THE CATEGORY
CABINET

Bill gave the overacting nod to Darby for his greasy, heightened villain performance.

They rename the overacting category for Rambo 2’s underacting and refer back to their earlier discussion.

Her exaggerated performance is the answer, with the hosts stressing that the commitment makes it funny rather than weak.

Paxton’s energetic Hudson performance is treated as the clearest overacting winner.

They single out the Ukrainian brother for the most over-the-top performance.

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.

They initially point to O’Malley’s death scene, but Kyle reframes the category toward Seagal’s extreme underacting as the movie’s opposite force.

They choose Charlene Yi’s stoner performance as the biggest overacting example, with Ken Jeong also criticized.

They zero in on Liotta's big bridge reaction as the most self-conscious overacting moment.

They joke about over-naming the category with a list of classic overactors rather than choosing a single definitive winner.

They try to identify a Vincent Hanna-style overactor but conclude no one in the movie really fits the category.

They framed the Madonna dance sequence and Marla’s serenade as the two overacting finalists, then gave the edge to Madonna.

They debate Simmons versus Dafoe, but Dafoe's manic turn is the final pick.

Dennis Franz wins this one for his loud, unmistakably Chicago airport cop performance.

They clearly pick Ned Beatty for dialing the performance all the way up.

Bill and Van single out Billy Zane’s performance as the movie’s most dialed-up example of overacting.

Keaton's outburst in the showdown with the Joker is picked as the standout high-energy moment, though Palance's theatrical death gets a nod.

They briefly consider whether anyone qualifies for overacting, but conclude the movie is so well acted that no clear pick emerges.

Dennis Dugan's boss performance is selected for going hardest at the movie's over-the-top level.

They pick Bill Irwin for going too big as the father, even while praising him in the role.

They use this category for the most over-the-top line delivery and single out Herb's big motivational moments.

They pick the running bad guy for trying so hard to look evil while sprinting through the movie.

They explicitly choose Martin Short for the most over-the-top performance.

They give the overacting award to Bobby, emphasizing how hard he leans into the end of the movie.

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

They give the overacting/dialing-it-up award to Hopper.

They decide BD Wong's exuberant gambling boss is the most dialed-up performance, with the car guy as the main competition.

Mel Gibson wins for the movie's big shouty emotional outbursts, with Liev Schreiber getting a small honorable mention.

Mann says Pacino is fearless and all-in, rejecting the idea that he ever worried Hanna was too much.

They choose P.J. Soles for going biggest with the Annie performance.

They award the scene-stealing over-the-top performance to Cruise for the "Werewolves of London" stretch.

They agreed the supermarket killer's big performance was the movie's clearest example of overacting.

They land on Irvine Welsh's brief appearance as the biggest overacting-vibe cameo, while acknowledging Begbie's constant yelling.

They agree Nolte's heightened performance is over the top but fully justified by the character's demons.

They agree Keanu is the clear overacting winner for the movie.

Cranston’s airport meltdown is held up as the movie’s clear overacting winner.

Carla Gallo’s wild Period Girl performance is treated as the most over-the-top turn.

They clearly pick Stallone for the movie’s biggest overacting performance.

They give the overacting prize to Chris Connelly’s manic Oscars-host performance, while also mentioning the sister and the PR guy.

They agree Helena Bonham Carter is leaning into the performance in a big way.

They debate big performances but settle on Jennifer Coolidge as the standout overactor.

The hosts gave the overacting nod to the black cop, with Regina King mentioned as a possible alternative.

After debating Francis, they land on Ramis as the one pushing the hardest with exaggerated reactions and faces.

They point to Arlene’s big scene, with Daniel Stern’s own yelling also getting cited as part of the over-the-top energy.

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

They pick the drug dealer who strips as the movie’s biggest over-the-top performance.

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

They agree the main villain over-evils the most in a way that fits the movie well.

They explicitly give the overacting award to Richard Dreyfuss for how hard he leans into Leo Marvin.

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

Amanda and Bill land on Sally Field as the biggest overactor because she leans hardest into the frustrated-working-mom material.

Bill and Sean argued briefly, but the room ultimately settled on Peterson as the movie's central performer.

They choose Tom Atkins' overcaffeinated turn as Hunsacker for the most intense line delivery, with Jimmy Skaggs as a runner-up candidate.

Caan gets the overacting award for his big emotional outbursts on the date and in the adoption scene.

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

They pick Elise, with the face licker also mentioned as a strong over-the-top contender.

Ransone’s energetic cop performance carries the room at first, with Samantha Ivers also getting a strong shout.

Crispin Glover’s Andy Warhol performance gets the nod for the most over-the-top acting.

They joke about several scenery-chewing candidates, but the category never lands on a firm winner before moving on.

They settle on Frankie Faison as the broadest performance in the movie, with Louis Anderson also mentioned.

They give the overacting prize to Bergen for dialing the menace up at every turn.

They agree Scorsese is the one who most clearly dials his scene up to another level as the crazy cab passenger.

Steve Zahn gets the overacting award because he goes all-out in every scene.

Bill and the others clearly crown Linda Hamilton’s manic asylum performance as the best overacting.

Michael Biehn wins the overacting award for fully dialing up Reese’s intensity.

After briefly floating Stallone, they land on Dennehy as the more over-the-top performance in the movie.

After some debate, they choose Ben Stiller as the clearest overacting performance in the movie.

They treated Hamm's wildly broad douchebag turn as the standout intentionally over-the-top performance.

The hosts single out Bo Schembechler’s booth work as the most over-the-top performance in the movie.

They split the overacting award between the scene work and Sylvia Miles, with Miles singled out as the bigger performance.

They agree Cage’s over-the-top torture-and-phone-call sequence is the clear winner, though Dino Velvet gets some support.

The hosts pivot to a conversation about Pesci and Stern and their big, comic performances, which clearly overshadow Uncle Frank as the overacting pick.

Mallory says Rex is the over-the-top performance that best fits the category, and the others accept it.

They pick Fox’s heated phone rant as the movie’s biggest over-the-top performance moment.

The room treats Karras’s possessed climactic performance as the clearest all-out acting showcase in the movie.

Donald Glover takes best overacting because he clearly goes big in the Rich Purnell scenes.

Sean Penn's big, heated delivery in the key confrontations is treated as the clear overacting winner.

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

The discussion mostly centered on Patricia Clarkson’s big, comedic parent performance, though Lisa Kudrow and Stanley Tucci were also floated.

They gave the overacting award to Chad Lowe for his confrontation scene.

Elizabeth Banks is the named pick for the dialed-up comic overacting award, with Leslie Mann also mentioned as a possibility.

The principal was singled out as the most over-the-top bad performance.

They pick Maggie as the broadest overactor in the movie, with the Bishop briefly considered as a runner-up.

They agree Montcalm is the overacting winner, especially for his exaggerated bow and mannerisms.

They agree that Stiles is the overacting winner, with Kyle briefly floating the acting teacher as a possible irony pick.

After some back-and-forth, Bill lands on adult Smalls for the overacting award rather than Squints.

They give the overacting award to Swayze for his expressive reactions and heightened ghost performance.

They award Lily Taylor for the best over-the-top performance, treating her possession as the reason the heightened acting works.

They decide the movie is too restrained to support an overacting winner and effectively cancel the category for this episode.

They give the overacting award to Corey Feldman for fully leaning into the intensity of his big scene.

They land on the parking-lot tough guys confronting Sue as the closest thing to the movie’s overacting showcase.

They agree Diane Lane is the clear overacting winner because of how hard she goes on the emotional scenes and accent.

The hosts frame it as a two-man race and land on Joe Don Baker’s outsized performance as the extreme choice.

Piven's high-energy party performance is named as the obvious overacting winner.

They single out a couple of scenery-chewing supporting performances, with the other pilot and Carl both getting attention.

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

Dennis Leary’s coach performance is treated as a runaway overacting winner.

Oliver Reed is singled out for the most over-the-top performance and scenery-chewing.

Jeffrey Jones is the clearest overacting pick, though Alan Ruck in the Ferrari scene is briefly considered and rejected.

Bill and Sal give the overacting award to Dan Aykroyd, though Chris Farley is mentioned as a possible alternative in several scenes.

They single out The Rock's heightened delivery in the confrontation scenes as the overacting winner.

They pick Charlotte Riley as the most over-the-top performance in the movie.

After nominating several performances, they give the overacting award to Pacino’s kitchen heart attack because he goes hardest for the longest stretch.

They joke through the category but do not find a clear overacting performance to award.

They pick Rapaport’s end-of-movie breakdown as the biggest overacting performance.

Judd Nelson’s loud, all-in performance is treated as the clear fit for the overacting award.

They floated several nominees and never fully locked onto one, though the shattered-face Manson family performance carried the discussion.

They give the overacting prize to Artie Clay’s peeing-on-the-shoes bit, while noting Fishburne also dials it up late.

They do not identify a clear overacting performance and leave the category vacant.

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

The panel mostly decided nobody was really overacting enough to warrant a clear winner, aside from some joking mentions of a few performances.

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 explicitly settled on Jack Black as the overacting winner.

They give the overacting award to Gerard Butler for dialing everything up throughout the movie.

They explicitly target Will Patton's big title-drop speech as the movie's most over-the-top performance moment.

They cannot find anyone in the movie who clearly fits the overacting award, so the category remains open.

Stuart Pankin also gets the overacting award for the same scene-stealing performance.

Casey Wilson gets the strongest support as the scene-stealing overactor, with Rosamund Pike mentioned as a secondary possibility.

The group treats Ruffalo’s facial hair as the thing most in need of this tongue-in-cheek award, with Cruise’s jazz-club energy as a possible alternative joke pick.

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

Chris Penn wins for the loud, bulging-eyed intensity of his finale outburst.

They cite Cruise’s crying face and Val Kilmer’s grief-breathing as the clearest overacting highlights.

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

The panel agrees that Meg Ryan's performance in the breakup/crisis material is the overacting choice.

Joan Allen is named for the over-the-top Southern-mom performance.

After debating a few candidates, they settled on Damian as the biggest overacting performance in the movie.

Jason Alexander's hotel-suite villain turn is singled out as the overacting winner.

They land on Kim Basinger as the most over-the-top performance, while noting Prosky as another strong contender.

Frank Langella is chosen for the broadest, most deliberate overacting in the movie.

They decide Kessler is the biggest overacting standout in the movie.

They single out the police sergeant as the most dialed-up performance in the movie.

They mostly conclude there is no overacting, joking instead that Dermot Mulroney underacts.

They identify Henry Czerny as the clearest example of fully committed overacting in the film.

They award best overacting to Gary Sinise, though Wesley is mentioned as the other serious contender.

The speakers settle on Richard Attenborough as the overacting standout because he looks like he is having such a great time.

Don Cheadle's accent is singled out as the clearest over-the-top element in the discussion.

They single out the Smiley poker scene as the most over-the-top performance in the movie.

They mostly agree there is not much overacting to single out in the movie.

They name Julianne Moore as the most exaggerated performance in the film.

After some debate, they explicitly land on Bradley Whitford as the movie's overacting winner.

They conclude that nobody really overacts here and that the movie’s issue is more underacting than overacting.

After rejecting the premise that the movie has real overacting, they land on Clark’s ponytailed reaction as the closest fit.