THE CATEGORY
CABINET

They settle on Santino as the biggest scene-chewing performance, though Fishburne is also heavily praised.

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 Damon as the clear winner for on-screen smoking.

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 treat Pacino's 'inches' locker-room speech as the movie's defining scene and a great sports-movie moment.

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.

The standout anecdote is Cameron ending the difficult shoot by telling the Pinewood crew he could finally leave while they would still be stuck there.

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.

After briefly considering the mayor, they emphatically settled on Nick as terrible at his job.

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