To celebrate Isaac Slade of the Fray's new solo career (and Greg's opening spot at his first solo show,) Isaac joins Greg and Joe to discuss what he calls "one of the best movies he's ever seen." Which, it goes without saying, makes him the perfect guest for Great Bad Movies.

This episode has it all: Isaac hearing Bruce Willis' music for the first time, a henchman who looks exactly like Chris Martin of Coldplay, Kevin Smith rewriting scenes, a standoff between the movie studio and Bruce Willis, people who love this movie, people who question if it's really a Die Hard movie.... Plus, we create new drinking games and answer important questions about the 3rd best movie to take place during the 4th of July. Long story short, it's a lot of laughing and a great time.

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This week on Really Entertaining A-list B-movies:

Bob Odenkirk (w/ Resting Chuck Norris Face) is an unremarkable family man—or so everyone thinks. After a home invasion leaves him humiliated, his buried skills as a lethal former government operative resurface with a vengeance. What follows is a bone-crunching, darkly funny rampage through the criminal underworld, featuring stolen kitty bracelets, bus fights that feel like a stuntman’s dream, and a finale that turns suburban booby traps into mobster catchers. Directed by Ilya Naishuller, with Christopher Lloyd stealing scenes as Hutch’s gun-happy dad, this is an overly efficient action flick that asks: what if John Wick had a mortgage?

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Keanu Reeves (“Jeff,” from Paula Abdul’s Rush Rush video) stars in Point Break, a film masquerading as action cinema but in truth a haunting meditation on identity, lawlessness, and the futility of resisting the ocean’s will. (Or at least we assume Werner Herzog would describe it that way.) Johnny Utah, a former quarterback now shackled to bureaucracy, descends into the chaotic underworld of surfers who rob banks not for money, but for meaning. At their center is Bodhi—part surfer, part philosopher, part doomed Icarus—whose search for the perfect wave mirrors mankind’s eternal desire to conquer nature, only to be obliterated by it.

We speak of masks—both literal and existential. Of skydiving as an act of metaphysical surrender. Of meatball sandwiches, consumed with the desperation of men who know the void. You may think this is merely a buddy-cop thriller. You are mistaken. This is about the death of the self.

Also, Gary Busey is in it.

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