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The Cable Guy

The Cable Guy

Comedy · Drama · Thriller · 1996

When recently single Steven moves into his new apartment, cable guy Chip comes to hook him up—and doesn't let go. Initially, Chip is just overzealous in his desire to be Steven's pal, but when Steven tries to end the 'friendship', Chip shows his dark side. He begins stalking Steven, who's left to fend for himself because no one else can believe Chip's capable of such behaviour.

Movie details

The Cable Guy

“There's no such thing as free cable.”

1996 Comedy · Drama · Thriller 1h 36m

Critical arithmetic

One number, for now.

TMDB

6.0 / 10

Community rating

When recently single Steven moves into his new apartment, cable guy Chip comes to hook him up—and doesn't let go. Initially, Chip is just overzealous in his desire to be Steven's pal, but when Steven tries to end the 'friendship', Chip shows his dark side. He begins stalking Steven, who's left to fend for himself because no one else can believe Chip's capable of such behaviour.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Cable Guy?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Ben Stiller

Written by

Lou Holtz Jr. · Ben Stiller · Judd Apatow

Jim Carrey

Jim Carrey

Cable Guy

Matthew Broderick

Matthew Broderick

Steven

Leslie Mann

Leslie Mann

Robin

Jack Black

Jack Black

Rick

George Segal

George Segal

Steven's Father

Diane Baker

Diane Baker

Steven's Mother

Ben Stiller

Ben Stiller

Sam Sweet

Court is in session

Put The Cable Guy on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.