THE CATEGORY
CABINET

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 closed by agreeing Butler clearly won the movie.

They agree Stallone wins the movie.

They agree Ferrell won the movie, while acknowledging McKay’s contribution.

The room cannot settle on a single winner, landing on a Cameron-versus-Weaver split with Paxton as a personal favorite.

They explicitly choose Sandra Bullock as the movie's winner, with a nod that Keanu is also in the conversation.

They debate the leads, but the final answer is that Jim Belushi won the movie.

The hosts favored the judge's sudden cell-phone explosion, while also praising the prison-cell and parking-lot scenes.

After reviewing the scenes, they choose the jungle killing montage, especially Rambo emerging from the mud.

After an extended scene rundown, the hosts agree on the family dinner and baby-Jesus prayer scene, with the bar scene also praised.

The motion-tracker and ducts sequence gets the clearest endorsement as the movie’s most rewatchable stretch.

The room ultimately settles on the re-entry sequence as the scene they most want to watch again.

They land on the New Year's Eve sequence as the standout scene, with the breakup mentioned as the closest alternative.

The lone Oscar discussion lands on Don Ameche’s win for Cocoon.

They settle on production design as the film’s most Oscar-worthy element, with stunts also getting consideration.

They give the single Oscar to cinematographer Conrad Hall for his extraordinary New York and Paris imagery.

When forced to choose a single Oscar, they settle on the screenplay rather than any individual performance.

They gave the Oscar to the script and credited Gudegast for sustaining the movie’s inventive structure.

They say the only Oscar-like winner would be the marketing campaign rather than any person involved in the film.

They choose the overhead casino-room shot as the most cinematic image, while also praising the staircase composition and a cracked-door party shot.

The hosts awarded the great-shot category to William Reynolds’ editing choices that soften and stylize the film.

They choose the unsettling wide-angle apartment staging as the best visual moment, while noting the final stairway shootout as another strong candidate.

They settle on Greg's slow-motion fake-cat reveal as the best shot.

They single out the overhead view of Teddy's tattoos as the memorable great shot.

CR gives his pick to the slow-motion wake-up dissolve to Kane’s face.

On the post-break shot rundown, they choose the starry house image as the top shot, while multiple other images are praised.

They point to the big overhead shot as the movie's best-looking shot.

The hosts land on the pullback revealing the wife on top of Dennis as the best shot, with another Dennis-and-wife framing shot also praised.

They place Norton in the middle of the scale, but the exact number never becomes a firm consensus.

They discuss where Carter fits on the villain scale but do not settle on a single precise number.

They rate Henry very highly on the villain scale, even while debating what the scale’s ceiling should be.

They agreed Butler would receive the award if the movie could win just one Oscar.

Craig argues for editing while Bill argues for song, and they compare the movie to the actual 2012 Oscar field.

They frame the category as the one Oscar the movie would get and use John Williams as the example.

They decide the film itself is the one Oscar that best represents what should win.

The obvious answer was Redford, and they treated it as settled.

When forced to choose one Oscar, they give it to Travolta.

After some back-and-forth, they decide Mike Myers wins the movie because his performances make it memorable even if it flopped commercially.

They agreed Dempsey is the long-term winner of the movie’s legacy, even if Peterson won at release.

They close by agreeing that Reese Witherspoon is the clear winner of the movie and that the film has strong lasting appeal.

Sean chooses Murray Hamilton's dead-eyed, compartmentalized performance as the film's best acting.

They give the acting win to Jack Wallace, while also praising Stephen Keats in the son-in-law role.

They choose the finale’s model-driven Harrier jet sequence as the best shot-related craft moment.

They pick Killian’s entrance through the Cadre Cola sign as the movie’s most cinematic shot.

They choose the freeze-frame of the horse collapsing as the standout shot.

Chris picks the cliff-climbing and arrow-stab imagery as the film’s most cinematic shot.

Craig's flex pick went to Heath Ledger's performance as the best acting he's ever seen.

Goldblum's work drew the strongest praise, with Fiennes also singled out in the same stretch.

At the end, they explicitly crown Gosling as the movie's winner.

They close by saying Norm Macdonald wins the movie outright.