THE CATEGORY
CABINET

The hosts cannot identify a deserving overacting performance.

Both Sato and Chosen receive enthusiastic support for their heightened performances.

They explicitly call out Modine's acting as the over-the-top performance in the movie.

They mention Marty Craven and Ernie Hudson, but do not fully agree on a single overacting winner.

They identify the actor playing Gozer as the movie's over-the-top performance, while acknowledging the casting rumor uncertainty.

They agree Richard Tyson is going for broke and overacting hard as Crisp.

Michael Douglas wins for his big, yelpy line readings and escalating performance as Nick unravels.

Kenny the drummer and Joey Pants are singled out for going hardest with their performances, with Kenny taking the nod.

They treat Blueface as the standout overactor in the movie, with Tally's shouted monologue as the main alternative.

The hosts joke that the movie is too restrained for a true overacting winner, so no clear pick emerges.

They give the overacting prize to Alan Cumming’s big, manic Boris performance.

Sean Young's twitchy final-act performance is identified as the clearest overacting winner.

They choose Teresa Randall's big, melodramatic performance as the standout overacting, with Bacon's outburst as a secondary example.

They give the overacting award to the hotel clerk for dialing everything up in the Chinatown hotel sequence.

Bill says Beatty pushes the breakup crying a little too hard compared with his usual comfort zone.

They pick Mickey/Burgess Meredith as the movie’s overacting champion because he’s constantly yelling and mugging.

They singled out Philip Baker Hall for making the most of a very small part.

They single out the old ER doctor as an overacting problem in the movie.

They agreed Delgue is the big overacting standout, with the grieving mother also mentioned.

Redford was singled out for dialing his performance up more than usual in the movie’s con scenes.

Gary McCord is the choice for the most showy, over-the-top performance.

The discussion focused on the grotesque parent performances without a clean single winner.

They nominate Eli's exaggerated response as the movie's most over-the-top performance beat.

They float Jonathan’s ex-girlfriend as an overacting candidate, but do not settle on a clear winner.

They focus on Miguel Ferrer's big Bob Morton performance, with ED-209 also getting singled out for going over the top.

The discussion centered on Whitaker's odd empath performance, but no clean winner was formally settled beyond him being the focus.

They joke that Streep is doing a lot of acting, but in a good way.

Donna Wilkes is named for the loudest overacting, though Anne Duesenberry's Tina is also called out for chewing scenery.

They pick Griffin Dunne for the overacting award because he dials up the manic energy repeatedly.

They single out Kevin Spacey as the movie's clear overacting standout.

They give the overacting nod to the wildly amped-up man in the wheelchair near Richie.

They say Morton's performance turns up very high and use it for the overacting award.

Sarah Rue gets the overacting award, though Bill keeps circling back to Embry's performance.

They single out Duvall’s exaggerated laugh-and-taunt energy, with Cruise’s more manic car moments also in the conversation.

They agreed Hamilton Swan dials the performance up the most, even if that's the point of the character.

After a few nominations, they land on Thandiwe Newton’s big crying scenes as the most over-the-top performance.

They label Jackie Sharp's performance as the standout bad acting choice in the movie.

Bill and Sean land on Aretha Franklin’s big scene as the most over-the-top performance candidate.

They did not land on a clear overacting winner, mostly joking that the street-level side characters might be the closest fit.

They explicitly gave this to Gerard Butler for playing Big Nick at full tilt throughout the movie.

They choose the airport worker who says 'boredom' as the scene-stealer because he commits so hard to the line.

They nominate Wahlberg's big Shakespeare/literary classroom speech as the most over-the-top performance beat.

They zero in on the detective's exaggerated noir-style performance as the winner.

They give the overacting prize to Dr. Loomis, while noting the hitchhiker as another wild contender.

Anthony Heald was called out as the biggest overactor, with Brooke Smith also mentioned as a possibility.

They can't land on an overacting winner and mostly conclude the movie is well acted and well cast.

They give the overacting award to Mike for being extra aggro before the horror really starts.

The room leaned toward Viggo's big yelling scene as the movie's most over-the-top performance beat.

They choose Trevor Morgan’s bullying kid performance as the most over-the-top acting in the film.

Winkler’s frantic office meltdown was the main example of overacting.

They say Ned Beatty overdoes the Pete-Frank bar-fight breakup for a few seconds.

They considered Dafoe and Brody, but Brody's cursing and mugging was the closest fit for the overacting award.

They pick Pepper Brooks as the most enjoyable overacting performance in the movie.

They crowned Amanda Plummer for her wild opening performance, with the diner manager also getting strong support.

No clear overacting winner is established, with the hosts mostly agreeing the movie is understated and only briefly considering Honey or Alec Baldwin.

The hosts talk through Heston’s scenery-chewing and the villain’s broad performance without landing on a single clear winner.

They select the loud Yankee fan in the bar as the movie’s most over-the-top performance, with Kelly Preston as the alternate pick.

Cary Elwes' accent is treated as the obvious overacting winner because it becomes the most exaggerated performance in the category discussion.

They single out Sandler’s reaction after social services takes the kid away as the most over-the-top acting in the movie.

They single out Tanner's over-the-top fighting as the funniest example of the category.

They give the overacting award to Paul Dooley for his big, comic outbursts.

They single out Brad Sullivan's final-game rant as the most over-the-top performance in the movie.

Craig's pick is James Russo, with Kelly Moroney offered as the main runner-up.

They clearly settle on Griff as the biggest overactor, with Lorraine’s casino meltdown offered as a strong alternate.

They decide Kelly Preston is the most over-the-top performer in the movie, even while praising the performance.

They choose Ventura’s big scene as the most electrifying over-the-top performance in the movie.

They shift the overacting discussion toward Julianne Moore, while noting Michael Bowen is also in the mix.

They award the big screaming Raymond-and-Kathleen argument for its full-throttle overacting energy.

They pick Joel’s friend Glenn for the broad, outsized reaction after the prostitute scene.

After some back-and-forth, they land on Kelly Lynch's reaction line as the overacting winner.

Michael B. Jordan’s dialed-up basement declaration is the overacting winner.

They choose Ford's interrogation-room intensity as the overacting highlight.

They single out the operatic red-lit aria scene as the most heightened performance moment.

They award the overacting prize to Robert De Niro, noting that the movie encourages broad performance.

They give the overacting award to Busey for his loud, unhinged villain turn.

This category got redirected into a joke about the film’s low-key performances rather than an agreed overacting winner.

They give the overacting award to Pacino for the big loud confrontation, while acknowledging the shoe-store guys as a possible alternative.

They single out the lacrosse coach's broad performance as the clearest overacting example, with Suvari also criticized.

Rickman is singled out as operating in a completely different movie, and the hosts fold him into the overacting-style award.

They single out the red-eyed priest's intense delivery as the movie's standout over-the-top performance.

Amanda Plummer is the clear center of the overacting discussion, with Myers also mentioned as a possible winner for the same kind of broad performance.

Piper's performance is described as dialed up and most obviously over the top.

They joke that the preacher is the only one really overacting in the film.

The loud, raging bar-scene performance is picked as the overacting winner over the young Tommy comparison.

They identify the over-the-top masseuse/prostitute bit as the clear winner for this joke category.

After briefly considering Christy Brinkley, they agree Aunt Edna’s screaming performance is the overacting winner.

Charlize won the overacting category because her performance goes biggest in the movie.

They cite Tomei’s big biological-clock monologue as the movie’s clearest overacting showcase.

After debating Donald versus Kiefer, they give the overacting prize to the Sutherlands as a pair.

They decide Gere is the bigger overacting candidate, with Linney also getting discussed for heightened behavior.

They say nobody really overacts because the movie is dialed in properly.

They single out Michael Byrne's heavily worked Nazi performance as the clearest overacting showcase, with John Rhys-Davies also getting a mention.

They note several actors dial it up, but they never settle on one definitive overacting winner.

They give the overacting-style award to Seabass because of his big expressions and intense delivery.

They picked Dimitrios as the broadest performer, with Murino as a secondary option.

They joke that Kiesler's flatness is the opposite of the usual overacting award and call it out as underacting.

They mostly discuss Favreau's tendency to lean into emotional expressions, without a firm single winner.

They pick Raza for the most heightened performance, praising how much he dials up the menace.

Cartwright’s furious reaction in the chestburster scene is singled out as the standout overacting performance.

They pick Woody Harrelson as the film's biggest overactor, citing a few heightened moments.

They settle on Jessica Lange's highly mannered performance as the overacting winner.

They decide no one is really overacting in a way worth singling out.

They decide Paco's mom is the overacting winner for her big emotional outburst.

They say Headey clearly takes the overacting award in this movie.

They joke that the most over-the-top performance moments belong to Fletcher’s explosive confrontations, with the Happy Meal kid also referenced.

They crown the wildly unhinged neighbor who tells the story about Jeff as the scene’s overacting winner.

They pick the screaming legal argument as the broadest piece of overacting in the movie.

Ethan Hawke's coma wake-up rant is chosen as the biggest overacting moment.

They use Jack's hysterical plea for help as the over-the-top acting showcase.

Will Smith wins for his big emotional scene, though Sam is jokingly singled out as the over-the-top alternative.

They joke that O’Shea is basically playing a cartoonish villain, with Nurse Rooney also getting a mention.

They gave the overacting award to Mark Anthony, with Giancarlo Giannini also acknowledged as a strong candidate.

They scrap the category after not finding a meaningful overacting example.

They land on Richard Crenna as the most over-the-top performer in the movie.

Skip Leigh's explosive performance is singled out for going big from the moment he appears.

They laugh at Hopkins’s intense outburst and treat it as the award winner.

Rosie Perez is chosen for the most heightened performance, with Craig Robinson also praised for going big.

They choose Ed Harris as the most obvious overacting winner in a movie built on heightened performances.

The hosts mostly point to Rebel Wilson and Adam Devine as the obvious over-the-top performers, with no single clean consensus.

They bounced between several big performances, with the donut-shop robber and Todd Parker getting the strongest reactions for pure craziness.

They can’t find any overacting and call the performances understated and note-perfect.

They choose the fake Ryan's emotional breakdown as the most over-the-top performance beat.

They single out Pacino's full-throttle outburst in the hearing as the obvious overacting showcase.

The group mentions a few broad performances, but Sid Caesar's coach and Dee Dee Khan's Frenchy are the main over-the-top contenders.

They split attention between McGivern’s breakdown and Cleary’s outburst, without naming one clear winner.

They agreed Kenneth’s post-prank reaction is the standout overacting turn, with Iris also drawing attention.

Dano’s sermonizing and outbursts are the over-the-top performance they choose for the category.

They single out Dwayne Martin's heightened performance as the most over-the-top acting in the movie.

They gave the award to Pal for the biggest dialed-up performance in the endgame, with Ed Harris discussed as another strong option.

They decide there is no overacting problem here because Kathy Bates is perfect throughout.

They single out the bully for cartoonish overacting and also note T-Rex is playing it very broad.

Pesci is singled out as the biggest overactor in the movie, with Asner and Rooker mentioned as also going big.

Karen Allen is named the winner for playing Marion in high gear throughout the movie, with Alfredo Molina also mentioned.

They choose Liotta’s 'Karen!' breakdown as the biggest overacting showcase, with Maury as the main alternative.

Bill Duke is chosen for going big and unleashing the movie’s most intense energy.

Bennett wins for his maximal, over-the-top intensity in the final confrontation.

Orser’s hyperventilating performance gets the most attention, with McGinley treated as the other main contender.

They identify Crispin Glover as the most outsized performance, while noting Lloyd is also operating at a very big level.

The hosts toss out a few over-the-top examples, but never lock a single winner in place.

They agree Rob Reiner is the clear overacting winner because he spends the movie yelling at full volume.

Despite some back-and-forth, they end up awarding overacting to Javier Bardem's performance.

They lean toward Fergie the florist as the biggest overactor, with Hamm also discussed as a strong contender.

They explicitly give the overacting award to Eli Roth, though they mention Sylvester Groth as a serious alternative.