THE CATEGORY
CABINET

They settle on it as a category for the most inexplicable accent work, citing several memorable bad-accent examples.

The hosts mention it as a category for regrettable actor choices, but no winner is chosen.

They note Maxim Magazine named Slap Shot the best guy movie of all time and accept the label as a kind of compliment.

They nominate Michael J. Fox as the comedy-running goat and also praise Michael Cera's run in Superbad.

The discussion returns to the idea that the movie's romance depends on people meeting organically, not through apps.

Chocolate bars won, with Charlie’s sweet-tooth food moments mentioned as the other notable choice.

They pick De Niro's turkey sandwich as the clear winner, with Kathy Moriarty's cocktail mentioned as a runner-up.

They single out the whiskey and goat’s milk drinks, with extra appreciation for the steak-eating finale.

After mentioning the meatloaf, they explicitly give the category to Dom Perignon.

They choose the crepe Suzette as the best food-and-drink moment, with the salmon sandwich getting gross honorable mention talk.

They choose the poisoned fish and the whole vomiting gag as the standout food/drink bit.

They picked Swan's hot pockets as the movie's best food-and-drink moment.

They land on the absurdity of making a low-carb dinner on Purge night, with the wine helping sell the bit.

They float it for the most inappropriate work-computer Google search prompted by a movie, but never crown a winner.

They settle on 'get your fucking shine box' as the most usable insult in real life.

They single out that line as the film's sharpest insult.

Sam the dog wins easily as the movie's best pet performance.

They unanimously award the pet category to Doyle for his wounded-dog performance.

Chopper the dog gets a quick nod for a solid supporting turn.

The dog Sadie wins, though the hosts say they wanted even more fear and reaction from the animal character.

The discussion lands on Scud as the key animal performance, with Rex briefly considered and then ruled out as a dinosaur.

The hosts discuss several possible names for a new TV profanity-replacement category but never settle on a single winner or final title.

They use it for the character most likely to survive a zombie apocalypse, with Jem and Buck as the examples they like most.

They spend the segment arguing that Dana Carvey had the talent and exposure to become a much bigger movie star than he did.

Diaz’s Heather is the obvious dangerous choice, though the room notes multiple temptations in the movie.

They treat Mary as the obvious stay-away because of the sheer number of psychos orbiting her.

They discuss it as a ‘throw your life away for this woman’ type of category, but leave it open-ended.

Chris Ryan argued that not having the characters smoke in this era was the movie choice he least understood.

They joked about Cruise with a dog, but the discussion did not support a real case that a pet would improve the movie.

Clint Howard won the award named for the director’s favorite recurring collaborator.

They note Cameron Crowe's habit of putting Eric Stoltz in his movies and give him the award.

They treated Jackson as the clearest example of a Tarantino favorite, with Tim Roth also mentioned as a recurring favorite.

The conversation shifts into praising Debbie as the movie's emotional anchor and best rom-com-style support role.

They define it as the question of whether a movie would be better if it were exactly 100 minutes long, but do not rank a specific title.

They pick Grace as the memorable oddball neighbor, while noting the son also has a strange energy.

Because the field is crowded, they give the Dan Wethers-style supporting spot to Paul Bettany.

They treat Mia Sara as the cleanest example of a great actress who should have had a much bigger career.

They create a new award for best job playing yourself and immediately give it to Danny McBride.

Brimley is declared the winner after an extended riff on how much menace and oddity he brings to the movie.

They agreed the opening is grotesque, especially because the daughter is involved, but not too visually over-the-top.

They give the location award to Playland, with the Ferris wheel moments as part of the case for it.

Four Aces gets the award, though the George Washington Bridge is briefly discussed as another strong location contender.

Rob names the Green Mill as the scene-stealing location during the four-versions-of-Ian discussion.

The bowling alley emerges as the top scene-stealing location, with the Pacific Ocean also getting strong support.

They say the roof is the standout location, though the whole arena works as a scene-stealing setting.

The Hard Deck won easily as the movie’s standout bar setting and the kind of place the hosts said they would actually visit.

They settle on the basement as the movie's most scene-stealing location, with the Four Seasons as the only real alternative.

The award goes to the Rock Harbor house as the scene-stealing location, with the desert briefly mentioned as another strong setting choice.