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They close out the nitpicks stretch by noting that the movie’s cycling-world specifics and wardrobe details help sell it.

They praise the dense hidden jokes, the workplace parody, and the overall construction as what still works best.

They picked the henchmen, mainly because the movie presents them as elite operators but they move like comically unfit pursuers.

They treat the neighbor's nightly strip routine as the funniest example in the category.

They picked movies set on trains as the best version of the category, with the train setting getting the strongest enthusiasm.

They pick the Plaza Hotel as the standout setting in the movie.

They treat asthma wheezing as an effective vulnerability that gives the heroine a built-in Achilles heel.

They agree the evil-nanny movie is a fun, valid genre and should be allowed to exist.

They praise the obligatory horny friend character as a staple of this kind of movie.

The hosts treat the movie’s heavy product placement as the clearest aged-worst issue.

They agree the school-fire finale is the biggest thing that aged badly, with rectal thermometers also getting heavy mention.

They agree the end-credit flight graphics are the worst-looking part of the movie.

They pointed to Chuck being relentlessly hassled early in the film as the strongest example.

They settle on having a boat as the best-looking but most impractical thing in the movie world.

Van says the whole shower-curtain-ring salesman concept has aged the worst because that job no longer exists in that form.

They identify the movie as a capsule of TiVo-era home viewing and other now-dated devices.

They estimate Drago was comfortably ahead on the cards before the last round.

After some back-and-forth, they settle on Drago being a steep betting favorite for the Russia fight.

They discuss several famous movie no's and compare them to Cliffhanger's dramatic screams, but do not settle on a single clear winner from this film.

They estimated Rocky as a heavy favorite in fight one and Clubber as the favorite in the rematch, with some disagreement on exact numbers.

They say the contemporary equivalent would probably be slap fighting, though they both dislike the sport.

They speculate about Nikki’s future but do not lock onto a single definitive next chapter.

They settle on the National Lampoon branding as the most 1978-specific element, with the pot-smoking paranoia as a secondary example.

The hosts settle on the film’s chopped-up, music-video-like form and editing as the most 1984 element outside of Prince himself.

After tossing around several era markers, they agree the Honda Elite scooters feel most specific to 1986.

The hosts toss out several period markers, including selective sex appeal, old computer terminals, and 90s slang and habits.

They land on the movie's pre-internet world, especially payphones and how much easier it was to communicate then.

The hosts settle on the film’s lack of concussion protocol as the most dated 2001 element.

After listing several dated details, they agree that TiVo is the most 2008 element in the movie.

The hosts point to the film’s early-2010s dating style, fashion, and LA-bar ecosystem as its most 2011 elements.

They settle on the movie's 2015-era willingness to embrace shadowy government action against cartels, with Bernthal also mentioned as a strong second choice.

They settle on the cutting-edge phones, clunky email, and other very 1997 internet-era tech as the defining 1997 detail.

They agree Thug Life is the quote/image most associated with the film, with the cross joint and the Pineapple Express strain also cited.

Bill wants a full-on final brawl between Arnold and Crisp instead of the movie’s gunfight ending.

They suggest ranking the classic undercover reveal moment in heist and crime movies, but leave it unresolved.

They agree Hoffman could improve almost any film, but never settle on a single placement.

They chose Jim Ross, imagining his wrestling calls layered over the film’s violence.

They agree Lloyd is the dumber of the two characters.

The hosts ultimately choose Steve Carell as the best overall performance, while acknowledging Gosling as a close competitor.

They leaned toward Linklater for the overall prize, while noting Hawke could also be argued as the key beneficiary.

The hosts joked that Speed’s sound work deserved the Oscar, while also lobbying for director Jan de Bont.

The group converges on a CIA-and-mob collaboration as the likeliest answer, though they also frame it more broadly as an intelligence-community plot.

The movie wins the hypothetical Oscar debate, with adapted screenplay also praised.

They argue the story hinges on an unnecessarily elaborate third-man defense instead of an obvious insanity defense.

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

They agree Harrison Ford is the ultimate winner because the film restores him as an enduring movie star.

They say the repeated wife phone calls are the weakest stretch, though they also criticize the night masseuse/prostitute sequence.

They revisit the idea that Brandon's failure to bet his own picks is the clearest bad decision in the movie.