The Rewatchables

‘Snake Eyes’ With Bill Simmons, Sean Fennessey, and Van Lathan

November 11, 2025

Key Takeaways Copied to clipboard!

  • The 1998 Brian De Palma film *Snake Eyes* is characterized as a highly kinetic, fun "water slide movie" that showcases Nicolas Cage's unique talent for playing untrustworthy yet compelling characters. 
  • Nicolas Cage's career in the late 1990s, exemplified by *Snake Eyes*, represented a fearless pivot into action-thriller roles following his Oscar win, often playing greasy, morally ambiguous characters that audiences root for. 
  • Brian De Palma is celebrated as a master filmmaker whose signature style, including complex long takes and a focus on voyeurism, is evident in *Snake Eyes*, even if the film is considered less thematically deep than his other works like *Carlito's Way* or *Blow Out*. 
  • The opening one-shot sequence is widely considered the most rewatchable scene in Brian De Palma's ‘Snake Eyes’, despite some strong overacting moments from Nicolas Cage. 
  • The film's use of multiple perspectives and POV sequences is praised as an engaging homage to *Rashomon*, making it more interesting than similar narrative structures in other films like *House of Dynamite*. 
  • The discussion highlighted several elements that firmly date the film to the late 1990s, including the prominence of heavyweight boxing in Atlantic City and the presence of Nicolas Cage's specific style of performance. 
  • The discussion frequently nitpicks the implausibility of plot points in ‘Snake Eyes’, such as Carla Gugino's character using 1998-era email or her lack of basic security screening despite being a whistleblower. 
  • The hosts debated casting alternatives for ‘Snake Eyes’, suggesting that pairing Tom Cruise with Tom Hanks would have made the espionage thriller a massive box office success akin to ‘Interview with the Vampire’. 
  • Stan Shaw, an actor in ‘Snake Eyes’, prompted a tangent where the hosts praised his performance in the cult classic horror film ‘Monster Squad’. 

Segments

Angry Orchard & Ringer Ads
Copied to clipboard!
(00:00:00)
  • Key Takeaway: Angry Orchard cider is promoted as a crisp, not-too-sweet beverage containing the equivalent of two apples per bottle.
  • Summary: The podcast opens with an advertisement for Angry Orchard hard cider, emphasizing its bold, non-sugary flavor profile. The segment also names other Ringer podcasts and their hosts, including Sean Fennessey’s The Big Picture and Van Lathan’s Higher Learning and The Midnight Boys.
Snake Eyes Introduction & Era
Copied to clipboard!
(00:00:52)
  • Key Takeaway: Snake Eyes (1998) is identified as the fifth Brian De Palma film covered by The Rewatchables and belongs to a beloved, earlier era of filmmaking.
  • Summary: The hosts confirm they are discussing Brian De Palma’s Snake Eyes, noting it is their fifth film by the director. The movie is set in Atlantic City, stars Nicolas Cage, and features elements like a fixed boxing match and an assassination plot.
Water Slide Movie Concept
Copied to clipboard!
(00:02:13)
  • Key Takeaway: A “water slide movie” is defined as a film so kinetic and engaging that the viewer cannot stop watching, even if the ending is not the best part.
  • Summary: Sean Fennessey introduces the concept of a “water slide movie,” where the enjoyment comes from the continuous, fun descent rather than the final destination. He suggests that while Snake Eyes is incredibly fun to slide through, its ending might not be its strongest element.
Nicolas Cage’s Crooked Cop Persona
Copied to clipboard!
(00:03:31)
  • Key Takeaway: Nicolas Cage possesses a unique, almost inexplicable ability to convincingly portray a sleazy, crooked cop who is still somewhat rootable, a difficult tightrope walk few actors match.
  • Summary: The discussion centers on Cage’s perfect casting as a dirty cop, contrasting him with actors like McConaughey or Bruce Willis who might not convey the necessary “scumbag sleaziness.” Cage’s persona is linked to his rejection of his famous Coppola lineage, leading him to take off-beat roles.
Cage’s Career Pivots and Action Phase
Copied to clipboard!
(00:06:56)
  • Key Takeaway: Following his Oscar win for Leaving Las Vegas, Nicolas Cage entered an inexplicable, high-volume action phase (The Rock, Con Air, Face/Off) that seemed to contradict his serious actor status at the time.
  • Summary: Cage transformed from a sincere artist to an action star, often playing characters with baggage, such as the scientist in The Rock or the dual roles in Face/Off. This period is viewed as a time when he was “safety off,” doing exactly what he wanted on screen.
De Palma’s Directorial Style & Remaining Films
Copied to clipboard!
(00:10:50)
  • Key Takeaway: Brian De Palma encourages “safety off” performances, matching Cage’s energy, and the remaining De Palma films to be covered by The Rewatchables include Scarface, Carlito’s Way, and Dressed to Kill.
  • Summary: De Palma is noted for enabling explosive performances, similar to his work with Pacino in Scarface and Carlito’s Way. The hosts identify the remaining major De Palma films they have yet to cover on the podcast.
De Palma’s Protagonist Theme
Copied to clipboard!
(00:16:04)
  • Key Takeaway: De Palma views his protagonists as being overwhelmed by the establishment, describing the conflict as a “tar baby” where the hero keeps getting sucked in.
  • Summary: A quote from De Palma reveals his thematic focus on protagonists being dwarfed by insurmountable obstacles, comparing the struggle to being stuck in a tar baby. The hosts label De Palma a “maniac” whose films are exercises in cinematic technique, often compared to Hitchcock.
Snake Eyes Technical Prowess
Copied to clipboard!
(00:23:10)
  • Key Takeaway: Despite being thematically straightforward and somewhat trashy, Snake Eyes is technically impressive, particularly for its long, complex tracking shots.
  • Summary: The film is technically stunning, featuring a continuous shot that De Palma claimed was about 12 minutes long, though he admitted it likely involved four cuts using film magazine limitations as a guide. The movie’s focus on celebrity and conspiracy is considered less heady than De Palma’s other works.
Gary Sinise’s Evil Turn
Copied to clipboard!
(00:30:09)
  • Key Takeaway: Gary Sinise excels at portraying characters who can convincingly flip from trustworthy to genuinely reviled, making him the peak of the ‘Evil Sinise’ archetype alongside films like Ransom.
  • Summary: The hosts debate the most ‘Evil Sinise’ performance, noting his ability to shift intensity instantly, making him a unique blend of character actor and leading man. His career trajectory is compared to other 90s character actors who transitioned to procedural TV like CSI: New York.
Carla Gugino’s Career Trajectory
Copied to clipboard!
(00:41:47)
  • Key Takeaway: Carla Gugino possessed the versatility to succeed in romantic comedies, dramas, and De Palma thrillers, but she never landed the singular, career-defining role that would elevate her to the A-list tier occupied by Julia Roberts or Sandra Bullock.
  • Summary: Gugino is seen as an actress who was one role away from superstardom, comparable to Sarah Jessica Parker before Sex and the City. Her career included strong performances in films like Miami Rhapsody and Sin City, but she lacked a constant, high-visibility vehicle.
De Palma Homage and Memory Failure
Copied to clipboard!
(01:15:24)
  • Key Takeaway: Brian De Palma’s use of staircase overhead shots in the Carla Gugino/Nicolas Cage scene is a direct lift from Alfred Hitchcock’s Vertigo.
  • Summary: The staircase scene with Gugino and Cage features an overhead shot that creates disorientation, directly referencing a similar moment in Vertigo. Sean Fennessey notes that De Palma’s use of split screens and boxes is an homage to Rashomon and the failure of memory. This technique is considered a huge improvement over the similar storytelling in House of Dynamite.
Cinematic Shot Awards
Copied to clipboard!
(01:16:33)
  • Key Takeaway: The overhead shot of the Atlantic City hotel rooms is cited as a masterclass in practical filmmaking, potentially influencing later sequences like the overhead apartment shot in John Wick 4.
  • Summary: The overhead shot of the Atlantic City rooms was nominated for the most cinematic shot due to the complexity of staging that many extras or sets. Another nominated shot involved the camera focusing on Carla Gugino’s shattered glasses on the floor. A third nominee was a long shot through a cracked door at a party, placing the viewer in a voyeuristic position.
Character Naming and Quotes
Copied to clipboard!
(01:18:17)
  • Key Takeaway: Nicolas Cage’s line describing his mistress, ‘Monique, skinny, mean, expensive. I love her,’ perfectly encapsulates his character’s asshole nature.
  • Summary: Lincoln Tyler, ‘The AC Executioner,’ received recognition for a good character name. The segment highlighted a great exchange where Rick Santoro describes his wife Angela as ‘Fat, fabulous, fantastic’ and his mistress Monique as ‘skinny, mean, expensive.’
Weak Link: The Missing Tidal Wave
Copied to clipboard!
(01:19:24)
  • Key Takeaway: The decision to cut the planned tidal wave ending, filmed by Industrial Light Magic, is the film’s weak link because it leaves the initial setup of a storm payoff-less.
  • Summary: The hosts argue that removing the tidal wave ending deflates the movie, especially since the opening references a storm. They agree that the ending, which features a romantic kiss on the beach, felt too ‘buttoned up’ and rom-com-y without the chaotic natural disaster. The segment concludes with a pro-tidal wave stance, suggesting it would have been a natural escalation.
1998 Assassination Plot Complexity
Copied to clipboard!
(01:21:22)
  • Key Takeaway: The elaborate assassination plot involving a boxer taking a dive to kill a target in the front row seems inefficient compared to modern, more direct methods.
  • Summary: The complexity of the assassination plan, including enlisting and immediately killing a Palestinian trigger man, draws comparisons to the JFK assassination. The hosts question the necessity of using the boxing match as cover for the murder. The plot’s reliance on 1998 technology and less public scrutiny of such events is noted as something that would be scrutinized heavily today.
Van Lathan’s Rick Santoro Escape Plan
Copied to clipboard!
(01:23:32)
  • Key Takeaway: Rick Santoro’s strategy for managing his wife (Angela) and girlfriend (Monique) involves validating his wife’s suspicions about the villainous Kevin Dunn while offering his girlfriend a future rendezvous in Atlantic City.
  • Summary: As Rick Santoro, Van Lathan would first tell his wife that Kevin Dunn is a killer and that she was right about him, confirming Dunn is out of their lives. With his girlfriend Monique, he would invoke a Jay-Z-esque philosophy of separate time, suggesting she call back later to enjoy the hotel rooms after the scandal blows over.
Hottest Take: De Palma’s Classy vs. Trashy Films
Copied to clipboard!
(01:26:54)
  • Key Takeaway: Sean Fennessey’s hottest take is that The Untouchables, De Palma’s classiest film, is less interesting than his trashier works like Blowout or Snake Eyes.
  • Summary: Fennessey argues that the less classy the material, the better the Brian De Palma movie, citing Bonfire of the Vanities as a failed classy adaptation. He finds The Untouchables dull because De Palma played it too safe and straight. The consensus is that when De Palma plays it straight, it weighs on the viewer.
Casting Ifs and Al Pacino Offer
Copied to clipboard!
(01:30:31)
  • Key Takeaway: Gary Sinise’s role as Commander Kevin Dunn was originally offered to Al Pacino, who turned it down over salary demands, leading to Will Smith choosing Enemy of the State instead.
  • Summary: Al Pacino reportedly turned down the role because he wanted $20 million, while the offer was $12 million. Will Smith subsequently chose to do Enemy of the State instead of Snake Eyes. The hosts speculate that Will Smith playing the sleazy villain role would have been interesting, as he rarely plays villains.
Boxing Scenes in Non-Boxing Films
Copied to clipboard!
(01:39:54)
  • Key Takeaway: Boxing matches in non-boxing movies are rare and noteworthy exceptions to the rule that fight scenes usually belong in sports-centric films.
  • Summary: The hosts identify the presence of boxing matches in movies not primarily about the sport as a specific cinematic trope. They note that in ‘Snake Eyes’, the fight is not the focus, unlike dedicated boxing movies. They struggle to recall other strong examples of this phenomenon.
Stan Shaw Filmography Deep Dive
Copied to clipboard!
(01:40:57)
  • Key Takeaway: Stan Shaw, an actor in ‘Snake Eyes’, is also recognized for his roles in ‘The Great Santini’ and the 1987 cult classic ‘Monster Squad’.
  • Summary: The conversation pivots to Stan Shaw’s career, noting his appearance in ‘Tough Enough’ with Dennis Quaid. The hosts recall his role in ‘Monster Squad’, detailing the plot point where the young characters must use a virgin to read an incantation to defeat Dracula. Shane Black wrote ‘Monster Squad’, which was released around 1986.
Hottest Take: Cruise and Hanks Casting
Copied to clipboard!
(01:43:03)
  • Key Takeaway: Casting Tom Cruise and Tom Hanks in ‘Snake Eyes’ would have created a blockbuster espionage film comparable to ‘Interview with the Vampire’.
  • Summary: The hosts propose that replacing the existing actors with Cruise and Hanks would have generated immense interest due to their star power and comparable age at the time. They speculate that a Scorsese or Spielberg directing this version would have been excellent, with Philip Seymour Hoffman potentially taking Gary Sinise’s role.
Pre-Fight Party and Security Lapses
Copied to clipboard!
(01:45:02)
  • Key Takeaway: The scene depicting a full-on party with crack use in the boxer’s dressing room immediately before a heavyweight title fight is highly unrealistic.
  • Summary: Van Lathan highlights the absurdity of the pre-fight party scene, noting that Carla Gugino’s character runs through the arena covered in blood without anyone reacting. Furthermore, Gary Sinise’s character, running security, allows his friend access to sit next to the Secretary of Defense without any security screening.
Heavyweight BMI and Boxing Nitpicks
Copied to clipboard!
(01:46:49)
  • Key Takeaway: The heavyweights featured in the boxing match in ‘Snake Eyes’ appeared to have a higher Body Mass Index (BMI) than the elite champions of the 1990s era.
  • Summary: The hosts observe that the fighters looked more like those from an ESPN Friday Night Fights broadcast rather than top-tier 90s heavyweights like Lewis or Tyson. They also nitpick the crowd’s immediate booing in the first minute of the fight due to a lack of action, which they claim never happens.
Carla Gugino’s Incoherent Plan
Copied to clipboard!
(01:47:24)
  • Key Takeaway: Carla Gugino’s character’s plan to be a whistleblower is incoherent, especially given the availability of email in 1998, and her choice to seek attention dressed like Marilyn Monroe.
  • Summary: The hosts question why Gugino’s character, intending to expose corruption, would dress provocatively to get the Secretary of Defense’s attention during the fight instead of using available technology. They note that while email existed, the film frames it as if she needed to deliver information by hand.
Jose Pacifico Ruiz’s Terrible Acting
Copied to clipboard!
(01:48:56)
  • Key Takeaway: Jose Pacifico Ruiz, the boxer who fights Lincoln Tyler, delivers abominable acting, potentially being in on the fix but failing due to poor boxing execution.
  • Summary: The hosts suggest Ruiz might deserve a new category for worst sports movie character due to his terrible performance and mugging for the camera. They question whether Ruiz was intentionally sabotaging the plan by talking too much trash and failing to go for the kill when signaled.
Carla Gugino’s Glasses and Sexual Energy
Copied to clipboard!
(01:50:11)
  • Key Takeaway: Carla Gugino’s character should have worn contact lenses in 1998, and the forced sexual energy between her and Nicolas Cage’s character at the end felt unearned.
  • Summary: The hosts point out that as a weapons analyst, Gugino’s character could have easily obtained contacts, noting her glasses looked like reading glasses and she bumped into a wall because she couldn’t see. They contrast this with ‘The Pelican Brief’, which successfully omitted underlying sexual tension between its leads.
Memorabilia and Life Lessons
Copied to clipboard!
(01:55:54)
  • Key Takeaway: The most desirable piece of memorabilia from ‘Snake Eyes’ is the Ruby Red Ring, revealed at the end of the credits embedded in the concrete slab with the bodies.
  • Summary: The hosts debate taking Cage’s jacket or a fight poster, but one host points out the ring worn by Serena, which is found after the bodies are sealed in concrete. The best life lesson derived is simply ‘Don’t be naive,’ and the best double feature pairing is ‘Face/Off’.
Brian De Palma’s Career Trajectory
Copied to clipboard!
(01:58:37)
  • Key Takeaway: Brian De Palma’s career trajectory suggests he may have ‘quit’ directing major studio films after ‘Snake Eyes’ due to the financial failure of ‘Mission to Mars’ and subsequent controversial projects.
  • Summary: The hosts note that after the success of ‘Mission Impossible’ and ‘Snake Eyes’, De Palma’s next film, ‘Mission to Mars’, bombed, followed by the less commercially successful ‘Femme Fatale’. They reference a documentary where De Palma seemed resigned to the changing landscape of cinema in the late 90s.