What happens when the future shows up… and immediately panics?

This week on Rewind or Die, we dive into Johnny Mnemonic (1995) — the cyberpunk oddity that tried to warn us about the dangers of information overload years before anyone knew what a notification was. It’s a movie about data, corporations, brain storage, and a very tired Keanu Reeves carrying way too much of everything.

We talk about how this film accidentally predicted modern burnout, why it feels like a prototype for later sci-fi classics, and how its anxiety-soaked vision of the future somehow makes more sense now than it did in the ’90s. Along the way, we break down its strange tone, its half-finished worldbuilding, its cable-TV afterlife, and why it plays better at 1:30 a.m. than it ever did in theaters.

We also get into how Johnny Mnemonic sits right between The Lawnmower Man and The Matrix, why Keanu Reeves feels like he’s quietly inventing his later screen persona, and how this movie became less “bad cyberpunk” and more “early warning system.” Yes, we talk about the dolphin. Yes, we talk about the data. And yes, we ask the most important question: who was this actually made for?

If you love flawed ’90s sci-fi, VHS-era cable classics, movies that swing big and miss loud, or films that accidentally predict the future, this one’s for you.

And remember: the future may be dumb — but at least it’s interesting.

Don’t step on the grass.

In 1995, Hollywood was extremely confident it understood the internet — and The Net is the proof.

This week on Rewind or Die, we revisit the Sandra Bullock techno-thriller that assumed one wrong click could erase your entire identity, that “the system” knew everything, and that ordering a pizza online was basically science fiction. It’s a movie where computers are omnipotent, paperwork is fate, and the internet feels less like a tool and more like an all-knowing authority with opinions.

We break down how The Net reflects real mid-’90s fears about technology, why it plays like a paranoid thriller instead of sci-fi, and how it accidentally captured the anxiety of a world just starting to hand control over to machines. Along the way, we talk about Sandra Bullock holding the whole movie together, why the film became a cable staple, how Hollywood imagined “computer people,” and why this version of the internet feels both hilarious and weirdly familiar now.

It’s a deep dive into one of the most revealing time capsules of the decade — a movie that didn’t predict the internet accurately, but did predict how nervous we’d all be about it.

🎧 Plus: confused authority figures, overconfident systems, Dennis Miller energy, dial-up vibes, and the moment movies decided the internet had a personality.

Die Hard with a Vengeance (1995) isn’t just the third Die Hard movie — it’s the one where the franchise stops having fun and starts having a very bad day.

This week on Rewind or Die, we’re digging into the most stressed action movie of the ’90s: a sequel that abandons comfort, nostalgia, and holiday vibes in favor of exhaustion, logistics, and civic infrastructure collapsing in real time. John McClane isn’t rising to the occasion anymore — he’s being dragged through it, hungover, suspended, and already behind.

We talk about why With a Vengeance feels so different from the other Die Hard films, how it turns New York City into the real antagonist, and why it might be the smartest sequel in the franchise. From riddles and payphones to traffic patterns and system failures, this is an action movie built on momentum — not spectacle.

Along the way, we break down the Die Hard franchise as a whole, explain why this is the last entry that truly belongs in the Rewind or Die canon, and officially ratify the Rewind or Die Constitution (yes, there’s a cutoff year, and no, it makes no sense). We also spiral into cable TV memories, butchered TV edits, and why modern free-with-ads streaming somehow makes commercial breaks even worse than TNT ever did.

If you grew up watching movies out of order on basic cable, if you remember when action heroes were allowed to be tired, or if you’ve ever felt personally attacked by a ringing payphone — this one’s for you.

What if the definitive Santa Claus origin story cost $50 million, involved corporate sabotage, exploding candy canes, and John Lithgow turning Christmas into a hostile takeover?

This week on Rewind or Die, we revisit Santa Claus: The Movie (1985) — the ambitious, baffling, and strangely sincere holiday epic that tried to turn Santa into a full-blown blockbuster myth.

We break down how the producers of Superman: The Movie traded capes for candy canes, why this film feels like six movies duct-taped together, and how a Santa origin story somehow became a Reagan-era corporate thriller. From Dudley Moore’s elf tech startup to Lithgow’s all-time villain performance, from the North Pole’s questionable HR policies to the candy-powered final chase, nothing is spared.

Is it a misunderstood Christmas classic? A wildly expensive mistake? Or the ultimate example of cable-TV Stockholm Syndrome?

Grab some eggnog, settle in, and join us as we unwrap the Santa origin story nobody asked for — and somehow can’t stop watching.

Strap in, holiday travelers — this week the Rewind or Die crew digs into Die Hard 2 (1990), the only action sequel brave enough to say, “What if Christmas travel was already terrible… and then we made it way worse?”

Join Adam, Jeff, and Steve as they unravel the snow-covered madness of the most chaotic airport movie ever filmed. We’re talking:

• John McClane vs. Weather, Bureaucracy, and Questionable Airport Security

• William Sadler doing naked villain yoga for… reasons

• The greatest collection of “THAT GUY!” actors ever assembled

• The return of Val Verde, Hollywood’s favorite fictional geopolitical disaster

• Renny Harlin cranking the chaos dial to 11

• Fred Thompson as an airport boss who will one day become a U.S. Senator

• Colm Meaney showing up just long enough to shout “Chief O’Brien lives!”

• John Amos delivering one of the best villain twists of the 90s

Plus: box office trivia, sequel science, and the definitive answer to the question:

“Is Die Hard 2 actually a Christmas movie… even though it came out on July 4th?”

This episode is packed with film analysis, nostalgic VHS-era energy, and the kind of holiday rage only airport parking can inspire.

If you love 90s action movies, Bruce Willis on the brink, pure sequel chaos, or hearing three friends yell about airport logistics… this one’s for you.

A full deep-dive breakdown of the ultimate action classic

John McClane has a nightmare Christmas Eve, Hans Gruber steals the movie, and the Rewind or Die crew unpacks Die Hard (1988) with more chaos than an elevator shaft full of C4.

Adam arrives with a literal three-ring binder.

Jeff opens the secret “Making of Die Hard” vault.

Steve keeps comparing everything to football.

Louis insists Ellis was framed.

This episode covers every major Die Hard topic fans obsess over:

the wild origin of the story, the Bruce Willis casting gamble, Alan Rickman’s iconic villain performance, Nakatomi Plaza, the “they’re not terrorists, they’re robbers” twist, the insane stunts, McTiernan’s direction, the Christmas movie debate, and how Die Hard reinvented modern action cinema.

If you love 1980s movies, action film history, Bruce Willis, Hans Gruber, or just hearing grown adults lose control of their own show…

this is the definitive Die Hard deep dive.

Grab your walkie-talkie, tape up your feet, and remember:

Don’t step on the grass.

This week on Rewind or Die, Adam, Jeff, Steve, and Lewis dive headfirst into the chaotic, sugar-fueled fever dream that is Jingle All the Way — the 1996 Christmas comedy that asked the bold question:

What if Arnold Schwarzenegger committed several non-violent felonies in the name of holiday love?

We break down the Turbo Man toy insanity, Sinbad’s perfectly unhinged performance, Phil Hartman’s suburban menace energy, and the cultural prophecy hiding beneath this “family-friendly” mall frenzy. Is this movie secretly brilliant? A misunderstood holiday satire? Or just a beautiful monument to 90s dad panic and late-stage consumer chaos?

We also confront the most important theory yet:

👉 Is Jingle All the Way the spiritual sequel to Houseguest — uniting Sinbad and Phil Hartman in an accidental cinematic universe?

Along the way we cover:

• The Turbo Man hysteria and real-life 90s toy shortages

• Why this movie predicted modern Black Friday madness

• The Santa crime syndicate no one talks about

• Jake Lloyd pre-Star Wars aka Baby Anakin energy

• The parade that defied all laws of physics

• Whether this movie deserves true holiday reclamation

It’s loud. It’s chaotic. It’s oddly sincere. It’s everything Rewind or Die loves about forgotten 90s cinema — and somehow, against all logic, it just works.

Next up: the biggest Christmas movie of them all… DIE HARD.

So grab your last Turbo Man, dodge the mall stampede, and hit play — just don’t step on the grass.

In this episode of Rewind or Die, Adam, Jeff, Steve, and Louis dive headfirst into the bafflingly charming 1995 comedy Houseguest, where Sinbad breaks into a rich family’s life, commits light identity theft, eats their shrimp, and somehow fixes everyone’s emotional damage.

We explore how this underrated 90s comedy became an accidental self-help movie, why Phil Hartman delivers one of the most quietly brilliant suburban dad performances ever, and how Sinbad turned lying into a spiritual lifestyle. Is Houseguest secretly perfect? Is it the most McDonald’s-feeling movie not called Mac and Me? And was this the most polite crime spree in cinematic history?

Also featuring:

– Shrimp-based film theory

– Suburban confidence cons

– Louis’ Holiday Hotline

– Darius spiraling in Altoona

– Light jazz, pagers, and blazer philosophy

– And the setup for its spiritual sequel, Jingle All the Way

Fraud has never felt this warm.