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They called this the apex for Del Frisco's Steakhouse, while locating Butler's and Foxx's career peaks in other movies.

They endorse several 1985 peaks, while placing Vietnam films, Martin Kove, and movie knives elsewhere.

They place Ferrell near his 2004–08 peak, make a case for Reilly, and discuss Cohen’s Borat year, NASCAR movies, and other individual peaks. There is no single category winner.

They frame the movie as an Apex Mountain for American ingenuity.

They treat the movie itself as the apex example of the die-hard-ripoff wave rather than an apex for Keanu or Sandra Bullock.

They suggest this may be the peak of Seth Green's run, though the movie itself is also discussed as a Mini Cooper showcase.

They treat this film as an apex-mountain boost for Macho Man Randy Savage and also note the movie’s broader cast-and-location peak moments.

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 say Seagal’s overall Apex Mountain is Under Siege, though the movie’s acupuncture/coma recovery and Ojai stunt work are singled out as peak Seagal absurdity here.

They decide Heigl’s celebrity peak is here, with Rogen also discussed as a possible peak candidate.

They agree this is the peak movie in the unplanned-pregnancy subgenre.

They talk through several possible apex candidates and mostly frame it as a broader career-era discussion rather than a single clean winner.

They revisit Apex Mountain as the peak of a career and use E.T. as the kind of example the category is meant to capture.

They discuss the theme-month idea but do not adopt it as a finalized award in this transcript window.

Stallone was identified as being at or near his peak here, with a separate case made for Burt Young as well.

They decide Star Wars remains the merch apex, while also debating adjacent categories like friendly aliens and kids movies.

They reject this film as Eddie Murphy’s apex and instead say the first Beverly Hills Cop remains the peak, while Brigitte Nielsen is judged to be at her peak here.

They debate the exact timing, but all agree this era represents Mike Myers’s peak cultural power.

They treated Davis’s run through Thelma & Louise and this film as the peak, while also briefly nodding to Marshall’s success.

They decide Dunst's Mary Jane era is her career peak, while also treating this film as part of Spider-Man's apex run.

After rejecting individual cast members, they declare Robert Altman the clear apex mountain winner for the movie and the comeback it represented.

They bounce around several Apex Mountain candidates, including Val Verde, Bruce Willis, Rennie Harlan, airport movies, and naked Tai Chi, without settling on one.

They treat the panic room itself as the clear apex-mountain answer, with propane-related mayhem as a secondary joke candidate.

They debate Mark Wahlberg's peak and land on this era as a strong Apex Mountain candidate, though Ted is also suggested.

They debate a few candidates, but settle on Leo as the clearest apex-mountain winner for becoming the biggest star in the world.

They conclude this is Keaton's peak-juice movie, while also debating whether Basinger or Burton might qualify in other ways.

After debating several candidates, they declare Joan Allen's career apex to be this movie.

They mostly land on Dustin Hoffman for the movie’s apex moment in his career, while also naming strong cases for Streep, Justin Henry, Benton, Entenmann’s, and even French toast.

Mary Steenburgen is treated as the likeliest apex call, while Ron Howard's directing peak and several other nominees are debated.

The hosts briefly broaden the category into a discussion of parent-comedy movies and never land on a firm consensus beyond the film itself.

The grandmother character is singled out as an unusually successful funny old-grandparent role.

They agree that Anne Hathaway is at her Apex Mountain here, with Rosemarie DeWitt also acknowledged as peaking in the film.

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 discuss De Niro and Pesci's career peaks but don't lock a single clean Apex Mountain winner for the movie.

They settle on Kurt Russell as the movie's apex, while noting other possible peaks like Olympic hockey and the PNE Agrodome as a setting.

They treat this as Dickerson’s peak as a filmmaker, while also jokingly giving Cindy Herron a peak-year nod for this movie and En Vogue.

They debate several candidates and land on American Sniper as Cooper’s apex, while also praising the film’s financial performance for Relativity.

They explicitly frame this as Steve Martin’s mainstream Apex Mountain, with the broader wedding-movie boom also mentioned.

Bruce Willis is chosen as the apex, with the Wayans brothers, early-90s Halle Berry, Tony Scott, Joel Silver, and other items discussed as secondary candidates.

They say Travolta's overall peak is really Grease, while also noting disco and the Brooklyn imagery as major apexes of the era.

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

They end up calling Indiana the apex and land on Keith Smart as the specific answer.

They rule out Will Smith, BD Wong and even Margot Robbie for this movie's Apex Mountain spot, leaving it effectively open.

Bill names Braveheart-era Mel Gibson as the apex, while Van argues Rene Russo's 1996 run may be her peak.

Mann describes Heat as one of the moments when his planning, training, and execution all came together at the highest level.

They conclude the movie itself is the apex for Halloween as a holiday movie and for the character's cultural reach.

They decide this is Mastrantonio’s Apex Mountain because the movie makes her feel like a major star in the making.

After several candidates came up, they explicitly settled on the knife as the movie's apex-item winner.

They frame this as DiCaprio’s breakout apex, while also acknowledging a strong case for Damon and a few other adjacent candidates.

They decide the song's use at the end is the movie's apex, with one host also briefly nominating Robert Carlyle's career peak.

Bill declares Norm Macdonald’s 1998-era stardom and Grantland debut his apex, and Sean agrees the movie itself was nobody else’s career peak.

They call the film O'Connor's artistic apex while acknowledging Hardy and Edgerton as possible alternatives.

They consider several candidates, but conclude that Russ Ballard is the standout apex winner because his songs anchor both parts of the episode.

They reject most candidates and land on Sammy Sosa as the apex-mountain winner for the era and cameo.

They lean toward Cruise's 1988 run as his peak, while separately noting Hoffman’s peak in Kramer vs. Kramer.

They say Argo is Affleck’s apex because the Oscar win and comeback peak his career.

They identify Jonah Hill as a major career peak candidate, while also noting Michael Cera’s peak-era placement.

Ipswich Town gets the clearest Apex Mountain nod, while a few other candidates are dismissed or joked about.

They call the camera rifle the clearest Apex Mountain, while also arguing Whitney’s career peak is effectively the national anthem performance rather than this film.

They decide Pitt's performance and career boost here make him the clearest Apex Mountain pick over Norton.

Reese's career apex is identified as her Oscar, while Matthew Davis's apex is said to be Blue Crush.

The conversation settles on Will Smith as the peak usage of his movie-star persona, with Bill Pullman and Harry Connick Jr. discussed in related Apex tangents.

The room settled on John Singleton as the film’s Apex Mountain, with Ice Cube also receiving a serious case.

They decide Oates is at his apex here, while Murray’s apex is identified as Ghostbusters.

They say Billy Crystal is at his apex here, while Daniel Stern also gets a yes and Jack Palance gets Shane as his peak reference.

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

They call this Guy Pearce’s peak, while also arguing that Carrie-Anne Moss is at her best around this stretch.

They explicitly call Cage's post-Oscar, big-lead moment his peak, while also treating the movie itself and Alcatraz as other apex candidates.

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 call this film the apex mountain for South African villains, with separate praise also given to several other category candidates.

They explicitly reject most of the obvious candidates and land on Charlie Korsmo as the apex pick.

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 make the case that Robin Williams' 1993 run around Mrs. Doubtfire marks his apex, with Brosnan and Sally Field rejected for the category.

They applied Apex Mountain to several targets, with CSI as Peterson's career peak and Silence of the Lambs as the stronger larger-franchise apex case.

They discuss several Apex possibilities, but the inflatable-trampoline-style building jump is treated as the clear top example for that stunt type, while Donner is also noted as peaking here as a director.

They reject most candidates and conclude Prosky is the clearest Apex Mountain choice, with Chicago diners also jokingly invoked.

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

They decide this is James Wan’s apex because it breaks him out of Saw and launches his bigger career path.

They agree this is Clive Owen’s apex, while also giving Foster an apex nod and debating other category-specific apexes.

They give Wesley Snipes the apex mountain nod, while also debating whether the movie or New Jack Swing itself qualifies as the peak of the era.

Val Kilmer is declared to be at his career peak for the role of Jim Morrison.

For frat movies they pick Animal House, while separately arguing Seth Rogen's career peak depends on whether you value this film or his earlier run more.

They decide Arsenio Hall is at Apex here, while James Earl Jones is discussed as a harder-to-place, career-spanning case.

They agree the movie is the peak example of the fake Cape Cod house and also argue Roberts may be at her apex here.

They bounce around possible apexes for Scorsese, De Niro, the mid-70s New York look, and even clap pushups, but never choose one.

They float several Apex Mountain candidates, including Clooney, J.Lo, Ving Rhames, Elmore Leonard, and Detroit, without settling on one.

The hosts agree this is Arnold Schwarzenegger’s Apex Mountain, with Cameron discussed but not chosen.

Rather than awarding the film itself, they treat 80s Los Angeles as the strongest Apex candidate, while also noting Titanic as Cameron’s true apex under a stricter reading.

They treat Crenna’s Troutman as the clearest Apex Mountain case, while also tossing out several looser Apex candidates and categories.

They identify Gwyneth Paltrow as Apex Mountain, with the Wilson brothers discussed as another possible apex-level element of the film.

They ultimately chose Melissa McCarthy as the peak beneficiary of the film, while also giving strong cases to Hamm, Wiig, Byrne, Wilson Phillips, and the movie itself in different mini-categories.

They explicitly call Dreyfuss’s trying-not-to-cry face his apex mountain, with the song-use as a secondary contender.

They treat this as a strong case for Damon's apex as a global action star, while briefly mentioning Potente and amnesia as other possibilities.

They decide Leighton Meester is the clearest Apex Mountain choice, with some argument that Hedlund's profile also peaked here.

They name Omar Epps as the Apex Mountain pick for this movie and his early-90s run.

They choose Douglas as the episode’s apex performer, with Stone also getting a strong case for his 1987 run.

They decide the movie is the high-water mark for Hollywood snuff-film stories, with the fabricated LA underworld also in contention.

The hosts briefly consider Christmas movies and international flight-making, but ultimately land on Macaulay Culkin as the clear Apex Mountain pick.

The room agrees Hanks's 1995 run is the Apex Mountain, while Jobs is discussed but not chosen.

They decide the movie itself helped launch the late-90s wave of president-centered Hollywood stories, while Reiner is mentioned as a possible runner-up case.

They agree that The Exorcist is William Friedkin’s apex mountain because of the movie’s enormous cultural impact and success.

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 discussed several candidates, but settled on the Globe itself as the movie's apex mountain in real-life newsroom power.

The hosts decide this is not Matt Damon’s Apex Mountain and settle on the first Bourne film as the better answer.

Jason Wiles is treated as having the strongest apex case, with Josh Hamilton also discussed as a serious contender.

They briefly assign Apex Mountain to Deborah Kara Unger, while also joking about the film's use of Johnny's Coffee Shop and San Francisco locations.

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

They agreed this movie launched Emma Stone’s rise, but argued her later Oscar win means Easy A is not technically her peak.

They explicitly called Diane Lane's performance her apex, while also mentioning Olivier Martinez as a possible apex for his role.

They jokingly declare Verbal’s huge urine stream an apex-level movie image.

They decide Dangerous Minds is the all-time apex for the white-savior school-teacher movie subgenre.

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

Steve Carell is the clear Apex Mountain pick, while they also discuss strong cases for Apatow, Catherine Keener, Paul Rudd, Romany Malco, and the tech-store setting.

They agreed Christian Slater’s career peak was here, while also noting the Pixies and the pre-grunge college-rock era as peak moments in the movie’s ecosystem.

They broadly treat the movie as Bill Murray's apex, while also giving strong cases for Rodney Dangerfield and even Ted Knight in other career contexts.

They debate a few candidates, but ultimately settle on Will Smith as the movie's Apex Mountain winner.

They ultimately call this DDL's apex era entry and also praise Studi, Stowe, and the film's waterfall jump as peak moments.

They conclude the movie is more plausibly Apex Mountain for werewolves than for Michael J. Fox himself.

They explicitly say Apex Mountain goes to every kid in the movie, with the director mentioned as a secondary pick.

They largely land on Swayze as the peak of his run, while acknowledging Demi Moore and others have a case too.

They argue Patrick Wilson's 2013 was his peak because of this movie and Girls, while also noting Lily Taylor's lead role as a career resurgence.

They conclude Edward Norton’s Apex Mountain is Fight Club, while noting American History X as an early peak and Birdman as a later showcase.

The conversation wanders between Rob Reiner’s career peak and the film’s own peak expressions of childhood mischief, without a single clean consensus.

Within the category they declare multiple apexes, but the strongest single consensus is Jon Favreau, with Vaughn also cited as the movie’s on-screen spark.

They explicitly crown the 1982 Jeep CJ7 as peak car-dork status in the movie.

They treat Georgetown's 1985 cultural moment as apex-level because the movie overlaps with Patrick Ewing's title run and the campus setting.

They decide Gloucester itself is the best-case apex from the movie, while treating any character-specific apex as debatable.

They debate several apex candidates, including Chevy Chase, Kareem Abdul-Jabbar, Chick Hearn, and Harold Faltermeyer, without one clear consensus.

They call this the peak role for Ione Skye and also make a case that Cusack's broader career peak comes in two separate eras.

In the retroactive catch-up, they explicitly crown Boyz II Men and also mark several other elements as apex-worthy.

The hosts ultimately declare this the Bay apex, while also making a case that Billy Bob Thornton peaks here.

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.

They argue this could qualify as the Browns’ apex mountain of the 21st century because even the movie’s happy ending is rare team success for them.

Bill ultimately landed on Tony Scott as the apex pick, though the group also floated Robards’ cameo as its own mini-peak.

They settle on the movie itself as the apex for the Groundhog Day concept, while also noting a strong case for Harold Ramis’s career peak.

Russell Crowe is chosen as the apex-mountain winner, with Hans Zimmer and others also discussed as possible peaks.

They decide this is not Apex Mountain for anyone, though Sandra Bullock and Bill Pullman both get hypothetical cases.

The group debates several possible peaks, but settles on Russell as the most defensible choice while acknowledging there is no clean single answer.

Stellan Skarsgård is picked for his peak late-90s run, while Frankenheimer is separately credited with his own apex as a director.

They land on John Hughes as the clear apex-mountain figure, with other possibilities mentioned but not chosen.

They explicitly call Sanaa Lathan’s performance an Apex Mountain case and then debate whether Omar Epps qualifies as well.

They explicitly name Sharon Stone's performance as the Apex Mountain of the movie.

They effectively rename the category around Lisa Bonet’s peak rather than any single career milestone from the movie.

They treat this stretch as part of Arnold’s peak era, with some discussion of Verhoeven and other supporting candidates but Arnold as the clear center of gravity.

They explicitly call Chris Farley an Apex Mountain selection, with David Spade also receiving a yes and the Midwest and brake pads discussed as context rather than winners.

They crown Michelle Rodriguez as the key Apex Mountain pick and also extend the award to Abu Dhabi and the movie's bald-star lineup.

They ran through several people and places, but Macchio was the clearest Apex Mountain winner.

They choose Blunt as the apex point here, while acknowledging Liman as another contender in the discussion.

He says the movie is apex mountain for volleyballs, with Fiji and Chris Noth also mentioned as possible candidates.

They pick Andy Garcia as the clear Apex Mountain winner, while also joking that Donald Donnelly and Sofia Coppola have their own odd peaks.

They ultimately land on Brad Pitt as the strongest Apex Mountain candidate, though the discussion ranges widely over other possibilities.

They treat John Waite's 1985 pop-culture peak as the main apex conversation, while also noting the movie as a high point for Spokane.

They debate a few candidates but end up treating Singleton as the peak-name choice in the category.

They explicitly name Molly Ringwald as the film’s Apex Mountain, while also discussing strong cases for Judd Nelson and Anthony Michael Hall.

They settled on Brad Pitt as the most plausible Apex Mountain answer, with some discussion of his broader career peak.

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

They choose Walken as the movie’s apex, with Fishburne also strongly considered for the honor.

They conclude Chris Pine is the best Apex Mountain pick because this is the movie that most fully establishes him as a movie star.

They decide this is Jude Law’s Apex Mountain, with Gwyneth Paltrow also getting a case but not winning out.

They ultimately treat Dunkirk as the movie that confirms Nolan at the top of his powers, even with one dissenting view.

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

They settled on Christopher McDonald, with Vern Lundquist and the TV-sportscast angle discussed as notable alternatives.

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.

They separately argued for different people across the cast and Nancy Meyers without settling on one overall apex.

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

The room ultimately calls this Butler’s Apex Mountain, even though Schreiber gets a strong competing argument.

They pick Terry Garr’s career peak as the apex, while also saying the concept of Mr. Mom itself is the movie’s apex.

They agree this film represents the peak of the formula for glossy Disney sports dramas.

They agree that Morgan Freeman's career peak here is his apex mountain.

They toss around several candidates, including Eddie Murphy, Lisa Eilbacher, and the film's institutions, without a final consensus.

They decide Newman is at his career peak after this movie, with Hill also mentioned as a strong alternative in a broader sense.

They conclude the movie marks Spike Lee’s filmmaking peak, especially for his fiction work.

Michael Douglas is named the peak of his career here, with Glenn Close and Adrian Lyne also discussed as Apex candidates in their own lanes.

They explicitly name Rosamund Pike as the apex choice, while also reaffirming that Fincher's apex remains The Social Network.

They settle on Revenge of the Nerds as Donald Gibb's apex, with Bloodsport discussed as a possible but second-best option.

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

Madsen is ultimately treated as the Apex Mountain pick, with Roth also mentioned as a possible case.

They land on the Navy as the biggest winner from the film, with Bruckheimer and Simpson mentioned as another possible peak.

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

After considering Crystal, Reiner, and even New York as possibilities, they land on Billy Crystal as the Apex Mountain winner.

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

The room settles on Rachel McAdams as the career peak pick, with Wedding Crashers and The Notebook both discussed as contenders.

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

They call this Vin Diesel's Apex Mountain and also agree it is a peak Fast Five moment for Paul Walker.

They agree this is Todd Phillips's peak moment, while also noting Galifianakis and even Vegas as contenders in related ways.

They debate Keanu’s apex at length, mention Speed and The Matrix, and never land on a clean consensus.

Lindsay Lohan was treated as the obvious Apex Mountain winner, with Tina Fey mentioned as a strong secondary case.

They settle on Kevin Costner as the apex pick, with Iowa and the baseball movie era also discussed as strong alternatives.

They debate several possible peaks, including Charlie Sheen, Tom Berenger, Dennis Haysbert, Margaret Whitton, and James Gammon, but do not settle on one definitive Apex Mountain winner.

They agree Pretty Woman is Apex Mountain for Richard Gere.

After rejecting most human candidates, they land on Brimley's chest hair as the undeniable apex of the movie's mountain-level achievement.

They clearly named Jim Brooks as the Apex Mountain pick, while noting the movie also made a strong case for several others.

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.

After some back-and-forth, they allow Ethan Hawke to take Apex Mountain because of the career leverage he gained after Training Day.

They debate it, but Kevin Kline gets the nod as the best apex-mountain candidate for the film.

They agree Cooper's overall career peak is the clearest fit, while Gaga's peak is discussed more tentatively.

Bill lands on Walter Hill as the peak presence, crediting him with setting the template for action movies.

They identify David Morse as the clear Apex Mountain pick for this movie.

They decide Neil Moritz's creation of the franchise is the clearest Apex Mountain, even though Fast Five is discussed as a later peak for the cast.

They give Todd Phillips the apex mountain for the movie's success and its place in his rise, while Vince Vaughn is also considered.

They ultimately agree Coppola is the clearest Apex Mountain choice because the film defines his career and the New Hollywood moment.

They debate several contenders, but Kurt Russell is ultimately identified as the peak of the movie's star power discussion.

The discussion shifts to Kilmer, and the room treats his Tombstone/Heat run as his best career peak.

They agree this is Jason Priestley's career peak because of the combo of 90210 fame and a big movie role.

Cage is declared the Apex Mountain pick, with other names discussed but not chosen.

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

Although Redford and Hoffman are discussed, the room lands on Jason Robards as the film’s clearest Apex Mountain performance.

They treat the category as best suited to lesser-known cast members and ultimately single out Mel’s actor because his role is the clearest career peak discussed.

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

The room agrees Johnny Chan is the apex because the movie immortalizes him as the legendary poker figure in the key showdown.

They explicitly name Liam Neeson’s performance in Taken as his Apex Mountain.

The room explicitly treats Fury Road as George Miller’s apex, while Charlize Theron’s apex is pushed to Monster and Tom Hardy’s to Warrior.

By the end of the discussion, they treat Vince Vaughn as the movie's peak star and performance level.

The room settles on Rupert Everett as the apex-mountain winner, though Julia Roberts is also argued as a strong case.

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

After rejecting most candidates, they agree Stephen Burum's Apex Mountain is The Untouchables.

They call Grodin's performance an Apex Mountain and discuss several possible apexes for De Niro before giving the overall win to De Niro for the movie.

They explicitly name Catherine Hahn's work here as her apex in the film's comedic context.

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.

They identify Tucci’s cookbook-era prominence, with the movie role serving as a strong second peak.

His later network-TV success is treated as Baker’s peak rather than this film role.

They agree Grenier’s real apex was Entourage, not this movie.

They agree this movie is Hathaway’s Apex Mountain because it cemented her as a mainstream A-list star.

The room treats her run into Mary Poppins as Blunt’s apex-era stretch.

They conclude Streep’s overall career peak makes her the Apex Mountain winner here, even while acknowledging other landmark roles.

They choose Tom Hanks as the film’s apex, while briefly debating and rejecting Zemeckis as the better career peak answer.

Jeff Goldblum is named the Apex Mountain choice, with Spielberg and the T-Rex discussed as alternate answers.

Brad Pitt is agreed to be at his peak here, with Rusty Ryan described as his most charming and effortless mode.

They debate several possible apexes and end without a single clear consensus, though Denzel's Training Day era carries the room.

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

They decide this is Tony Gilroy's peak, and then separately argue that it is also one of George Clooney's best performances.

Sean explicitly picked Wally Pfister as the peak performer for the film, while Andrew backed JGL.

They debate Michael B. Jordan and Ryan Coogler but explicitly say the choice is too tough to call.

The conversation strongly lands on John Goodman as the performance peak of the movie's cast.

They agree that the movie itself is Peele's apex moment so far, while noting it is too early to judge his long-term peak.

They treat Farrell’s performance here as a serious apex candidate and ultimately name him the winner.

They treat James Van Der Beek’s Dawson's Creek/Varsity Blues period as his career peak.

They settle on Andrew Keegan as the movie’s apex, with Julia Stiles briefly discussed as an alternative.

They reject Zodiac as Gyllenhaal’s Apex Mountain and lean instead toward later titles like Enemy and Prisoners.

They say Zodiac is a major turning point for Downey but not his peak, with Kiss Kiss Bang Bang and later fame stronger contenders.

They call Eddie Murphy the apex pick for the movie, while also separately noting strong apex cases for several other cast and crew members.

The conversation lands on Ice Cube as the movie's apex, though they note Chris Tucker and John Witherspoon as strong alternatives in the broader discussion.

They discuss several candidates, but the conversation clearly lands on Heath Ledger as the film's Apex Mountain winner.

They agree this movie is Apex Mountain for the actor they jokingly call Derwin Crabb.

The panel quickly rejects the candidates they name and does not land on a definitive Apex Mountain choice.

They agree Nev Campbell’s peak is the intervention scene on Party of Five rather than this movie.

Paul Rudd is identified as being at his best in the film.

They agree that James Cameron reaches his apex here, with Billy Zane mentioned as a secondary case.

Sandra Bullock gets the strongest support as the movie’s apex, with Keanu discussed as still having more climb left.

They directly choose Hopkins as the film’s Apex Mountain, while acknowledging Demme’s broader career peak separately.

They agree this is a great Hanks performance but explicitly say it is not his Apex Mountain.

They conclude that When Harry Met Sally is Nora Ephron's peak over You've Got Mail.

They debate whether this is Meg Ryan's peak but do not reach a shared answer, with When Harry Met Sally offered as the strongest alternative.

The discussion treats Swayze as the clearest apex, while Keanu gets a serious but secondary case and the others are dismissed or debated more lightly.

The room explicitly crowns Tom Cruise's performance and career peak as the film's Apex Mountain.