THE CATEGORY
CABINET

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.

They treat No Way Out as an example of a movie whose ending left a much better opportunity on the table.

Kevin Pollak’s confrontation with Demi Moore is treated as the best non-star toe-to-toe moment.

They mention the idea of analyzing movies in the style of Romo and Collinsworth, but do not finalize a winner.

They single out Zach carrying Paula out of the factory as an iconic ending image, while joking that a freeze-frame category should exist.

They agree this should go to characters who should have been fired, with Captain George Ellerby as the example they like best.

They settle on Eddie Martel as the standout casting fit, with a few other supporting players mentioned.

Van says the movie does not need more black people.

They agreed Cyclone makes reckless decisions that make no sense for his role and repeatedly endanger the mission.

They agree Beeks is the character whose competence is most questionable.

They single out the record executive who signs the brothers on the spot as the obvious example.

They argue Angela Bassett’s character makes questionable calls and still somehow keeps her job.

They argue Peter is such a bad operator that he probably deserves the award over Kate.

They argue Dynamo is a strange, unreliable stalker whose gimmick and conditioning do not add up to a dominant competitor.

The security system fails quickly, so they treat Hawke’s character as more of a salesman than an effective expert.

They argued that Viggo's consigliere repeatedly fails at his main responsibilities and never seems to be doing the job well.

They concluded Liman was bad at scheduling because he twice bet against Steven Soderbergh and cost productions money.

They endorse the concept of judging whether a movie's in-film art is actually good, but they do not pick a single winner here.

They rip the mob crew for being ineffective, passive, and unable to stop Gino or find Richie themselves.

They discuss a hypothetical category for alternate dialogue or actions that would change a movie's outcome, but no winner is selected.

They suggest it for scenes that make the audience angry, but never choose one example.

They pick the moment the girl says she is 13 as the line that would have ended the situation instantly.

They briefly float a category for the scene you'd most like to be in the crowd for, but they do not finalize an answer here.

They identify Spacey as the film’s biggest problem area, while also criticizing a few story mechanics and plot deviations.

After several candidates are floated, the hosts settle on Rita Wilson for the category.

They award the Zane Lowe bit to Culkin after joking about the movie’s climactic bad-news moment.

They estimate Jake and Elwood likely served a very long stretch because of the destruction and repeat-offender status implied by the movie.

The hosts agree Ricky Rowe’s post-movie fate is the obvious answer for what happens the next day.

They imagine the next-day fallout as union organizing and attempts to impose rules and benefits on the sport.

The hosts describe it as a classic time capsule of that comedy era.

The hosts choose Wayne’s World as Tia Carrere’s defining role over this film.

Craig calls out Blunt's on-screen smoking as the weakest part of the performance despite acknowledging she smokes in real life.

They rave about the stunt performer in the bathroom fight as the best non-star hand-to-hand adversary.

They pick Tony Romo as the more entertaining commentary voice, with Collinsworth as the alternative.