persona is the clearest thing that has aged badly, with some skepticism also aimed at the Newt Rockne speech.

They directly named fascism as the worst thing that's aged in and around the film, while also rejecting the old Wes Anderson caricature.

They point to Armstrong and several stale jokes and references as the clearest aged-worst issues.

The hosts agreed the most corrosive thing in the movie is the language, especially the film’s use of the N-word, with some extra nits about effects and forensics.

In the later digression, they joked that the modern political comparison was the thing that aged the worst.

They mainly targeted the era's awkward haircuts, while also noting the film's Cold War spy logic and casting anecdotes.

They agree Kelly Preston’s performance is the clearest thing that has aged badly, with several other scenes also singled out as bad.

They agree the haircut is the clearest thing that has aged the worst, with a few other aging complaints discussed around it.

They singled out the Fat Bastard/Felicity material as the hardest part to sit with, while also criticizing Ivana Humpalot and some musical bits.

They agree the Hooters-related jokes and Leslie Mann insults are the main aging problem, with the child-TV gags also criticized.

They say the seven-run blowout with no mercy rule is the clearest thing that aged badly, while also noting the language but moving on from it.

They call out the opener’s violence and a few 1970s-era football and prison details as the roughest material today.

They identify the jeans-in-the-water bit as the clearest thing that has aged badly, with a few other modern awkwardnesses noted.

They think the movie's adult-looking teen sex material and related social context are the biggest things that have aged poorly.

The hosts agree the movie's school-year and football timing feels off, with the football material arriving too late.

They criticize how Elizabeth Shue’s Jennifer is basically parked out of the movie, while also questioning the script’s exposition and Marty’s chicken trigger.

The hosts agree the concussion treatment is the most dated part of the film, with a few other modern awkwardnesses mentioned as well.

They briefly float racquetball as the thing that has dated the most, with pickleball having replaced it culturally.

They say the script’s dialogue is the biggest thing that has aged poorly, with Dawson’s casting and the futuristic guns also drawing criticism.

They agreed the chaperone setup and the film’s handling of Kristen aged poorly, with the casting also drawing criticism.

The discussion lands on Melora Walters, with additional complaints about Reilly’s storyline, Julianne Moore’s dialed-up performance, and the movie’s length.

The hosts agree the most dated element is Michael Douglas's obviously bad wig.

They single out the prison-movie habit of hiding contraband in body cavities as the clearest stale element.

They settle on the film's treatment of domestic violence as the clearest thing that has aged badly, while also calling out a few other dated elements.

They trade several complaints, including the ending structure, the theme song, the lip-syncing, and the lack of sports on TV, without choosing one winner.

They agree the girlfriend character and some poker logic look worse in hindsight, especially by modern standards.

They first flag the franchise timeline as the biggest thing that has aged poorly, then add the film’s length and a few other nitpicks.

The jogging-for-years sequence is treated as the clearest thing that aged badly, with the soundtrack’s overfamiliarity also getting dragged.

They land on the movie's central implausibility: that Chicago people would not recognize Harrison Ford immediately.

They treat the 60 Minutes corporate machinery as the main thing that has aged badly, while also complaining about the ending and score.

They agree the film overuses homophobia beats, while also noting some structural scenes feel cut or incomplete.

The hosts first identify the film’s handling of mental health as what aged worst, then broaden the critique to David O. Russell’s conduct and the movie’s treatment of gender and age gaps.

The hosts agreed the movie’s repeated 'stroke bags' drug slang has aged the worst.

They agree that everything they know about Bobby Fischer in real life has aged very badly.

They say the nudity, some character/physical choices, and a few plot mechanics have aged badly.

They say Randy Quaid’s real-life weirdness makes it harder to separate him from Eddie, while also mocking the later sequel spinoff era.

They repeatedly complained that the film runs too long and lingers on plot mechanics, with Denzel’s jogging also getting mocked.

They debate the dating-ad premise and mostly land on it as surprisingly modern, while also flagging some of the movie's gender politics and racial language as dated.

They identify the illegal webcam recording of Nadia as the worst-aged element, while also criticizing the leads' performances.

They said the newspaper-on-the-sidewalk routine and the era’s PG-13 editing decisions feel dated, along with the behind-the-scenes celebrity chatter.

The clearest aged-worst pick is Sid's devastating breakup and suicide arc, which the hosts say still hurts every time.

They revisit several dated elements, especially the opening cut, obvious stunt work, and Lynette's hair, but do not choose a single formal winner.

The near-rape scene is treated as the clearest element that aged badly, with Costner’s hair and styling also singled out.

They point to 1970s child-safety details and a few clunky mechanics as the most dated elements.

They discuss several candidates, but the score is the main thing one host says has not held up well.

They identify the Pentaverate material, the old visual effects, and some broad comedy choices as the weakest elements in hindsight.

The discussion is muddled by repeating the same examples from the previous category, and no separate aged-worst winner is clearly established.

They single out Glenn Close's haircut as the movie's clearest dated look.

They identify the movie’s racist language and broader 1960s racial attitudes as the biggest thing that has aged badly.

They argue that the old criticism that Blackhat was unrealistic has aged badly, while also noting the dense plot and exposition as problems.

They think the age gap and some of the mean-spirited gendered humor are the main things that have aged poorly.

They criticize the OCD trait as a device that does not add much and seems to come and go when needed.

They agree the film's homophobia is the hardest thing to defend, with Josh Jackson's character and the opening shaming plot also criticized.

They identify the gay-bashing scene as the clearest bad-aging element, then broaden to how the movie's mystery and some casting choices feel less effective now.

The unnecessary nude/shower material is treated as the clearest aged-worst element, along with some dated tech jokes.

Christopher Guest’s bland doctor performance is the clear pick for what aged the worst, with other dated writing choices also discussed.

They said the worst aging element was the Southern and Haitian accent work, with Pacino’s teeth also drawing attention.

They cite the Metallica search dominance and the old-fashioned opening credits as the most dated elements.

The mustache gets singled out as the ugliest relic, with Macchio’s basketball scene also mocked.

They single out Fricker’s accent as the clearest misfire, with Sutherland’s performance also drawing complaints.

They call out Janet’s over-the-top cross-examination line as the clearest aged-worst example.

They mainly point to James Franco’s later collapse in public standing, with 3D TV and weed culture also mentioned.

They raise multiple nitpicks, including the accent jokes, the travel logistics, and the crusiform sword order, without settling on one clear loser.

They settle on the movie’s white-centered perspective as the biggest aging issue, with the cell phone reception also getting mocked.

They say the Current Affair reference feels most dated, with Karen Duffy's Duff persona also feeling lost to time.

The Sony Ericsson and Sony VAIO product placement was singled out as the clearest badly aged element.

The hosts criticize the opening credits treatment and the historical mismatch on disco demolition night.

They settle on blackface as the film element that has aged the worst, with some side discussion of other dated material.

They agree the kitchen techniques, plating, and early social-media visuals look dated now.

They decide the biggest thing that dates the movie is how cool being a billionaire was treated, with MySpace also singled out.

They point to the dead-child opening, the movie's brutal violence, and the absurd amount of gunfire in a hockey arena as the worst-aged elements.

They settle on the indoor smoking and the crew’s sloppy quarantine behavior as the movie’s weakest aging elements.

Bill’s hottest take is a strong anti-cat rant, arguing the movie would be better without Jonesy.

They argue the film's billionaire fantasy and money-on-the-bed imagery have aged badly, alongside other early-90s details.

They say the biggest outdated element is treating college basketball as a crucial long-term life choice, with the prison quarantine bit also noted.

The conversation settles on the De Niro-Ileana Douglas scene as the part that has aged the worst, with the boat effects also mocked.

They flag the slurs used for humor as the clearest thing that has aged badly, while also noting some period-specific Jewish/Catholic material and the Scarlet V joke.

Bill first calls out the old manual steering, while both hosts later agree the title and the rape scene are also badly dated in different ways.

They say Headey is given little to do and looks stuck in a performance that doesn’t help the movie.

They focus on how obsolete writing checks feels, with motel inns as an additional example.

They argue the movie’s cruelty lands worse now, especially the insults and other conduct that would be less acceptable in a current school setting.

They call out hacky sack and old-school answering-machine plot mechanics as the film’s most dated elements.

The discussion settles on the uncanny Voight-Jolie resemblance, with Beatty’s teeth and the exposed femur also called out.

They treat the basic premise and some period details as the parts that have aged worst, with the beard anecdote also drawing attention.

They say the Saab Turbo, early-2000s phones, and casual drunk driving now feel dated or implausible.

They say the goofy comic-relief duo is the clearest thing that aged badly, with the avalanche-shooting moment also getting called out.

The hosts float a few candidates, but they do not land on a single clear worst-aged element.

They first call Ethan the weakest element, then settle on the CGI bad-guy faces as the movie's most dated effect.

They joke that the raw-egg-and-beer routine and some period conveniences no longer feel normal.

They settled on the accent work as the weakest-aged part, especially Rhada Mitchell’s Southern inflection and Denzel’s uneven Spanish.

The ending beard is the clearest thing they say has not held up well.

They point to the dated score, with a secondary complaint about hospital smoking.

They flag several awkward or distracting elements, especially the confusing sting setup, the looping/dubbed dialogue, and the obvious height staging in the park.

The sex scene is treated as the clearest element that has aged badly, with the ending also criticized.

They criticize Baldwin’s job fit and also note some awkward ending and rescue elements.

They focus on the film's offensive language and on how Mamet's current politics complicate his legacy.

The group settles on the movie's treatment of Lily and its broader punching-down humor as the most offensive material on rewatch.

They agreed the ugliest thing in hindsight was Burt Reynolds’s bad experience with the movie and lingering resentment afterward.

They say Spacey’s real-life issues make his scenes uncomfortable now, and that The Big Short later stole some of the story’s oxygen.

They most strongly regret that Nirvana never appears in the film, while also noting several other dated elements.

The hosts think the emotional ending with Ryan's wife is the clearest dated misfire, with the photo-taking beat also drawing complaints.

They single out the fake newspaper headlines as especially dated and also note that the era's hero-cop fantasy aged poorly.

They flag the movie's treatment of escorts and some early-'90s behavior as the main aging issue.

The strongest complaint is that most of the 'kids' are visibly too old, with some added criticism for the bleacher skirt-peeping and weak car-race material.

The hosts mostly agreed the movie’s football scenes age the worst because of the static, awkward filmmaking and continuity issues.

They flagged the slurs and a few other scenes as the movie’s most dated material.

They criticize Ebert’s original review and Ned’s decision to split off from the group as things that aged badly.

The hosts agree the lowered rims and other visual oddities are the clearest dated misfires.

They first flagged Cruise’s opening address as awkward and then spent much of the segment arguing that Penny is too perfect to feel real.

They say the wife material feels thin and dated, and they also revisit Connery's accent as an aged-worst element.

They pick the odd cultural afterlife of the Canon in D theme as the worst-aging element, while also criticizing the awards snub and some now-dated shock value.

They agree the film's attitude toward homosexuality has aged badly, and they also criticize the family subplot as unnecessary.

They settle on the Indy-Marion romance as the weakest part, while also criticizing Temple of Doom and some dated effects and choices.

They debate a few nitpicks, but the hostage character and her unclear purpose draw the strongest criticism.

They decide the most dated mistake is the movie's use of the 48 Hours theme music without apology.

The room treats the movie's broad patriotic and Cold War framing as the most dated part of the film.

The discussion settles on the fact that nothing can match the shock of seeing the movie for the first time, with some side talk about genre labeling.

They identified several weak aged-worst elements, especially the repetitive rich-girl/father conflict and the overblown ending.

The discussion lands on the Libyan-terrorist subplot as the biggest dated or uncomfortable element, with several other rough edges mentioned.

They choose the use of "Jump Around" as the worst-aged element, while also mocking Neil's bare-bones apartment and some old phone technology.

The hosts debate several candidates, but they do not converge on a single worst-aged element.

The discussion focuses on bad takes around the movie rather than a clear on-screen loser, so no single winner is supportable.

They agree the movie's hacking material is the main thing that has aged badly, while also criticizing Severine's shower scene and quick discard by Bond.

They decide the behind-the-scenes accounts of Shelley Duvall's miserable production experience have aged the worst.

They single out the old scary naked lady as the film's worst-staged element, with the bear costume sequence also getting called out.

They pick the movie's overuse of overhead helicopter shots as the main thing that has aged poorly.

The room settles on Michael Fassbender's limited screen time as the biggest aged-worst issue, with a couple of other small complaints noted.

They explicitly say they cannot think of anything in the movie that has aged poorly.

They agree Knox's romance subplot is the weakest and most uncomfortable part of the movie, with the girls' scenes drawing the loudest criticism.

They settle on the Jack McBrayer subplot as the weakest aging element, while also noting the middle sags a bit.

They agree the movie is too long, with the beach sequence singled out as an especially skippable stretch.

They discuss a few dated elements, but they explicitly land on the behind-the-scenes 'persuader' anecdote as the worst aging item.

The hosts agree the film’s Japan-related dialogue and broader 1980s anti-Japanese attitude have aged poorly.

The room lands hardest on the invented Christy storyline as the clearest thing that aged poorly, with Spacey and some Zuck characterization also criticized.