THE CATEGORY
CABINET

After listing several nominees, they settle on Holt McCallany's Beast as the movie's standout supporting performance.

They float it for movies that drop the ball at the one-yard line, but do not land on a single title.

Bill reveals it as his number one because it is the movie he has watched the most this century.

They settle on Kay Adams as the archetype of a great performer stuck in a poorly written role, while also citing Padmé as a comparable example.

They decide Dr. Claire Lewicki is the weakest name in the movie because it feels mismatched with the character and setting.

They define it as the actor who should have become a much bigger star, with Dana Wheeler-Nicholson as the example they land on first.

They pick the slime attack on Venkman as the moment that looks most physically unpleasant.

The hosts marveled that Cruise is improbably yoked in the Mojave and treated his physique as the clear winner.

They note that several younger characters and even an older student are improbably muscular for the setting.

They pick Citizen Dick’s “Touch Me I’m Dick” as the best fake-song imitation.

They agree the vampire-musical example is good enough to become a recurring 'was that actually good?' type category.

They praise the novel-within-the-movie concept and land on the Misery books as the best art choice.

Bill likes the idea of the category but vetoes it, so no winner is chosen.

They agreed the out-of-nowhere Quentin Daly sports chatter was the movie’s best random sports moment.

They treat the existing soccer scene as the answer and agree the movie did not need another random sports insert.

They conclude the movie doesn’t really need a sports scene, though they riff on possible alternatives.

They choose Kelly Lynch as the improbable but perfect small-town doctor.

The hosts give the casting award to Tia Carrere, calling her the movie’s Bond-girl-style villain role.

Bill explains the test-screening-driven reshoot that replaced the original revenge-heavy ending with the romantic cottage ending.

They assign the unexpected cameo award to Chris Guest.

The room settles on the absurd yacht-and-champagne rich-guy behavior as the thing they just enjoy most.

They use the award to spotlight Quinn Culkin’s extremely wooden performance as the sister.

The hosts settle on the apartment's unreal size and personality as the thing they just enjoy most.

The room settles on the Brookstone mall storefront and nostalgic shopping-mall vibe as the most 1990 element of the movie.

Bill says his personal joy is any movie that hints at a tunnel, because it means the story may actually go into the tunnel.

The room settles on Will Smith at his smoothest as the thing they simply enjoy most.

They agree the easy pleasure here is watching post-high-school kids drift around a small town.

The hosts only use it as a proposed category for a movie that ends sooner than expected, without picking an actual winner.

They single out the taped-mouth image as the movie's most striking visual beat, with the silhouetted staging also getting praise.

They pick the first shot of Stallone hanging on the cliff as the coolest cinematic shot.

Bill says it nudged Superbad thanks to the baby-and-'not at the table, Carlos' bits.

They chose the blood-washing scene in Jimmy’s bathroom as the best bathroom moment.

They like the multiverse-style idea of dropping a favorite character into a different movie, but no winner is chosen.

They consider it for the wildest line of dialogue in a movie, but do not pick one.

They use this odd next-day category to talk through what probably happens after the movie, especially Charlotte leaving her husband.

They imagine Roy’s future as some kind of media insider or Chicago sports-radiotalker after prison.

They define it as the background character whose life is indirectly affected by the plot, using the Boyhood example as the template.

They settle on Jalen Rose as the most understandable name for the actor-who-is-just-here-for-the-paycheck idea.

They like the idea of honoring a performer who leaps off the screen, but never name a winner.

They sketch a category about an actor who underperforms in one movie but would be better imported from another role, without choosing a winner.

They agree this suggested category would fit the question of whether a movie is still rewatchable, with Joel’s take on Tropic Thunder as the motivating example.

Chris tallies Peck's killings and sexual relationships and argues his murders-to-wives-fucked ratio is the night's stat line.

The hostage is identified as the character who feels like she is in a slightly different movie than everyone else.

Dan Hedaya is chosen as the person who feels like he is in a completely different movie than everyone else.

Bullock gets the award for playing the role as if it were a different kind of movie.

They settle on Paul Calderon as the character you'd expect to die first in a horror-movie version.

They identify Species as the clearest example of a movie that works largely because the lead is hot.

They bring up a bad-accent category and cite Costner and Cage as examples, but do not pick a single winner.