We’re joined by special guest Jay Onrait (SC with Jay and Dan) and after Jay discloses the video store racket he ran back in Boyle, Alberta, we begin the case for keeping it on the pedestal with Chevy Chase’s run as America’s top leading man. We get into why the movie’s loose structure works in its favour, we go deep into the combined brilliance of Rodney Dangerfield and Ted Knight, and Jay wonders if this it the movie that finally made golf cool. We then move onto the case for knocking it off the pedestal with Mike taking issue with Bill Murray’s affected performance. We all rag on what’s wrong with Danny’s story, Pops wonders why a movie called “Caddyshack” has so little to do with caddies, and Shane takes perhaps his most controversial stance in the podcast’s history: why the movie’s famous fart sound was no good.

We’re joined by special guest Ana Golja (The Cuban, Degrassi: The Next Class) and after Pops explains why “The Cable Guy” is what first drew him to this movie, we begin the case for keeping it on the pedestal with how, despite the title, the movie is truly a cross-country epic. We get into how much we love Hanks, how the side characters all pulled their weight too, and how the movie had some genuinely laugh out loud jokes. We then move onto the case for knocking it off the pedestal with a massive Meg Ryan debate. We talk about the movie’s very saggy middle, we wonder whether the movie’s mood doesn’t match its plot, and Shane and Pops try to punch up the climactic Empire State scene.

After Shane discloses his childhood dream of actually being a Goonie himself, we begin the case for keeping it on the pedestal with debating what made Corey Feldman such a charismatic star. We talk about the beautiful setting of the town itself, why Chunk is the movie’s true breakout character and Pops ponders the differences between Richard Donner and Steven Spielberg’s directing styles. We move onto the case for knocking it off the pedestal with the movie’s bizarre ending. We debate whether or not nostalgia is the only reason The Goonies remains well regarded, Pops complains about the movie’s annoying "kid" energy, and we go deep into Sean Astin's infamous kiss.

We’re joined by special guest Miguel Rivas (The Beaverton, Baroness Von Sketch Show) and after getting our mind’s blown by learning how much money this movie made at the box office, we begin the case for keeping it on the pedestal with the underrated comedic brilliance of Keith David as Mary’s stepdad. We discuss how effectively the film moves through so many different styles of comedy, Shane defends Diaz as his choice for the movie’s MVP, and we all give it up for the epic “Puffy” dog fight. We then move onto the case for knocking it off the pedestal with all its troubling gay panic humour. We ponder whether or not the Farrellys Trojan-horsed in offensive jokes, Miguel stands up for both Brett Favre AND Sarah Silverman, and finally we do a deep dive on the infamous hair gel scene.

After Pops reveals the movie that scared him the most as a kid (Spoiler: Gremlins), we begin the case for keeping it on the pedestal with the movie’s most audacious and outrageous lines. We laud the patience and process it has with its story, talk about how its incredible special effects still hold up, and Shane and Pops argue over what is truly the best scene.  We move onto the case for knocking it off the pedestal with the bizarre and abhorrent British director character. We wonder how long it would actually take to be convinced that someone was possessed, Shane admonishes the priests for not tag-teaming the demon, as we all take issue with “Captain Howdy”.

We’re joined by special guest, Golden Globes Water Girl Kelleth Cuthbert (Bold and the Beautiful, Inside Edition) and after Kelleth compares notes with Pops on what life is like as a tall person, we begin the case for keeping it on the pedestal with Morgan Freeman’s masterful performance. We argue over when Brad Pitt was at his hottest, Kelleth does her best impression of the famous “What’s in the Box” scene, and Pops dives into the movie’s deep hatred of city life. We move onto the case for knocking it off the pedestal with the Great Spacey Debate. We question whether or not the opening title sequence is stuck in the 90s, Shane describes why a barber would make the perfect criminal and Mike asks the question that fans of Se7en have pondered for years: who do you prefer on Frasier, Roz or Daphne?

We’re joined by special guest Jordan Claire Robbins (The Umbrella Academy, Supernatural) and begin the case for keeping it on the pedestal with how much we loved Fred Savage and his grandfather. Pops gushes over Andre the Giant (and reveals his secret passion for professional wrestling) and Shane does a reading of Inigo Montoya’s climatic scene that brings the house down. We move onto the case for knocking it off the pedestal with the one scene that is so disastrous it was like it came from another movie. We go deep into “The Buttercup Problem” and Jordan takes major issue with Wesley’s mask.

We’re joined by special guest Cynthia Loyst (The Social, Author of “Find Your Pleasure: The Art of Living a More Joyful Life”) and begin the case for keeping it on the pedestal with how realistically it portrayed its teenage characters. We debate which of them each of us relate to the most, Cynthia goes into how much of the comedy still holds up, and Pops talks about why some of themes hit home so personally. We move onto the case for knocking it off the pedestal with the ridiculous choreographed dance scenes, we discuss why Bender’s behaviour would never be tolerated in a movie today, and we go deep on how much we all were disappointed by Allison’s makeover.

We’re joined by Arkells frontman and fellow "Mike on Much" host Max Kerman, and begin the case for keeping it on the pedestal with how much Max likes all the swearing in the movie. We get into all the classic quotable lines, the legendary characters (especially Jesus), and Max gives a big thumbs to all the Jewish humour throughout. We move onto the case for knocking it off the pedestal with how episodic the whole thing sometimes feels, how annoying we all found Julianne Moore, and Shane and Pops argue over whether or not the Coens can pull off absurdist comedy.

We are joined once again by Matt Unsworth (Heist Podcast) and after touching on Crowe’s hot streak up to that point (3:11) and his fascination with becoming the next Billy Wilder (14:12), we begin the case for keeping it on the pedestal with how young Jonathan Lipnicki may have stolen the show (19:01). We talk about Cuba Gooding Jr’s Oscar winning performance (25:36), we debate whether or not Cush’s dad was a racist (31:58), and get into why the “had me at hello” scene holds up even better than we all remembered (37:52). We move on to the case for knocking it off the pedestal with whether or not Dorothy was too much of an idealized female character (48:41). Mike does the math on Jerry’s wild flight times (53:39), we break down why this movie is sometimes not as smart as it thinks it is (1:01:34), and Pops mounts a defense against the film’s attack on jazz (1:11:06).

After discussing the hits and misses of the Sandman’s early career (7:01), we begin the case for keeping it on the pedestal with a celebration of this movie’s bizarre absurdist style (15:46). We discuss why Eric is one of the all-time great comedy villains (23:11), how Sandler is actually a secret perfectionist (31:21), and Shane explains why the “Sloppy Joes” scene transformed him (41:57). We move on to the case for knocking it off the pedestal with Billy’s “assault brutha” (52:02). Shane argues that this movie contributed to a lot of childhood bullying (56:04), Pops compares the movie to “Succession” in its depictions of extreme wealth (1:03:27), and we debate whether or not O’Doyle actually ruled (1:19:30).

After we all reminisce about our high school band experiences (10:23), we begin the case for keeping it on the pedestal with how the movie kicks off with such a big bang (14:55). We debate about the fine balance between the movie’s slick action and grand philosophies (24:10), Shane wonders if Cypher was an incel (36:58), and Mike asks us all if we recognize AI as a real life form (44:30). We move on to the case for knocking it off the pedestal with how the rules of the matrix seemed wildly inconsistent throughout the movie (54.04). Pops complains about the pointlessness of the Oracle (56:17), Shane rips on Keanu’s reading of “Déjà vu” (1:01:10), and we all ruminate over Carrie-Anne Moss’s career post-Matrix (1:13:48).

We’re joined by special guest Chloe Wilde (eTalk, Healthy is Hot Podcast) who first recounts why seeing this movie with her mom traumatized her as a kid (6:10). We then begin the case for keeping it on the pedestal with some love for Kathy Bates and Victor Garber (14:54) and James Horner’s celebrated score (17:46). We talk about how the special effects were ahead of their time (25:31), we all fawn over Leo (33:29), and Shane explains why he loves it when a loser turns out to be the cool guy (37:53). We move on to the case for knocking it off the pedestal with all the problems we had with Rose both young (41:22) and old (45:58). We dive deep into the “door” debate (52:42), and Chloe gripes about Billy Zane’s aggressively one note performance (1:03:57).

After Pops defends seeing it NINE times in movie theatres (4:52), we begin the case for keeping it on the pedestal with a discussion about comedy auteurs and if Jared Hess is truly one of them (16:15). We talk about why Kip rules (22:37), Pops posits that there’s a lot more plot going on than meets the eye (30:40), and Shane votes for Pedro as his favorite character (35:08). We move on to the case for knocking it off the pedestal with all the hacky impressions it spawned (48:55), we examine why “Rex Kwan Do” feels like it belongs in an entirely different movie (55:19), and then talk about the creepy turn the film took with Uncle Rico (1:06:18).

After both Shane and Mike disclose the legitimate cameos they have in two other massive basketball movies (8:04), we begin the case for keeping it on the pedestal with Shane’s big reveal of what he now thinks of Ray Allen’s performance (11:54). We get into Spike Lee’s unique style as a director (25:13), why the story may be more sci-fi than sports (31:04), and discuss the legendary one on one game between Allen and Denzel (37:52). We move on to the case for knocking it off the pedestal with the bewildering hooker subplot (53:21), how many of the secondary characters constantly drag the movie down (58:23), and Pops has a major beef with the orchestral music choices (1:04:48).

Mike explains why this movie is on his own personal pedestal, and what it was like to try and hold back his tears watching it alone in a movie theatre (6:10). After a deep dive into our thoughts on Tim Burton’s career (11:45), we begin the case for putting it on the pedestal with the movie’s theory that stories are meant to be more about feelings than facts (20:43). We get into Albert Finney’s show-stopping “Crow” joke (33:15), and why the ending might be the greatest of all time (41:50). We move on to the case for keeping it off the pedestal with Ewan McGregor’s bizarre accent work (44:53). We debate the harshness of Billy Cruddup’s performance (49:18), how the love story may not have aged that well (54:55), and Mike speculates if this movie has the ultimate storytelling “cheat code” built into it (1:04:21).

Pops explains why this movie is on his own personal pedestal, and how he’s been a devout Stephen King superfan since childhood (2:56). We then begin the case for putting it on the pedestal with the tour de force performance of Kathy Bates (8:37). We talk about the iconic sledgehammer scene (15:33), the prescience this film had on the rise of toxic fandom (30:17), and Mike makes the argument that Annie Wilkes is just a very effective creative director (46:36). We move on to the case for keeping it off the pedestal with the general “TV Movie” quality of the film (51:36), the myriad problems we all had with the ending (1:03:51), and we fiercely debate whether or not Wilkes uses a racial slur (1:07:37). Finally Mike wonders if the movie tips too far into being just “suffer porn” (1:11:07).

Shane explains why this movie is on his own personal pedestal, and why it made him think Roger Avary was a superior director to Quentin Tarantino (8:36). We then begin the case for putting it on the pedestal with the kinds of risks Avary took that we had never seen before (13:42). We gush over the famous “movie within a movie” euro trip scene (15:53), debate whether or not the dark satire does more damage than good (31:20), and if Paul was the breakout character (42:09). We move on to the case for keeping it off the pedestal with Van Der Beek feeling very miscast (51:13), how everything has a “student film” quality (54:17), and why in retrospect Shane found so much of this movie very annoying (58:42).

After Pops divulges all the different ways this movie traumatized him in his youth (7:13), we begin the case for keeping it on the pedestal with discussing what makes James Cameron such a prolific director (12:01). We debate how “sexy” Arnold is in this movie (17:30), how the special effects are still mind blowing (32:12), and whether or not Linda Hamilton actually stole the show (45:41). We move on to the case for knocking it off the pedestal with all the problems with the biker bar scene (52:15), Mike points out a very cringe worthy T-1000 line (1:01:01), and we discuss the inherent paradoxes that exist in any story about time travel (1:16:03).

We’re joined by our very first guest, Hollywood screenwriter Matt Unsworth (Happy Together, Heist Podcast) as we first recollect how scary the demons were for us as kids (7:22). We then begin the case for keeping it on the pedestal with all things Whoopi (12:14). We all debate whether it’s worth going crazy for Swayze (18:09), Mike praises the logic of the supernatural plot (28:23), and Unsworth explains why he loves the ending and its possible larger ramifications (38:12). We move on to the case for knocking it off the pedestal with how tonally disjointed it feels throughout (41:06), Pops gets pissed about the rules of being a ghost (44:50), and we wonder if this entire movie runs only on star power (49:45). Finally, after a historic deadlock, Mike on Much co-host and Arkells front man Max Kerman drops in to cast the deciding vote (1:03:22).

After reminiscing over the days of VHS vs Beta (4:08), we begin the case for keeping it on the pedestal with Pops lauding its use of constant little jokes over the big ones (7:12). We dive into the continuing comedic brilliance of Leslie Neilson (19:19), delve into our favorite scenes from Weird Al to the baseball game finale (24:30), and Mike admires how well the movie “keeps the farts hot” (32:14). We move on to the case for knocking it off the pedestal with the inevitable debate about OJ Simpson (42:44). Shane takes issue with the ratio of bad to good jokes (48:23), we talk about why Ricardo Montalban may be the movie’s weakest link (51:11), and how the Queen plot severely dates the whole thing (55:26).

After sharing the different impacts karate class had on our childhoods (5:24) and who our favorite Ninja Turtle was (8:50), we begin the case for keeping it on the pedestal with how well the look of the turtles themselves have held up over the years (13:10). We debate Casey Jones’ claustrophobic joke (23:44), we gush over the movie’s use of flashbacks (33:13), and examine some of the bold artistic choices made in a kid’s action movie (39:43). We move on to the case for knocking it off the pedestal with all the things that bothered us about Shredder (45:47) and that punk kid Danny (48:10). Pops dives into the issues with the movie’s pro-vigilantism (52:37) and Shane asks the question we’ve all pondered for years: “Are the turtles sexual beings?” (1:05:55)

After Mike divulges his childhood obsession with sharks (7:26), we begin the case for keeping it on the pedestal with how well the carnage and violence still hold up (9:49). We get into the Indianapolis monologue (15:50), the legendary John Williams score (20:14) and delve into why Richard Dreyfus’ performance was so good (27:56). We move on to the case for knocking it off the pedestal with ways we’d bring down the film’s bloated length (32:57). We talk about the flaws in the third act quest to kill the shark (38:48), Robert Shaw’s over-acting (42:56), and Shane compares Jaws to a regular season baseball game (48:24). We end with an epic throw down between Mike and Pops over the antagonists both in Jaws and in the movie Interstellar (50:24).

After Shane reveals Airplane’s connection to the movie Ghost (6:42), we begin the case for keeping it on the pedestal with how well it exploited dramatic dignified actors for extremely ridiculous roles (10:46). We talk about how many modern jokes have been harvested from this film (15:25), the underrated genius of Robert Stack (20:01), and the emergence of Leslie Neilson as a comedy legend (27:47). We move on to the case for knocking it off the pedestal with Airplane’s overreliance on stereotypes (31:01). We debate whether or not Captain Oveur is actually a pedophile (38:13), Mike defends his position on the guitar scene (40:42), and we get into why the flashbacks were potentially the movie’s weakest links (45:16).

After quibbling over how to pronounce Kubrick’s name (4:46), we begin the case for keeping it on the pedestal with the heavy contrasts between Joker and Gomer Pyle (12:00). We get into why the drill sergeant was both a hilarious and heady character (20:35), how the concept of “war” was the true villain of Full Metal Jacket (24:15), and talk about the cultural impact of “Me So Horny” (29:02). We move on to the case for knocking it off the pedestal with the how the sniper reveal doesn’t hold up (41:13). We discuss the over-saturation of Vietnam War films at the time (42:57), whether or not the film’s second half is more educational than entertaining (45:43), and why the movie’s look wasn’t able to elevate its battle scenes (49:45).

After Shane explains how the movie’s royal bath affected him as a youth (1:23), we begin the case for keeping it on the pedestal with the many different characters that Eddie Murphy was able to pull off (9:26). We discuss the classic matrimony song (12:15), why Coming to America’s impact goes beyond its gags (16:51), and how one scene clearly inspired Kanye West (18:34). We move on to the case for knocking it off the pedestal with the problems with Sexual Chocolate’s Randy Watson (31:13) and why Lisa put up with Daryl (35:44). We get into the nightclub dating montage (39:28), all the jokes involving McDowell’s restaurant (41:53), and Shane nitpicks the final wedding scene (45:22).

After Pops admits he stole from it back when he was a film student (4:22), we begin the case for keeping it on the pedestal with a pre-Big Bang Theory Jim Parsons (9:07). We discuss the famous soundtrack (15:46), why the movie helped us understand our younger selves (19:31), and get into how Peter Sarsgaard and Jean Smart elevated their characters (25:39). We move on to the case for knocking it off the pedestal with Natalie Portman as the original Manic Pixie Dream Girl (31:11) and Braff’s wildly erratic performance (33:22). We examine Method Man’s peep show hotel  (39:18), continue down into the quarry (41:33), and wonder why we should be caring about Largeman’s problems at all (51:53).

After Shane and Pops differ in opinion on the Looney Tunes (2:44), we begin the case for keeping it on the pedestal with how the movie stayed true to the legend of Jordan (8:25). Mike stands up for Babs Bunny (14:23), we all praise everything that is Bill Murray (17:10), and discuss the degree of difficulty MJ had to act in a movie like this (25:07). Shane and Mike lock horns over Ray Allen’s performance in He Got Game (27:58) and we then move on to the case for knocking Space Jam off the pedestal with Pops taking issue with the portrayal of the toons (32:15). We examine the movie’s other NBA stars (36:49), the film’s inherent corporate cynicism (41:30), and why the actual basketball scenes didn’t work (42:32).

After Shane kicks things off with his love for the game Goldeneye and his disdain for Daniel Craig (3:13), we begin the case for keeping it on the pedestal with why Sean Connery might be the best Bond ever (7:16). We discuss how Goldfinger works as a satire of male culture in the 60s (12:49), and why Pops thinks both Odd Job (15:37) and Bond’s Aston Martin (20:49) are awesome. We move on to the case for knocking it off the pedestal with the movie’s overt and borderline embarrassing misogyny (23:18). We wonder whether or not Bond hates the Beatles (29:55), examine the myriad problems with the ending (36:34) and Shane struggles to wrap his head around why Bond movies are so popular (42:14).

After debating the validity of the movie’s extremely low budget (2:21) we begin the case for keeping it on the pedestal with the authenticity of all the performances (15:12) and how Blair Witch Project’s “found footage” format still holds up (22:27). We’re then split three ways on which lead each of us liked the most (27:18). We move on to the case for knocking it off the pedestal with Pops first confusing the hell out of Shane with his “Late 90s Ennui” movie theory (32:21). We then get into which parts elicited more groans than scares (45:12), the inconsistent reactions throughout the film (48:47), and argue over whether or not Heather is one of the most annoying movie characters of all time (51:46).

We begin the case for keeping it on the pedestal with Jim Carrey’s powerhouse comedic performance (6:22), and whether or not Jeff Daniels may have actually outshined him (13:21). Shane explains how Lloyd’s dream sequence changed his life (18:51) and Pops takes a stand on the merits of the film’s ending (21:46). We move on to the case for knocking it off the pedestal with Mike taking issue with all the “annoying humour” (26:37) and then how the added scenes in the unrated version reveal some of Dumb & Dumber’s biggest flaws (28:00). We get into the piss drinking cop (32:47), Pops blows Shane’s mind with a huge plot hole (36:06), and we explore why Seabass hasn’t aged well (42:49).

After a quick rundown of why we wanted to make this podcast in the first place (2:23), we first lay out our varying levels of fandom for the Star Trek universe, or “Trekker-ness” (6:30). We begin the case for keeping it on the pedestal by diving into Star Trek IV’s sense of humor (10:03). We talk about what Shatner brings to Captain Kirk (18:43), how the special effects have held up (24:33) and which member of Starfleet stole the show (32:50). We then move on to the case for knocking it off the pedestal starting with Shane’s problems first with the probe (34:55) and then the whales (43:37). Pops takes issue with the love interest (52:00) and we all debate Chekov and his “nuclear wessels” (54:55).