THE CATEGORY
CABINET

They like the idea of inserting a character from another movie into the one under discussion and use Jesus Shuttlesworth in Hoosiers as the example.

They frame it as a recommendation category for similar films, but it remains undeclared.

The hosts point to the moment the precog seizes Cruise as the point where the film levels up into its biggest set piece.

The hosts cite Cruise's insistence on doing risky practical stunt work as the clearest example of this award.

They decide Patchett’s business of tailoring sex workers to resemble movie stars is morally awful but also a clever scheme in movie terms.

The hosts identify the train-sequence blackface as the clearest aged-worst issue.

Downey’s houseboat work is named the best acting in the movie, with Clea DuVall mentioned as another strong heat-check performance.

They give the bystander-death award to the motorists involved in the highway pileup, noting the film minimizes the injury fallout.

They note the dark backstory example, but they do not fully convert it into a finalized recurring category here.

They kick around examples of characters indulging a hobby in strange circumstances, but no final pick is made.

They describe it as a prize for overblown film-school interpretation, but leave it as a concept.

They explicitly say they are not giving this one out because the movie is too good to pause.

They propose it for a character who quietly sucks more than the movie admits, but do not name a final winner.

Van argues that Egon is the film's sneaky weakest character, though the others mostly push back.

They discuss the long-running category for actors who should have become bigger stars, without naming a single winner here.

They identify Beth Grant as the weak-link-style overacting choice, saying she feels like she is in another movie.

They discuss Scott Hanson as a style-of-hosting comparison, but it is not turned into a settled award.

They singled out the Vienna Ferris wheel as the clearest stealth homage because it mirrors The Third Man.

They identified the film's ending as a direct stealth homage to an early classic film technique.

They identify Nikki’s physical movement as the film’s clearest stealth homage.

CR gives the smoking award to Julie Delpy, noting both the character’s smoking and Delpy’s offscreen reputation.

Ledger was the clear standout smoker, with Gyllenhaal a respectable second.

The hosts admire the way Aykroyd keeps the cigarette going throughout the movie.

They single out Stack and Bridges for smoking like it is second nature.

They gave the award to Sean Young for the brief nude moment where she simply takes off her makeup.

They award the best supporting performance slot to Oliver Platt's lawyer character.

They agree the romance between Shane and Annabelle never feels fully electric.

They land on Sharon Stone's Basic Instinct performance as the top example of an all-time, hyper-competent movie character in this mold.

The hosts like the concept of the category, but they do not choose a film moment as the definitive example.

They define it as a life-imitates-art category for movies that create real-world cultural effects, with Sideways as the clearest example.

The hosts ultimately use this slot to praise Selma Blair's performance, even while noting a few over-the-top moments.

They agree the movie's alien-breeding plot is the kind of detail that becomes impossible to unsee on later viewings.

They suggest it for an actor whose presence takes you out of the movie, but do not identify a final winner.

The grossest and most unbelievable shoot story is the painted dead horse used for the leopard-and-zebra setup.

They focus on the on-set stories about Arnold pushing the kids hard and the strange child interview anecdotes from Premiere.

The hosts cite the on-set story about Lee Grant leaving the production for two days before returning and making up with Beatty.

They pass along Modine's bizarre on-set story as the most unbelievable production anecdote.

They choose the story about the cast fight with Oregon students and football players during filming.

The behind-the-scenes anecdote chosen is Fincher’s extreme take-counting and digital precision, which the hosts treat as absurd but true.

They use Dead Poets Society's Cameron as the clearest punchable-character example, with Anthony Rapp as another strong contender.

They treat Indy Navarrete’s performance as so striking that it may be hard to separate her from the role later.

They give Ben Gazzara the award for going fully his own way as Brad Wesley.

They also give Amy Adams the award for seeming to operate in her own lane in the movie.

They all agree Malkovich's Russian performance is the defining 'doing his own thing' performance in the movie.

They single out the surprise kiss as the movie's most awkward Cruise-kissing moment.

They chose Cruise’s beach-volleyball performance as his funniest attempt to act like an ordinary person.

They give Tom Cruise his own award for trying to pass as a normal human while remaining an inhuman movie machine.

They give the running prize to Cruise, while noting Farrell has a strong chase-run moment of his own.