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Tom Hanks's Apollo 13, Forrest Gump, and Toy Story period is treated as his apex.

Speed was framed as the peak of the Die Hard-derived action premise, with other possible apexes debated.

The discussion favors this period for Rob Lowe but never settles his true peak.

The film is treated as the apex of Mini Cooper cinematic prominence.

The sequel is presented as a major career peak for Machio, though the first film remains a contender.

They treat the film’s success as a peak moment for indie horror and similar microbudget genre films.

They place Will Smith’s peak elsewhere, while Eva Mendes and Kevin James get discussed as possible peak candidates for this movie.

Burns is treated as the clear Apex Mountain answer for the movie and the moment in his career.

The hosts debate several candidates and never fully agree whether Mann's peak is Ali, The Insider, or another late-90s/early-2000s run.

They agree this is Keaton's apex, while noting it's a slightly poisoned apex because of the movie itself.

They run through the usual Apex Mountain check and conclude nobody here reaches an apex.

Across the Apex Mountain chatter, Seattle's pop-culture moment and De Mornay's peak both come up, with Seattle treated as the broader winner.

They explicitly declare Bridget Fonda's 1992 moment the peak for her career and screen image.

They agree this is the movie that made Kubrick famous to the public and represents the peak of his power as a director.

They treat Belushi as the clearest apex-mountain winner, while also saying the film pushed Tim Matheson to a peak.

They agree this was Sacha Baron Cohen’s biggest peak, with the movie making him huge and untouchable afterward.

They treat Downey as the strongest Apex Mountain candidate, while Cruise is also discussed as a possible peak.

Across the various Apex Mountain side discussions, they decide the Farrelly brothers as a duo are at their peak here.

They decide Ghostbusters has the best ghost-fighting combat, edging out Ghost.

They say Arnold is at Apex Mountain here, while also giving Richard Tyson his best showing and noting the hybrid kids-action genre’s peak.

The hosts call Sharon Stone's performance the peak of the film's star power in this category run.

They pick Crowe as the film’s Apex Mountain because this breakout firmly launches him into star status.

They give the movie-era apex nod to Gosling, while also debating Shane Black's broader career peak separately.

They settle on the idea of a post-prime peak and cite Damon in The Martian as a strong example, with Steph Curry and others as alternates.

They treated Petersen as the movie’s Apex Mountain because the role kicked off his career peak trajectory.

They most clearly frame the movie itself as the apex of the Minnesota depiction, with some side talk about Macy and Buscemi also peaking here.

They land on Del Toro as the apex choice, while also debating Brolin's broader peak in Marvel terms.

They land on Ryan Gosling as the apex choice, though they note Emma Stone and the film’s era as part of the case.

They decide this is Brosnan’s peak Bond moment and also note Isabella Scorupco as an apex candidate for her own career.

They agree Carrey's 1994 run is the clearest apex, with the Dolphins' Marino era also mentioned as a team-specific peak.

They call Denise Richards' performance the apex for the movie, with Neve Campbell also in the conversation.

They debate whether Zodiac or The Social Network is Fincher’s peak, with no full consensus, though Zodiac is strongly defended as his best movie.

They treat this as an Eddie Murphy Apex Mountain discussion, with Nolte also mentioned as rising but not the focus.

They describe the film as Apex Mountain for most of the cast and the director, though not Sherilyn Fenn specifically.

They run through several possible Apex Mountain candidates and reject them rather than landing on one clear winner.

They treat this as Kosinski’s apex because it follows Top Gun: Maverick and now adds F1 as a second giant hit.

They explicitly pick Zuniga as the apex-mountain winner, noting the next year's Spaceballs as part of the case.

After debating whether Cusack ever truly peaked, the hosts settle on his late-90s-to-2000 run as his apex.

Bill says Shampoo represents Beatty at the top of his powers because he owned the movie and could do anything afterward.

They lean toward Carl Weathers as the apex discussion, with Stallone and the Philadelphia setting also mentioned as contenders in the broader debate.

In the later apex discussion, Stallone is the clear center of gravity while Bert Young and others are mentioned as side candidates.

They settle on Piven's career peak around Entourage as the most convincing Apex Mountain choice, with USFL-footage movies also mentioned.

They treat Chet’s monstrous toad transformation as the high-water mark for that kind of movie gag.

Rather than giving a person or movie the award, they land on the idea of a boxing match inside a non-boxing movie as the category’s target.

They agreed this sits at or near Carrey’s peak, with strong cases also made for Weir, Laura Linney, Ed Harris, and Noah Emmerich.

They broadly reject every obvious candidate and do not settle on a single Apex Mountain winner.

They treated Redford’s directing run as the peak, with Ordinary People mentioned as the strongest competing high point.

They choose Hanks as the best fit for the role, with Cruise floated only as a hypothetical alternate version.

They treated the movie as Apex Mountain for mountains in movies, with a side note that Pollack's director Apex is probably Tootsie.

They treated this film as Redford’s apex and also made a strong case for George Roy Hill’s peak because of Butch Cassidy and The Sting.

They treat Kareem’s cameo as his peak cultural moment and also discuss the movie as a peak for the filmmakers.

Among the various candidates, Don Johnson's Miami Vice peak gets the strongest endorsement.

They cycled through a few candidates, but Helen Slater emerged as the main Apex Mountain answer.

They bounced between a couple of Peter Coyote peak candidates without a firm consensus.

They treated the Billie Jean name as culturally huge because of the song and the movie’s title connection.

They reminisced about the era’s short-hair aesthetic and named several representative examples.

They called this film the peak for sprawling, fragmented gangster movies and also argued the dope-kingpin biopic subgenre is up there.

They debate Ford's career peak here versus his Star Wars/Indiana Jones run, with Ford ultimately treated as the big winner of the discussion.

They treat this as Coogler's peak of leverage and power, while also saying Jordan's star status is at an apex too.

They place James Caan’s career apex around this era, with Godfather and other 70s work keeping him at peak juice.

Across the Apex Mountain chatter, Verhoeven is treated as the clear peak of the film's creative forces.

Ledger was chosen as the apex pick, with Ang Lee also receiving strong support in the same stretch.

They agreed Henstridge's breakthrough performance was the apex, while Madsen's could be debated against Reservoir Dogs-era fame.

They call the water-skiing murder scene the Apex Mountain for water-skiing/pop-culture imagery, with the kids' summer hangout era also floated.

They call Griffin Dunne’s performance and career moment apex mountain, and separately give Rosanna Arquette a yes as well.

They treat the film as an apex moment for the Die Hard sequel run and for McClane’s sidekick setup, while also floating several other apex candidates.

They settle on Melanie Griffith as the clearest apex-mountain candidate, while noting strong cases for others.

They decide Seagal’s true peak is his next movie, Under Siege, though this film leads directly into it.

In the fantasy recast game, they settle on Doris Burke as the best add for scene-setting and commentary.

The hosts place Beatty's peak somewhere in the Shampoo/Reds run, with Shampoo getting the nod in the discussion.

They say the Apex Mountain choice goes to Richard Dreyfuss because of the film's scale and his star turn.

They treat this as Bronson's Apex Mountain because the film made him a much bigger star and helped define the vigilante-movie wave.

They identify Lucas as the clear Apex Mountain holder, then broaden it into a case that the film is the Apex Mountain of Apex Mountains.

They decide this is Mimi Rogers' apex because the movie showcases her as the full version of the star she could have been.

Van argues the film is the peak of that tactile, surveillance-heavy early-2000s techno-thriller style.

They agree the movie represents Jennifer Love Hewitt's peak moment, with Embry also discussed as a peak-era figure.

They treat the movie’s cold-fusion premise as the peak moment for that 90s sci-fi idea, while also noting Kilmer’s larger career apex discussion.

The conversation ranges across several possible apex candidates, but no single winner is firmly locked in.

They talk through several candidates and eras, but no single Apex Mountain winner is firmly established in the exchange.

They treat Cruise as being in the Apex range and also note this is a huge Don Simpson excess moment.

They treated this as Guest's peak and also discussed strong apex cases for several cast members.

They identify Stallone’s peak as Rocky III/Rambo-era Stallone and also give Talia Shire an Apex-style nod.

They mostly treat Crash as Paul Haggis’s apex, while also noting Terrence Howard’s huge year makes a case.

They conclude John Belushi’s peak is around Animal House/SNL/this film era, with Aykroyd’s peak landing later around Ghostbusters.

The hosts land on Delpy as the film’s Apex Mountain, while noting Hawke and the film itself are also strong contenders.

They treated the movie as a possible Linklater apex and debated whether Hawke's apex was really this film, Reality Bites, or Training Day.

They used the donut-shop discussion to place the donut-shop scene’s apex among comparable movie examples, with Boogie Nights coming up as the benchmark.

They reject Friday Night Lights and instead declare Landman the peak Billy Bob Thornton property.

They say Culkin is at his peak here because the film is a huge hit and leads into another major run.

They agree Culkin is at apex mountain because the sequel was huge and completed his run of hits.

They joke about several Apex Mountain possibilities, but only clearly settle on cereal conversation as the joke winner and leave the others open.

They land on Demi Moore as the peak performance for this era, with Sutherland and others discussed but not chosen.

In the later Apex Mountain discussion, Key West emerges as the hosts' favorite answer for the film's peak aspirational vibe.

They decide the film is the apex of movies about scabs, then broaden into football-movie comparisons.

They joke through several candidates but land on Nicorette as the clear apex-style winner in the discussion.

They settle on Melanie Griffith as the biggest beneficiary of the movie's afterlife, with De Palma also discussed as a contender.

They pick the sheriff’s daughter’s ‘cops do it by the book’ T-shirt as the likely apex object in the movie.

The conversation concluded that Toni Collette’s performance was the likely Apex Mountain, with some side chatter about the movie’s child-death extremes.

They split Apex Mountain across several subjects, but named Philadelphia as Demme's peak and discussed a string of other possible peaks by role or object.

They treat Poltergeist as part of Spielberg's peak run and effectively his apex period.

They discuss several Apex Mountain candidates, but the clearest consensus is that the movie is Apex Mountain for Sundance-driven viral marketing and found-footage horror.

They say the movie is the apex of arm-wrestling cinema, and separately place Golan and Globus near their own peak era.

They agreed Reeves's Apex Mountain remains The Matrix, not John Wick.

They identify The Sixth Sense as Shyamalan’s peak and note that Osment also reached his own apex here.

They made Michael Keaton the clear apex-Mountain pick, while noting Shelley Long was close.

They call Prince the clearest Apex Mountain case, while also tagging several supporting elements and moments as apex-level too.

They say Rudy is Sean Astin's defining role and likely his Apex Mountain.

They hold Pauly up as the standard for obnoxious sports-movie family members, with Frank as another example.

After debating several candidates, they gave the apex-mountain win to Ralph Fiennes for the movie's career peak.

They decide this stretch is essentially Ben Stiller's peak in terms of clout and output.

They said this was Tarantino’s Apex Mountain because the movie let him do almost anything he wanted afterward.

They briefly floated Amsterdam as a recurring cultural reference, but did not land on a firm winner in the category sense.

They concluded the movie is probably the apex of coffee in pop culture because of how iconic Jimmy’s coffee is.

They treated this as a clear Ving Rhames apex because the film helped launch his next big run.

They said Uma’s apex is Kill Bill, not Pulp Fiction.

They agreed Cruise is the stronger apex-mountain star for a Vincent-or-Butch type role, not Hanks.

They kicked around several possibilities for the all-time movie-mistress peak but did not settle the question on mic.

The hosts explicitly agree that this is Hugh Grant’s Apex Mountain because it defines his rom-com run and is his peak performance here.

They define the category narrowly and agree this is the peak of Arnold’s standalone action run.

The hosts treat this film as Tom Arnold’s clear career peak.

Mallory argues Vin Scully’s work here is effectively his Apex Mountain, and Bill pushes back but ends up accepting Don Larsen as the baseball peak instead of another winner.

They initially toy with the tornadoes and other candidates, but Bill Paxton is treated as the apex-mountain answer by the end of the discussion.

They settled on Heather Graham as the apex-mountain pick, with Myers and a few broader cultural candidates discussed along the way.

They chose Leslie Nielsen's success here as his apex, with the film launching his big late-career movie run.

They settle on Adam Sandler, citing Big Daddy as a career peak that helped launch his own production empire.

After some back-and-forth, they lean toward this movie as Tatum O'Neal's peak Rewatchables-era moment.

They decide Reynolds’ peak remains Smokey and the Bandit rather than this movie.

They explicitly call Dennis Christopher’s career peak here, with Indiana’s 1979 sports moment also heavily discussed as a separate contender.

They decide this is Newman’s apex, though they also discuss Onkian's stronger claim as a later pop-culture peak.

They treat this as Sean Penn's apex, while also crediting Phoebe Cates as a major peak of the movie's legacy.

They declare the sports almanac the movie’s apex, while also crediting Tom Wilson’s multi-character performance and the year 2015 as notable candidates in side discussion.

They debate several candidates, but ultimately treat Cruise's performance and star power in Jerry Maguire as the movie's top apex answer.

They identify this period as Ben Stiller’s peak and point to Meet the Parents as the bigger apex nearby.

They treat Ventura’s wrestling/announcing year as his peak while acknowledging Arnold is still climbing toward his own apex.

They jokingly gave the apex to the movie’s seedy late-1970s San Diego atmosphere, with a side nod to Calvinism.

The hosts agree Amy Mann’s work on Magnolia is her Apex Mountain.

They judge Douglas to be at his peak here, with Turner also discussed as a possible peak-era candidate.

They choose Uber as the thing most boosted by the movie's drunk-driving plot, because it makes the risks of driving buzzed feel obvious.

They explicitly say The Town is the apex mountain for the movie and discuss the film's place in North Shore cinema.

Richard Gere is declared the clear apex pick, with the Valley also discussed as a plausible location-based contender.

Bill chooses the movie as the apex of the 1980s teen-comedy lane, beating out Fast Times in his view.

They stack up many possible apexes — Swayze, Sam Elliott, Jeff Healy, Terry Funk, Ben Gazzara, the throat-rip, prison threats, and more — without selecting just one.

They consider multiple apex candidates for Damon, Norton, Famke Janssen, and John Tortoro, but do not settle on a single shared winner in the excerpt.

Coogler is chosen as the main Apex Mountain winner, with the others treated as plausible alternatives or sub-winners in their own lanes.

Tom Hanks is treated as having hit Apex Mountain here, with Robin Wright and others discussed in the same stretch.

They treat this as a strong Apex Mountain case for Harrison Ford in the role of Richard Kimble.

They conclude the movie is a big career achievement for Michael Mann, even while noting Pacino, Crowe, and Plummer were all in strong stretches.

The discussion is broad, but Denzel is treated as the clearest apex answer for the movie itself.

They mention Apex Mountain possibilities for Denzel, Nadine Velasquez, Kelly Reilly, and Zemeckis plane crashes without landing on one clear winner.

They argue 1993 was the apex year for this kind of children's live-action movie, with Fishburne also discussed as a near-peak candidate.

They declare this Seagal’s peak and also note Busey’s peak-era run in the early 90s.

They frame the film as a peak Christmas-lights movie and also as part of a broader Chicago holiday cultural high point.

The category was joked around as a Tulane or career apex question, but no single clean winner emerged.

They say Barkin's performance is probably at her peak here, with this era also being an apex for Pacino's Frank-type characters.

They conclude the Weitz brothers come out best overall, while noting Sean William Scott and Eugene Levy had major career peaks elsewhere.

They treated the film as Apex Mountain for Pitt and Jolie and for the peak of on-set-romance celebrity culture.

The hosts decide Gere is at his apex here, with Winger and Gossett also discussed as apex candidates for their roles and the film's military-trainer genre.

They decide Costner’s apex is his Oscar-winning 1991 stretch around Dances with Wolves and Robin Hood, while Rickman is also considered as a candidate.

They land on Being John Malkovich as Malkovich’s career peak rather than this film or Rounders.

They treat the 1990s as an apex run for Scotland, while also suggesting early-90s San Francisco may be in its own apex era.

They agree Piper is at his peak as a movie-and-wrestling crossover star, though Carpenter is also discussed.

They decide the movie represents the peak of cool teachers in movies, with Lou Gossett Jr. as the standout example.

They give Kasdan the strongest Apex Mountain case, while also floating wins for other cast members in their own lanes.

They treat this as Palminteri’s peak pop-culture moment, with De Niro’s involvement also acknowledged but not chosen.

They discuss several possible apexes, but the discussion lands most firmly on Sofia Coppola’s career peak with this film and its Oscar.

They decide the movie gives the fake hardware store its apex-mountain moment as a murder set piece.

The room settles on Sarah Michelle Gellar's 1999 as her peak, with Buffy and SNL cited as evidence.

They treat the film's masked orgy sequence as the apex version of that kind of scene and joke about the whole concept of the party itself.

They debate several Chevy Chase peaks, but the conversation lands on Chevy himself as the apex choice for the era and the character.

They debate several candidates, but Cruise is treated as the Apex Mountain answer for this movie.

They declared this movie Apex Mountain for Satan on film, while briefly entertaining other candidates.

They name The Godfather Part II as Pacino's Apex Mountain, with other cast members' peaks discussed separately.

They land on McConaughey as the career peak here, with Bullock and Jackson discussed as nearby alternatives in the broader period.

They land on this film as Seth Rogen’s apex, with Neighbors offered as the main alternative.

They bounce around possible Apex cases for Harrison Ford, the Holy Grail, blimps, and other elements, but do not land on one clean winner.

They call Titanic Leo’s apex mountain, while noting Blood Diamond as part of a second peak period.

They treat Jim Carrey as the likely apex-mountain winner, while noting Jeff Daniels also had a strong year with Speed.

They agreed Casino Royale marked Craig’s apex, and also noted Eva Green’s as her biggest moment.

They agree Sevigny's profile is at its peak here, with some side discussion of other candidates.

They land on Beverly Hills Cop as Eddie Murphy's Apex Mountain, while also debating other possible peaks for Landis and the film itself.

They say chefs as a profession hit their peak with this movie, with South Beach also discussed as an apex locale.

They say this movie is Downey's apex, while also recognizing Favreau's career jump from it.

They conclude Van Damme's apex is Bloodsport, while also acknowledging Powers Booth and a few other candidates.

They treat Sigourney’s jump to Aliens as her apex, while also joking about Harry Dean Stanton’s perpetual apex-status life arc.

They declare Demi Moore's career peak here, with Woody Harrelson also getting an Apex Mountain nod.

They place Ray Allen’s apex at the Finals shot and discuss Denzel’s apex as a separate debate.

They hit several Apex Mountain candidates, but the clearest room consensus is that 2009 was a peak year for Bill Hader on SNL.

They debate several contenders, but do not lock one winner cleanly, though Sean Penn is the main candidate and Esai Morales is discussed for his own peak elsewhere.

They argue this is part of Hawke’s 2013 peak run and a strong home-invasion benchmark.

They agree DiCaprio’s apex is Titanic because it made him the biggest star in the world.

They give J.K. Simmons Apex Mountain for the performance, while saying Teller still has room for a bigger peak.

Meg Ryan is named the clear Apex Mountain pick, with Rosie O'Donnell and Seattle also discussed as strong cases.

They say the movie may represent the peak of full-service gas stations, with a shout-out to Seattle as well.

They treat the film as a major Burt Reynolds summit while also acknowledging its broader cultural reach.

The hosts call this Tom Hanks’ apex mountain, with Elizabeth Perkins also mentioned as having her own peak here.

They place plane crashes at or near the top of the category while also talking through related apex debates.

They debate several candidates but ultimately land on Payne as the main apex-mountain winner for the film's impact on his career.

They point to Stallone's mountain movies and especially this era of his career as the apex, with Janine Turner also getting a mention for the role.

They debate several possible peaks, but the conversation centers on the franchise and Cruise’s action-movie apex.

They decide this is not Will Smith's Apex Mountain and instead name Hitch as the peak.

They settle on Good Will Hunting for Boston movies, while also debating courtroom and actor-specific apexes.

They treated Dakota Fanning’s performance as the only plausible Apex Mountain candidate, even if the category remained somewhat debatable.

They decide Candy's Apex Mountain is Uncle Buck, while Martin's is less clear and debated.

They decide Turner’s apex is Romancing the Stone and Kasdan’s is The Big Chill.

They debate whether the chimes qualify as an apex-mountain prop but never settle it cleanly.

For De Palma, the group favors Dress to Kill as the point where he could do almost anything he wanted.

They decide the movie represents the peak of the leather/S&M aesthetic in film rather than any individual career apex.

They settle on Gere's performance as his apex, while noting Armani also benefited enormously from the movie.

They decide Bart the Bear is at Apex Mountain for bear movies, while noting Perrineau’s career peak separately.

They reject the human contenders and land on the Daewoo Lanos as the movie’s clearest Apex Mountain winner.

They frame Pacino's 1992 run, capped by this role, as his apex-mountain candidate.

They agree Anna Kendrick was at her career peak around this film, with Elizabeth Banks and Rebel Wilson also receiving peak-era mentions.

They treated Burt Reynolds’s performance here as his career peak, while acknowledging other cast members and elements as apex-worthy too.

They ultimately settle on JC Chandor as the biggest apex-mountain winner because the movie launched his career.

They mention several possible Apex Mountain candidates, but never narrow it to one definitive choice.

After debating a few candidates, they decide the movie is the peak World War II film and maybe the peak for combat filmmaking too.

They decide the movie is not Apex Mountain for Stallone or Russell, then toss out a few other non-definitive candidates.

They name Slade's Ferrari as the movie's clearest Apex Mountain pick.

They agree Travolta hit Apex Mountain here, while Olivia Newton-John's peak is debated but not chosen over his.

They treated The Mummy as Fraser’s apex, while also joking that Eastern Promises remains the benchmark for naked shower fights.

They said Peterson is the movie’s apex mountain, with Dempsey as a separate maybe-no candidate.

They call Unforgiven Clint Eastwood’s post-prime apex, over titles like In the Line of Fire and Perfect World.

They debate the genre’s apex among several classic western eras but do not land on a single answer.

They identify this as DDL’s apex, while also saying it is probably PTA’s apex as well.

The room leans to Above the Rim as the apex of 1990s basketball movies, though Blue Chips is the main rival.

They say the movie's shadow-hooping obsession is the unquestioned peak of basketball-without-a-basketball scenes.

They connect the movie to the broader early-90s New York basketball moment and treat it as the high-water mark.

They treated this film as Connelly’s apex, arguing the role gives her the biggest mainstream surge and best showcase in years.

They explicitly make Kathy Bates the apex for crazy obsessed fans, while noting King of Comedy as the all-time benchmark for the type.

They decide the film is an apex for movie parties, with North Pasadena and the cast’s careers also mentioned as possible peaks.

They agree Ferris Bueller is the Chicago-movie apex, while De Palma's apex case for this film is discussed but not chosen.

They name Redford as the peak beneficiary of the film’s success, though Hirsch also gets enthusiastic support as having his own career apex here.

They land on Oliver Stone as the apex pick, with Costner and the JFK-conspiracy moment also discussed as strong cases.

They declare Harrison Ford at Apex Mountain, with Karen Allen also getting an Apex Mountain mention.

They treat the movie as the apex of pistol whipping on film, especially the Billy Bats beating.

They agree Scorsese himself is at his apex because Goodfellas resets his career and launches his later run.

They ultimately frame it as Apex Mountain for Schwarzenegger’s movies rather than for Schwarzenegger himself, while also giving strong cases for several other people.

They decide Vernon Wells' Bennett role is the performance most associated with his peak visibility and recognition.

The hosts agree Stallone's mid-1980s run around Rocky IV is an apex-mountain peak for his career.

They treat Stallone's hanging sit-ups and related training feats as the high-water mark for that specific skill.

They argue Freeman’s post-Shawshank run plus Seven gives him the strongest Apex Mountain case.

The hosts explicitly crowned Tom Cruise's late-80s star run as the movie's Apex Mountain, while also discussing other possible candidates.

They use Apex Mountain to argue that Fox's combination of TV fame and movie stardom marks the peak, while also elevating Zemeckis and others.

In the Apex Mountain roundup, they ultimately pick character-actor John Voight as the standout winner.

After considering Coppola, Pacino, De Niro, Paramount, and mafia movies, they give Apex Mountain to movies overall.

After debating Leo, Scorsese, and Bernthal, the conversation lands on Jonah Hill’s Donnie as the most plausible apex-mountain pick.

They decide Skyfall is Daniel Craig's Apex Mountain, while Bardem's peak is treated as a separate debate and not the final choice here.

The hosts float several candidates for Shelley Duvall but never settle on a definitive Apex Mountain pick.

Bill identifies Iron Man 3 as Rebecca Hall's apex, while the others mainly agree she is well cast here.

They ultimately treat Tarantino as a strong maybe, but Brad Pitt and several others are discussed as clear Apex Mountain candidates.

They treat Bardem’s Chigurh as the apex of his career, while also noting Brolin’s film as a career-changing moment.

They make the case that this film marks Robin Williams' peak as a movie star and major dramatic actor.

They joke that Segel's full-frontal scene is the apex for his on-screen anatomy, then broaden the discussion to Segel's career peak.

They choose Brimley's performance here as his Apex Mountain, arguing it is the most iconic and most fully Brimley version of Brimley.

They debate a few candidates, but Tony Scott is chosen as the person at the peak of his powers for this movie.

They debate several possibilities, but Willis is ultimately named the Apex Mountain winner for the movie.

After some back-and-forth, the room settles on Roy Scheider rather than Robert Shaw as the best career peak among the main players discussed.

In the formal Apex Mountain discussion, the group settles on Sorkin as the best peak pick, with Fincher debated as the main alternative.